The Public Work: Kwasi Boyd-Bouldin

June 28, 2020 in interview

The Public Work: Kwasi Boyd-Bouldin

Andrew D. McClees (ADM): Hi Kwasi, thanks for doing the interview! For those who may not be familiar with you or your work, could you introduce yourself, and give us an overview?

Kwasi Boyd-Bouldin (KBB): My name is Kwasi Boyd-Bouldin and I’m a photographer from Los Angeles. I primarily shoot documentary landscape and street photography with an emphasis on underrepresented neighborhoods. I was born in Brooklyn, New York but have lived in L.A. since I was 2 years old, I grew up moving between Hollywood, East Hollywood, and Mid City, those are also the neighborhoods I tend to photograph most.

ADM: You're launching a site called "The Public Work" and leading with an essay/body of work with Erwin Recinos called "Neighborhood Quarantine." In which you're shooting the color/digital images, while Erwin shoots the BnW images on film. What was the impetus to start the website and how did the new collaborative body of work start?

KBB: I started The Public Work at the beginning of the year as a home for my street photography essays. It was inspired by the role I think that photography can play in documenting life from street level. Once the pandemic hit the city I began to use it as a platform to share what it was like in some of the neighborhoods that didn’t make the news.

Erwin is one of my oldest friends and I’ve collaborated with him on several projects over the past decade such as our old photography collective Snapshot Galleria (with Luis Torres) and multiple zine collaborations. I reached out to him for the Neighborhood Quarantine essay because I saw the work that he was making and thought that it would work well with some of mine.

ADM: When you're working collaboratively, do you notice your workflow change, or at the very least what you're drawn to shoot, in relation to the other contributor's work?

KBB: My workflow doesn’t really change. Unless I’m on a professional assignment, I shoot the same things wherever I go. The great thing about working with Erwin (and others I have collaborated with in the past) is that our work just fits. We often just settle on a theme and interpret it on our own. It involves a lot of trust but the results speak for themselves.

ADM: Stepping back, more generally, what's your working practice like - you seem to split your chops between topographics work and traditional street photography - what gets you out to shoot, and what are you looking for when you're out on the street shooting?

KBB: The goal of my photography has always been to accurately portray life in the city as I see it. When I first started out, I focused exclusively on urban landscape but in the past few years I’ve incorporated traditional street photography into my work. I find that the combination of the two styles allows me to document neighborhoods with more clarity. I’m attracted to scenes and moments that often go unnoticed during the course of our daily lives.

ADM: Was there a particular moment or project that prompted the step into more traditional street photography - you mention that blending both styles gives you a better insight into the neighborhoods you document?

KBB: In 2018 I was accepted into and attended the New York Times portfolio review. The day after the review, I had a day to explore the city on my own and I decided to experiment a bit with street photography. That was really when the seed was planted and I saw the potential in combining it more purposefully with my landscape work. I had experimented with "traditional" street photography for years prior to this but I never made the effort to integrate that approach with my professional body of work. Something just clicked that week in New York and I've been moving forward ever since.

ADM: (If you'll allow me to pivot a bit) in the last couple of weeks I've noticed you've put up a couple more essays, and (on instagram as well) have added the new essay "Hindsight (2020)" about the turmoil 2020 has brought so far - and how Los Angeles (and Angelenos) have resiliently responded. What do you think are the key images to understanding Hindsight, and why those images?

KBB: The Hindsight essay is the result of me just realizing how insane this year had been in L.A. It has really been difficult to process it all so I tried to present it plainly for the viewer. It starts out in the beginning of the year when, like many of us, I was filled with optimism about 2020. The Kobe Bryant tragedy hit Los Angeles really hard and personally, that was tough. I wanted to show a bit of how the city came together to celebrate his life, not just through official means but also on the street. The quarantine and BLM protest movement have continued to reshape life in the city. The main goal of the essay was to show a bit of what all of these events were like here.

ADM: Typically when you're creating your own personal projects is there something that inspires you to create them or put them together - in your intro you mention underrepresented neighborhoods, but is there any other particular draw or inspiration that runs through your work? Also do you find yourself going out and creating projects from the outset, or assembling them once you start to see common threads in your pool of photos?

KBB: Exploring neighborhoods is the core motivation for my photographic work. The focus on underrepresented neighborhoods is because I grew up in several of them. The places I explored in my childhood were never properly shown or woven into the popular narrative about Los Angeles. This disconnect is what inspired me to photograph them in the first place. I'm drawn to photographing details that are both inconspicuous and indicative of the space. Ideas for projects often occur to me when I am out shooting or after I'm done. The only really planning I do at the outset is deciding location, everything else just flows as I take pictures. I also constantly go over my archives. Time is one of the most important aspects of photography and pictures often gain relevance with it's passage.

ADM: You mention a predilection for "photographing details that are both inconspicuous and indicative of the space." Could you give some examples - either as photos or like a description of what those details might be?

KBB: What I mean by that is I try not to be flashy in selecting subject matter to photograph. I find that the elements that most consider ordinary are often what makes a place unique. So whether it's a building or a bus bench, I think that a lot can be learned by documenting them in the context of the surrounding neighborhood.

ADM: Have there been any neighborhoods that really surprised you? Or like you decided to go shoot them, but when you look back at the photos you got, it was much different in feel or appearance than that neighborhood looked initially or in passing?

KBB: The neighborhoods that have surprised me the most so far are outside of California. They were completely new experiences so I was really outside of my comfort zone and I enjoyed it. The first place that comes to mind is New Orleans. I got a chance to explore a lot of the city on foot a few years ago and every area I visited was incredibly interesting. I really didn't have any knowledge of what it felt like to be in a place as old as that city is. I saw a side of life in this country that I had not seen before.

ADM: Looking forward a bit - what projects are you working on right now? Will you follow up (or continue) Hindsight (2020) to the close of the year?

KBB: I'm currently working on a few projects for clients that I can't quite discuss in detail but I'm looking forward to sharing them in the near future. My focus continues to be on building my portfolio and expanding The Public Work project. I honestly wander a lot creatively but I always find inspiration out in the streets I photograph.

ADM: What advice would you have for someone looking to go explore a new neighborhood, or photograph a new area - underrepresented or not, but doesn't know a lot about documenting an actual neighborhood?

KBB: The most important thing is to stay focused and respect the space.

ADM: From Bryan Mederos: Why is Photography so easy but yet so hard?

KBB: The act of taking a picture is deceptively simple. Learning what gives an image meaning is the difficult part.

ADM: What question do you have for the next photographer? - you can answer it yourself if you'd like.

KBB: How do you want people to remember your work?

ADM: Where can we see more of, and/or potentially purchase your work - do you have any other parting words or other advice?

KBB: I have a few projects coming up in the near future that I can't talk about yet so the best place to see my work is my website or Instagram. The only advice I really have for anyone trying to be a photographer is not to forget why you started taking pictures in the first place.

If you’ve made it this far, thanks for reading the interview! We appreciate your readership -normally this is where we’d stump for donations, but in light of the ongoing protests, we’d like to encourage you to donate your funds to a fund aiding them instead. This whole text block is a link.

Thanks!

The Management.

GATOS: Bryan Mederos

June 14, 2020 in interview

GATOS: Bryan Mederos

Andrew D. McClees (ADM): Hi Bryan, thanks for doing the interview! For those not familiar with you, or your work would you mind introducing yourself and giving an overview of your work, photographic and otherwise?

Bryan Mederos (BM): My journey as a photographer started a few years ago when I bought a DSLR camera to make youtube videos. In order to learn the exposure triangle, I started taking the camera everywhere and taking photos with a giant tele zoom lens and a crop sensor. All the photos were super cropped in. I also learned about Lightroom and Photoshop during that time. They were the worst photos ever. These days I primarily shoot 35mm film but I use my phone too.

ADM: We're here talking about your work documenting your job working behind the scenes (as a waiter?) at a hotel in Beverly Hills - do you have a title for the project? What inspired you to document this job/workplace?

BM: Yes the title for the project is called "GATOS," Gato literally translates to cat but it’s also a slang term used in Mexican culture that means “servant” or “goon.” I work in the in room dining department and my job title is "Order Taker". I take the food order from the guest, ring it in and hand it over to the server to prepare for delivery. The servers have a rotation so whenever a new order comes out they say "Next Gato"! Think of like “order up!” or “who's next!” I've been shooting photos of my co workers for years now and have amassed close to 1,000 photographs. The project is a love letter to the immigrant laborers of LA. The unsung heroes of the luxury hospitality industry.

ADM: I know this has been an extended project - are you still working on it? Have you found that your approach to documentation has changed over the duration of the project?

BM: I have all the material I need to compile a hardbound photo book. I'm not shooting as many photos as before but I still bring the camera out occasionally. Every "serious" photographic work I pursue is usually born out of being self aware enough to know that something special is going on around me. It may not be clear at the start but it eventually turns into to a deeper sense of awareness and appreciation for what's in front of me. In this case, its my job so I would argue that I've even changed my perspective towards my day job from a negative experience to a positive, productive one.

ADM: I know you're still working on final assembly of the project into book form, but was there any specific moment or image where the project really took shape or snapped into place for you?

BM: Not really a moment for when it took shape but I can sense that it’s done and I don’t necessarily need to take more photos. Intuition is what’s guided me through the whole process.

ADM: What images do you feel are integral to understanding both the job, and the people you work with, and why?

BM: That’s a great question. I’ve actually never thought about it till now. There’s a black and white photo of my co worker Laurencio (we call him LOLO) sitting at a computer with Forbes five star five diamond awards hanging above his head. I remember he was using that computer to search for a used car for his daughter. I feel like this frame does a good job of superimposing luxury and migrant workers.

ADM: Is there a thought process or criteria when you are/were documenting your job and coworkers, and making images - you talk about intuition, can you expound on that?

BM: I try my best to not shoot photos when there’s a bad vibe in the air. Usually because of some kind of conflict between the servers. They fight over tips and orders which can be hilarious but sometimes I really have to pull back cause they’re genuinely upset. I’ve noticed that I tend to bring out the camera when everyone is in a good mood. I do make some exceptions though.

ADM: is there a particular image or example, or even a story of when you took your camera out, or documented a time when not everyone was in a good mood?

BM: Yeah I've definitely misread situations and made people angry. Especially when using flash. I remember this one time I made my co-worker angry about something and days later in a staff meeting he brought up how I take pictures of them constantly and how I don't ask for permission and how it's rude. He was sour about something work related. I nearly got fired over it but was able to talk my way out of it. I told my boss that I always keep my camera on me and that most of the guys ask for their portraits. Which is true. But I could've been in big trouble.

ADM: In terms of influence, of influences, photographic or otherwise that shaped the project - if so, what and how did it/they play in?

BM: There’s this artist Ramiro Gomez who makes cardboard cut outs of immigrant workers and places them in front of houses in Beverly Hills. His work has been a huge inspiration for me. The idea of making the immigrant worker look like a hero is what attracts me to his work. I hope to convey that in this project somehow. Both of my parents immigrated here from Mexico and I feel like that has something to do with my obsession with telling that narrative through my work.

ADM: Looking a bit forward, how do you think, or now that the main body of work is done, how have you seen, your approach to photography, and life as well (you mention a different outlook on life earlier) has changed?

BM: Photography remains a mysterious process for me. I’d like to think I’ve gotten better at it but the truth is I just shoot randomly and hope a good one comes out. Knowing that the main body of work is done, I feel anxious to start a new project. But I’m definitely overthinking it. I haven’t even bound this book yet! I will say this, I feel much more connected to my co-workers. It’s fun to pull up old photos from 3 years ago and show them how much weight they’ve gained.

ADM: What advice would you give to someone else documenting their non-photographic worksite or a job?

BM: Start with a bit of show and tell. Bring your fancy camera and show it off to your co-workers. See how they react. I'm willing to bet that things will happen naturally and they'll be asking you to take their photos. Do this for a few days then you're known as the "photo" guy at work. For me, It's gotten to the point that when something funny or unusual is happening my co workers run to my office and say "hurry hurry bring the camera!" Over communicate that you have a passion for shooting photos and be respectful about it.

ADM: From Erwin Recinos: What is the most important aspect of photography that you have applied to your daily life?

BM: Anyone who has gone out into this world alone with a camera in their hands knows that there's this intimate presence of mind that happens. It can put you in a flow state and you become present in that very moment. You notice things you never noticed in your neighborhood before, you hear things you've never heard. It not only calms the mind, but it makes you feel more connected to the world around you. I try to carry this with me into other aspects of my life. This is by far the best thing about photography.

ADM: What question do you have for the next photographer? You can answer it yourself if you'd like.

BM: Why is Photography so easy but yet so hard?

ADM: Where can we find and purchase more of your work? Do you have an estimate on when your book will be available?

BM: If all goes well, I'm looking to release the book early next year. Feel free to hit me up on IG my handle is @bra_sann.

ADM: Any parting words or advice?

BM: I love to connect with people who are passionate about photography so please do reach out and say hi. My advice to any photographer is to never ever compare yourself to others. You should never wrap up your self worth in something as vain as likes on a Instagram post. Everyone's on their own path so don't judge yourself too hard. Realize that your work may never be seen or appreciated for many years to come. It may be that your work is never discovered at all so love the process over the results.

Hi, if you’ve read this far, thanks for reading! We hope you’ve enjoyed the article. Normally this is the part where we stump for donations, but we’d like to contribute to the ongoing protests and would urge you to donate via this link-tree instead (this whole block is a link).

Thanks - The Management.

David Gilbert Wright in conversation with Will Hopkins

June 07, 2020 in interview

David Gilbert Wright in conversation with Will Hopkins

I was first introduced to David Gilbert Wright’s work by Simon Tasker (@simonltasker), I believe. I quickly became enchanted by his portraits of life in the United Kingdom, and his Brick Lane series felt timely for the news of the day. Not only did he make technically good exposures, each of his photos captured some intangible humanity, and the projects come together to form a whole greater than the sum of their parts.

This is the first time David is sharing some of this work. Much like Simon Tasker’s newly-shared early work and the unprinted works of Garry Winogrand and Vivian Maier, there is something exciting about old photos that are also new. Of course, he is continuing to produce new work, and being able to view his early photos alongside contemporary projects adds even more dimension to the body as a whole.

I hope you enjoy David’s photos and storytelling as much as I have, and learn something new from a veteran documentarian.

-Will Hopkins

Will Hopkins (WH): Could you please introduce yourself?

David Gilbert Wright (DGW): I am David Gilbert Wright. I am English and I have been a documentary photographer for over 40 years. I first became interested in photography while I was doing a Foundation Course at Art College. Initially, I wanted to go on and study painting but found that photography was a quicker way of realising my ideas and also a more effective medium in achieving them. So, I went on to study Photography at the prestigious London College of Printing.

WH: What was it like studying Photography at the London College of Printing in the 1970s?

DGW: It was a turbulent time in both the Art world and also in Britain itself. Punk was just beginning and it was really something that had been happening in the Art colleges of England before it hit the mainstream. I was caught up and carried along with it and it was very exciting. We were all searching for ways to be different and break the rules. I realised that, in order to break the rules you had to know them and also be technically very proficient.

I learned about shooting and processing film, which stood me in good stead for the whole of my career. I shoot only film and process and print everything in order to retain control over the final result. Although I post my work on social media platforms and on my website, it is meant to be viewed as prints. Only then do you get the full experience of the the grain texture and size of the result. I don’t consider [myself] a Luddite, more a person deeply involved in achieving the best possible result through my craft.

WH: What equipment do you use?

DGW: Over the years, I have used different cameras depending on the work I was doing. For documentary work, I have generally used 35mm cameras. I used a Pentax KX for many years. Recently, I bought an old, second-hand 1970s Nikon F2. It is a beautiful camera yielding amazing results. During my landscape period I used a Pentax 6x7, and I use that for more formal documentary portraiture as well. I have a darkroom in my home, and like to work alone at my own speed. I have a De-Vere 504 diffuser enlarger. My film preference is Kodak T-Max 400 and Ilford FP4, both processed using standard stock developer and times.

WH: Explain your way of working in the darkroom?

DGW: Making prints is a long, involved process for me because a negative rarely captures everything with the correct tonal values. It stands to reason, the tonal range possible on film is only a hundredth of what it may be in the scene being viewed. So I have to make judgements at the printing stage about what aspects of the image will need work. It is much easier now on a computer but the actual act of manipulating your hands to mask or burn areas of an image and knowing the times involved are what makes the process so enjoyable but also stressful, I might add.

WH: When did you go to Wales to photograph the miners?

DGW: I went to photograph the Welsh miners in 1977. I spent about a week travelling around different mines and villages. I did not shoot much film, preferring to try to see what was happening in front of me and carefully, almost forensically, probe until the right moment arose. At that time, I was not really aware of the need to develop a relationship with the subjects in the way that the great John Collier (Visual Anthropologist) did. Now, I am much more aware of the benefits of inspiring confidence in the people you want to photograph so that they feel at ease and almost forget you are there. It does not reduce the subjectivity of documentary photographs but does allow life to unfold in front of you more readily.

The 1970s had seen a number of strikes by the miners and with the advent of a Conservative Government and Margaret Thatcher, their future looked precarious. Obviously, I was not to know that the miners strike of 1984-5 would become one of the bitterest disputes with the Government, whose aim was to break the power of the unions. However, I could sense something in their faces and that was what I tried to record in my photographs. Looking back on that series, I can see the importance of the photographs as not only historical documents but also as the generation that eventually had to face pit closures, redundancies, mass unemployment and mental health problems. The series only contains around 11 pictures but I believe it contains some of my finest documentary photographs. The other puzzling thing about the series is that it remained unprinted for over 40 years, along with the Brick Lane photographs

WH: When did you take the Brick Lane series?

DGW: It was 1978 and racial tension was rising in Britain. Groups such as the National Front were beginning to express nationalist views, and people were becoming uncomfortable with their message. However, high unemployment, strikes and the formation of ghettoes in the major cities like London, Bradford, Manchester and Leeds provided breeding grounds for racism. I was not aware at the time how important my photographs would become as historical records of the way local people were being subjected to hatred campaigns as they attempted to go about their work. Looking back, I can see now how I captured the signs of stress, poverty and courage of the people living in what was the semi-industrial area of the East-End. I spent a couple of weeks photographing in the area. Later, in 1980, I had to commute on a motorbike through a part of South London. The hatred had spread to that area and this time it manifested as violence and destruction with shops and cars being set on fire at night, windows smashed and gangs at each others’ throats. A scary time for many. If only, we had all seen the signs and acted more quickly in the late 1970s.

PC: David Gilbert Wright (Disappearing Ireland)

WH: You went on to do a series of photographs in Ireland. What was that about?

DGW: The family had their roots in a small hamlet called Knockgarra, Co.Galway. They were a rural people like many in the area. I began the project in the 1980s with the idea of documenting the farming communities of Western Ireland to show my children something about their heritage. Quickly, it became clear that things were changing and ways of life were disappearing. So I continued the project for many years. It spanned two decades and is made up of around 45 photographs that explore the themes of family, religion, childhood, farming, commerce, culture and age. I started to work on building relationships with the people who I was photographing by getting their stories. Usually this happened prior to them agreeing to let me take their picture and through the conversations we had as I photographed them. The series is organised into a narrative story and became my response to how external finance and influence had impacted on a way of life.

WH: Do you work as a photographer now?

DGW: My career has involved me working in a number of photographic roles including a film processor, a studio assistant, a wedding photographer, a medical photographer and free-lance. I also spent many years as a Photography Lecturer. I no longer do commissions or lecturing, working solely on my own projects.

My experience as an Art School student and then as a photography lecturer was to learn and teach photography was best done through projects. Even training to be a photojournalist, as assignments are projects of a kind. Finding a subject and then spending time exploring it photographically and getting to know the people and their stories yields much more interesting results than simply taking pictures of anything and everything. People just setting out as photographers might consider this as it is how many of the great photographers of the past have worked.

PC: David Gilbert Wright (Modern Tribes of England)

WH: With that in mind, what photographers have influenced you most?

DGW: Jaques Henri L’Artigue for his ability to capture everyday life. Cartier Bresson for his "decisive moment" approach, Bill Brandt for the beauty of his prints, Don McCullin for his representation of the Industrial North and Homer Sykes for his ability to find the quirkiness in our English folk festivals.

WH: What are you working on now?

DGW: I am engaged in two projects - Modern Tribes of England and Survivors. The Modern Tribes project is a large undertaking and will probably take many years to complete. It is based on the idea that people naturally join groups and membership of them can improve their sense of wellbeing. There has been a lot of research around this especially in New Zealand. Having a social network to support you and fall back on during difficult times leads to a greater feeling of well-being. It stands to reason. Human beings are social animals and form communities. The groups I have been documenting over the past two years include Morris, Re-Enactors, Pagans, Railway Enthusiasts, Urban Agriculturalists and Climate-Change Activists. Prior to the Pandemic, I was about to begin photographing Goths. My approach is an anthropological one involving getting to know the group members and gaining their trust so they almost forget I am there photographing them. An interesting thing about doing this is that many of the groups have got so used to me being around that they have asked whether I am actually going to join and become a Morris dancer or a Climate-Change Activist. However, my job is to document the groups not to join them.

The other project - Survivors is about people who have experienced serious trauma in their lives and have got through it and grown in wisdom and resilience. It is about the triumph of the human spirit over adversity. The idea has its origins in my own experience. I am a survivor of a stroke and a heart operation. Photography has become my saving grace and enabled me to grow stronger. So, I set out to find people with interesting stories that they wanted to share. I record and transcribe their stories word-for-word. We then work collaboratively to design a portrait. My expectation is that once I have about twenty stories and portraits I will exhibit the work and publish them in a book. The project includes stories such as a medic who served in the Vietnam war, a man pulled under a train and had an outer body experience, a woman whose Aunt, Mum, Dad and husband all died within two years and a young refugee from the war in Yugoslavia. This project has brought me into contact with some incredible individuals. Ordinary people with extraordinary lives.

WH: Do you currently teach?

DGW: No, I don’t teach at the moment as I am working on my own work that consumes all my time.

WH: Have you tried Morris dancing?

DGW: No, I have never tried Morris dancing but been tempted. Maybe one day.

WH: Where do you hope photography as a field will go in the future? Professional photography today looks very different from even just a decade ago. How do you think it might change going forward?

DGW: Professional photography now and in the future seems to have very little room for 'thinking photographers'. News is dominated by moving pictures. Journalists seem to take their own photos. The only places that appear open are social photography, e.g. weddings, school portraits, fashion and advertising. In effect, the commercial aspects that pay for high quality results.

Going forward, photography of my kind will become commodities into high value prints that collectors buy. Alternatively, it will be a space occupied by serious photographers who are not in it for the money. They want to tell stories and express themselves artistically.

WH: From J. Han: If you practice black and white film photography and use a darkroom to print photos, which photographer's (alive or dead) darkroom would you like to have access to and be able to watch work in their workspace?

DGW: The photographer I would most like to meet and work with in his darkroom would undoubtably be Ansel Adams. He is the master of analogue photography. His approach to printing is inspiring. He likened the printing of a negative to conducting an orchestra. The negative is like the musical score. The musical score can be performed in many different ways depending on how the conductor interprets it. Likewise, a negative can be printed in many ways depending on what the printer wishes to accentuate. So for me, the printing stage can be a highly creative experience and to be in Ansel Adams’ darkroom using his equipment and even being guided by him would be exhilarating.

WH: What question do you have for the next photographer? You can answer it yourself if you’d like.

DGW: If you could travel back in time, which photographer from history would you most like to interview for this magazine, and why?

ED: To find more of David's work, you can visit his website Davidwright.photography or on instagram at @davidgilbertwright

Hi, if you’ve read this far, thank you. Normally this is where we’d stump for money but, in light of the ongoing protests, we’d like to encourage you to donate to a cause supporting them instead. This whole block is a link to a link tree of resources.

Thanks,

The Management.

Los Ojos De Muerte: Erwin Recinos

May 31, 2020 in interview

Los Ojos De Muerte: Erwin Recinos

Andrew D. McClees (ADM): For those not familiar with you or your work, could you introduce yourself and give a quick overview of your work?

Erwin Recinos (ER): My name is Erwin Recinos and I’m a photographer from the city of Los Angeles. For the last ten years my film photography work has revolved around my perspective of the city I live in. I also work with the website LATACO.com and that has also played a big role in my photography work. The film work I produce is a photo album of my life as a son, a father and photographer.

ADM: You've (as of starting this interview) just released "Exposed" which is a compilation of photos shot on Medium format film. What was the impetus to put together and release the zine?

ER: Actually this zine was produced back in 2018. With the Rona & quarantine it’s given me some time to promote my work. The thinking behind making this zine was opportunity to produce a zine for free. I was approached by some folks at Pow!Wow! Mural festival & PaperCutLounge to be apart of a zine release party for the week long event. I was given specs for printed zine and I produced my layouts. Looking at my catalog of photos I had there were produced that year with a Mamiya C330. I show you snippets of life that I capture in and around this vast metropolitan.

ADM: Oh, rad, I've noticed you have a really impressive, and high output of zines - or at least I swear in the last week or two you've promoted a couple other ones in addition to these two. You mention a bit later that you have different goals for different zines, but is there a connecting thread?

ER: The variety of work is the goal. To not have the work feel boxed in or stagnant with a genre or style. The work has to progress and move and grow as I will. My interest and goals are very different from when I started 20 years ago to 3 years ago.

ADM: You're also about to put out a collaborative zine with SER@LA? What's the zine about, and how did you decide to collaborate?

ER: Seratla and I have been collaborating for a number of years now. It was just a matter of time to put it in print form. The photos from this zine are dated back from his beginnings in 2012-2013. Seratla was paste & sticker campaign with a great logo and theme. I was privi to document his mural painting process. All photos were captured with a digital camera. Color was the only option for displaying and capturing his work. That was key through out the process. I would also create videos for some of the mural I documented.

ADM: Oh that's really interesting - did you learn anything new while making a zine for that campaign - also did you find the video-making process influenced the photos you took?

ER: That zine was a learning tool for a lot of projects that proceeded after it. It made me focus and work thru the process and not just rush thru another project. Learning more with printing and shooting and editing video. This in no way narrow my scope but enhance my awareness of slowing down the process and seeing everything thru the end.

ADM: From the base description both zines seem very different - Exposed being all black and white, where the collaborative zine is all color - that's a fairly big stretch in working styles - did you plan to put out two separate zines from the outset?

ER: Of course. Zines have a life of their own. They can be themed zines with volumes of printed editions. Zines can also be short lived bangers with the right paper and content. The work for both zines i made had time to breath from when they were first captured. As a creative you know when the work you are curating is ready to be presented.

Here is an example of my last two zines I produced last year. Both were the same in color but totally different content. One was about graffiti and the other about wrestling. The decision of the color and execution were already decided. Riso printed was the way to go. I talked with Cynthia Navarro of Tiny Splendor in Echo Park, Ca. She gave tips and helped make suggestions on the final printed zines.

ADM: Riso is really awesome stuff - and the previews of that wrestling zine look really great on your website - how did you get into that project - and more generally how do you find your journalism work with LATACO and otherwise contributes to your photography or informs it?

ER: The zine is titled One year of Bar Wrestling and it was my perspective of this niche wrestling scene that popped up in Baldwin Park, California just 16 miles east of downtown LA. A friend of mine, Dennis bought me a ticket to check it out. That started late 2017 and is still going. Attended a show just before the quarantine in March. As everything is theses days it hit social media and nuked the fridge with a spot on Macaulay Culkin when he appeared on Ellen. Great move for them. I'm just glad I was there when I could see it happen or at least take fruit.

All photos were taken with various point n' shoots. Hard to hold an SLR or DSLR with a beer in hand and craziness going around. It made the experiencing of capturing it more fun with a up close and personal feel in the photos.

In 2010 I started with LATACO as an event photographer and documenting my perspective of Los Angeles. From art shows, graffiti, pop-up events and various music concerts. The scene in front of my camera always transitioned that it helped me grow as a photographer. In the last two years LATACO has taken on a role of trusted local grass roots news organization. The eye of documentarian is now the next evolution and it is shifting my work. Another style that is evolving and it’s great to see.

*Here is my author’s page on the website if you'd like to see the work I've done in the last 10 years.

https://www.lataco.com/author/erwin/

ADM: You're a dyed in the wool Angeleno - what do you look for when you're out in the city shooting, if you wouldn't mind extrapolating?

ER: If on assignment for the TACO I have time, place and photo goals that need to be executed. Also, my interest of local sports, art and events with family will take me anywhere in the city. A camera is always with me so my everyday life living in this city is what I believe I'm really capturing.

ADM: In terms of getting out into a city or a culture - like you do with Los Angeles, or working with LA TACO, or getting into Bar Wrestling - what advice would you give to someone looking to capture that or something like that - both as a personal project and a professional one?

ER: Access, work ethic and luck are really the foundations I use when working on personal & professional projects. Knowing the right people and networking to me is still a thing which gives me access to create personal projects or events to get that professional gig. I believe I've put in the work and met enough of the right people to keep growing as a photographer and a person.

ADM: From Adrian Otero Vila: If you could go back in time and stand next to a photographer when they were making an image, which one would it be?

ER: There are three photographers I'd like to do this with: Mike Miller and his famed photo of Tupac Shakur. Jonathan Mannion and his photo of Notorious BIG when he released his first album. Estevan Oriol and his photo of Dennis Hopper.

ADM: What's one question you have for the next photographer? You can answer it yourself if you'd like.

ER: What is the most important aspect of photography that you have applied to your daily life?

ADM: Where can we find your work and purchase your zines? Any other parting words?

ER: My printed zine work is available via losojos.bigcartel.com. Support people who support you. Your local zine community will thank you.

Hi, If you’ve read this far, thanks for reading the interview. This is usually the part where we stump for donations to keep the website up. This week - in light of the riots, we’d like to encourage you to donate to a cause related to helping out. This whole text block is a link to a better link tree.

Thanks,

The Management.

Fort Worth Stock Show and Rodeo: Dustin Davis

May 24, 2020 in interview

Fort Worth Stock Show and Rodeo: Dustin Davis

Andrew D. McClees (ADM): For those who aren't familiar with you, could you please introduce yourself and give us an overview of your work?

Dustin Davis (DD): My name is Dustin Davis, based out of Fort Worth, Texas. I’ve been hobby shooting for about 10 years. As of the last year, year and a half (after moving to Texas), I’m attempting to make a more serious effort into creating work that matters to me. When I made the move to Texas, my inspiration came from the feeling of insignificance in a place that was much larger than I’m used to.

ADM: What was the impetus to document the Rodeo and Stock Show?

DD: I have always had an an interest in subcultures, as a whole. Growing up, my family and I were big into the BMX racing scene. We lived and breathed it. Interestingly enough, the stock show reminded me a lot of our time racing BMX.

Moving here, I knew what a rodeo was. I didn’t know what exactly the stock show portion of the event was though. Many people suggested to go to the Fort Worth Stock Show & Rodeo. It was a culture shock for me, to say the least. I think that’s what caused my desire to document it. I’m an outsider, taking in all sights, sounds and smells.

ADM: That's really interesting - did you ever shoot/or document the BMX racing scene when you were in it? also, as someone who's not super familiar with BMX or Rodoes - can you flesh out the similarities for me? Also, if you did document or photograph the BMX races, did you find your approach changing much if at all either due to time and experience, and subject matter when you started to work on the rodeo?

DD: I raced BMX when I was about 12-15(ish), and at that age I had no interest in photography. I was too obsessed with my bicycles. There wasn’t a lot of direct similarities between the two, but the main one was how much of a family event it is. There’s an overall feeling of friendly competition too. And the actual showing of the animal, reminds me of the race itself (just a little slower paced ha). Mind you, this is more of the stock show portion of the event, not so much the rodeo.

ADM: So far the images from the Rodeo that I've seen have all been in black and white. Why black and white over color, and will you continue the project in only black and white?

DD: I debated color vs black and white or even mixing the two before continuing this year. I had started it using black and white and wasn’t sure if including color would help or hurt the project. There is not a lot of color at the events (except the Escaramuza event), so I’m not sure the viewer would be missing out on much. Alternatively, there’s something about black and white that fits this subject matter.

ADM: That's tracks, the photos you have look really great, and it's really cohesive - that said, do you think you'd go back and do a separate section in color on the Escaramuza section?

DD: Thank you! I could see doing that. But I feel I would separate that work from the Stock Show work itself. It would be really great to get some more behind the scenes if I went that direction. Definitely portraits, since all of their dresses are so bright and detailed. I think accessibility would be more challenging for the Escaramuza work though.

ADM: Following that, most of the photos I've seen of the project so far have been fairly topographic or street leaning, and you mention an interest in doing portraits of the people involved - do you have a feeling of how you'd like to do those portraits, or what form you'd like them to take, in context with the rest of the photos you've shot so far?

DD: The portraits would ideally spur of the moment requests of people at the stock show. I’d have to get over the whole fear of approaching a random stranger first. But I just don’t want to overthink it. Some of Louis Carlos Bernal’s portraits resonate with me (his Barrio work is on my ‘to buy’ list) in regards to context of current photos.

ADM: What do you think the eventual scope of the project will be, and what form do you think it will take, and why? Also will you document other rodeos/stock shows, or is the project strictly focused on the DFW Stock Show/Rodeo?

DD: I know people may have negative feelings about stock shows. My documenting is not about being for or against the showing and selling of animals - I just want to share my experience. At some point, I would like to make a zine or small book of the work. I really don’t know when that will be though. I feel this will be a long term project so that will play into any final piece. I do plan on documenting as many as possible. There is really only two that are near me, so I need to be realistic on how much time I am able to invest into actually going to the stock shows. I would like to including portraits of people involved in the stock shows as well.

ADM: Just for context, for me, a yankee - Are the stock shows a regular event, and sometimes separate from the rodeo? I know Houston's rodeo is annual, but I'm not terribly familiar with the practice, beyond that.

DD: The Fort Worth Stock Show & Rodeo is every year in January. There’s one a little north of me that happens in August (I think). I’m guessing most of the other major cities in Texas have one every year. From what I gather, the these big events include the stock show and rodeo. The rodeos are the big event at night, while the stock show happens during the day. There are probably smaller stock shows scattered around that don’t have a rodeo event.

ADM: What were some of the main influences on you for this project, photographic or otherwise?

DD: Tough one here. I think the main influence for this would be just the fact that this culture is so foreign to me and I’m fascinated by what’s all involved.

ADM: I'd love to see the zine or book when it's out - what format do you think it'll take, or what do you think the big sections of the book will look like?

DD: You’ll be the first to know about a zine or book! I’ve never created a book (or really put focus into a project like this), so culling and editing the images to flow well will be new for me. At this stage, I’m seeing the images as more of vignettes of the stock show culture and that’s what it could end up staying.

ADM: For someone in the middle of relocating - either to a completely new environment, or a quasi-familiar one, what advice would you have for documenting that (or an unfamiliar event like you have), and adapting to it?

DD: Embrace the experience. For me, the new environment opened me up to enjoying film again, creating work that I enjoy and work that is for me. Without relocating to Texas, i wouldn’t have been able to start this stock show project. I didn’t expect for other people to be all that interested in the topic, so I am excited to document it, for myself.

ADM: From Adrian Otero Vila: If you could go back in time and stand next to a photographer when they were making an image, which one would it be?

DD: Pulling out the tough questions, Adrian! I’m going to say three photographers. First, Matt Eich’s zebra image from Carry Me Ohio, Edward S. Curtis’ Canyon De Chelly, or Gordon Parks’ Negro Woman in her Bedroom.

ADM: What's one question you have for the next photographer? you can answer it yourself if you'd like?

DD: What’s something you’ve learned in the past year?

As I mentioned above, create work for yourself. When you enjoy making the work for you, it will show through in the work itself. We all want to find our audience, but that will come naturally.

Someone recently shared this quote from Alec Soth‘s Magnum course: ‘We all kind of know pictures that other people like , that our friends like, that would get us likes on Instagram... but what you need to do is make work that doesn’t succeed, that takes you to a new place and eventually that’ll find its audience.

ADM: Where can we see more of your work?

DD: Right now, Instagram @_digitaldust. I’m currently working on culling work and updating my website at http://www.dustindavisphoto.com

"You, A Great River That Never Runs Dry" or "The Stranger" : J. Han

May 17, 2020 in interview

"You, A Great River That Never Runs Dry" or "The Stranger" : J. Han (@all_gods_creatures_have_knives)

Andrew D. McClees (ADM): For those who aren't familiar with you or your work, could you please introduce yourself? and give a brief overview of your work?

James Han (JH): My name is James Han and I live and work in Portland, Oregon. I started making color film photos in 2016 and in 2017 I attended a black and white darkroom class at the now defunct Newspace in Portland, Oregon. Since then I have been hooked. I love making black and white portraits of people, mostly strangers, where ever I go.

ADM: You just put out "You, A Great River That Never Runs Dry" or "The Stranger" which is a set of 5x7 darkroom prints that you've assembled into a book. What inspired you to make a book of your printed work? Is there a central thread that connects the photos contained in it?It seems as though books are the ideal medium for showing photographic bodies of work, rather than a website or Instagram. I enjoy the tactile experience of flipping through a book of photographs rather than scrolling through a website. Though scrolling through Blake Andrews' Tumblr account from beginning to end in one sitting did something to my brain. The central thread that connects the photos in this book is that every person (except one) was a stranger the first time I approached them.

ADM: What challenges did you have assembling your work, and printing it? Did the darkroom process inspire or shape the book heavily?

JH: Assembling the book requires a lot of time and effort; the time and effort it takes to print each page in the darkroom, editing the images and hand binding them together. It is a labor of love. Yes, the darkroom process inspired and shaped the book heavily. The darkroom process allows me to build the book from beginning to end. I do not need to pay a printer to print the books or have to live with a quality of print that leaves me less than satisfied. Some research was done and the quality of printing I was looking for was cost prohibitive or a large quantity of books would need to be ordered to bring the cost per book down. The end result of the darkroom print also shaped this book; once the printing was complete there was an additional edit and 5 photos were cut because the print quality did not match the others. I also enjoy the feeling of holding and flipping through a stack of 5x7 prints more so than copy print paper. The darkroom prints are heavy and thick and it feels like the photos and book have weight and substance.

ADM: The book seems to be made primarily, or entirely of portraits that are fairly intimate - what was your process like for getting your subjects to pose for you, and was there anything specific you had in mind while making the portraits?

JH: The intent at the beginning was an exercise in moving into the fear of people that was imprinted at such an early age. Each time there was movement into the fear and existence within it rather than remaining outside of it, the less power it held over me. It has been a very enjoyable and challenging process; one that has forced me outside of my tiny perception of the world and into a slightly larger one. At the beginning of the process I would approach just about everyone whereas now I am a little more selective as far as who I will approach. There are some triggers, but now there seems to be some energetic attraction that draws me to some folks. Some people are leery of me and the camera but once we get to talking most people will open up and allow me into their space to make a portrait of them. I've been called names and some people have yelled at me as if I had committed some great crime or insult. To this day, I am continually amazed at the fact that people will readily say 'yes' to having their portraits made by a complete stranger. There was nothing specific I had, or have, in mind while making the portraits, I would shoot without much thought or without some goal in mind.

ADM: Did you find or have any particularly big or moving experiences or conversations while finding and working with strangers? If so would you mind sharing?

JH: No, nothing comes to mind. Though one time this person thought I snapped a photo of him and he started yelling at me to delete the photo. I yelled back to him and told him I had not taken a photo of him. He started coming at me from across the street still yelling. Instinctively, I started towards him and in my mind I wondered why am I doing this and what is going to happen next. He then jumped up and bumped his chest against mine. Afterwards, and without thought, my left hand drops down to my side and the next thing I know I’ve got his leg in my hand and he’s hopping on his left leg. I then start to move him so that he is hopping backwards and soon he fell to the ground. I told him I was done. He jumped up and pulled out three or four knives and he threw each one to the ground, one by one and said “let’s fight for fun, no knives.” I responded “no” and walked away. Later on that day my buddy and I circled back around into that part of downtown and I heard “hey come here”. It’s the same guy and I could hear that there was no anger or malice in his tone so I went over and he thanked me. I asked him for what reason. He told me because I had held back and that I could have beaten him up and hurt him. Ever since then we have been friendly towards one another whenever we see each other.

ADM: The book, and by extension, the rest of your feed is in black and white, have you always worked in BNW, and if so is there a reason that you gravitated to BNW? if so how did you get there?

JH: No. When I started shooting photos in 2016 I did not appreciate the beauty of black and white photography and started with color film. In 2017 I attended a black and white darkroom class at the now defunct Newspace in Portland, OR and have been shooting black and white since then. I love the fact that I can roll my own film, expose the film, process the film in the kitchen and make black and white photographs in a darkroom.

ADM: In terms of influence, you mention Blake Andrews - but was there anything or anyone else that you found influential at the time - either as an active or passive influence. You also speak about people being attracted - bruce gilden actually talks about a similar phenomena - can you expound on your experience with that?

JH: Lee Friedlander, Garry Winogrand, Diane Arbus, Rosalind Fox Solomon, Mary Ellen Mark, Henri Cartier-Bresson (I spent so many hours looking at his portraits), Eugene Richards, Duane Michals and the list goes on. It seems to be a completely instinctual and an unconscious process. It is also a process of letting go of any preconceived ideas and wants and letting it all just happen. Then effort seems to disappears and there is just this doing and the doing leads to meeting people without consciously looking for something or someone specific.

ADM: What advice would you give to, or do you have for someone who might be new to street portraits, or approaching strangers, and attempting to make a portrait of them?

JH: Keep your heart as open as possible.

ADM: From Chris San Nicolas: What non-photographic thing do you find most enriches your photography/life?

JH: Commuting to and from work by foot and mass transit.

ADM: What's one question you have for the next photographer? you can answer your own question if you'd like.

JH: If you practice black and white film photography and use a darkroom to print photos, which photographer's (alive or dead) darkroom would you like to have access to and be able to watch work in their workspace?

ADM: Where can people find more of your work, and purchase either prints or copies of your book from you?

JH: Instagram. Please DM me if there is any interest in purchasing a print or a book.

Becoming an American: Adrian Otero Vila (AOWS)

May 10, 2020 in interview

Becoming an American: Adrian Otero Vila (AOWS)

Andrew D. McClees (ADM): For those who aren't familiar with you, or your photographic work could you please introduce yourself, and give a quick overview of your work?

Adrian Otero Vila (AOV): I'm Adrian, a Spanish-American full-time photographer. I create black and white images of scenes that leave me in awe, with this work I try to pass along that same emotion to whoever is looking.

ADM: In your preliminary description you state that "Becoming an American" is, in broad strokes about your personal experience picking up and moving to America from Europe - What did you find was your experience moving to america, and how do you find that that experience was documented or captured in your photographs?

AOV: America is so present in our culture that I think most people (from other countries) have some preconceptions about it before even setting foot here. That included me when I moved to the US a few years ago. I had an idea of what I was going to find, and for a little bit, it was pretty accurate. It wasn't until I moved to Oregon that I discovered "the West". There, and away from everything and everyone I knew, I found freedom and peace. Those vast and remote landscapes gave me a sense of loneliness I never knew I needed. The rainforest of Washington, the coast of Oregon, the magnificence of the Rockies in Montana, the deserts of the SW... they were so incredible that I couldn't help it but to capture what I was seeing. At this early stage in my photography, I had no idea what to do with those images besides sharing them with family and friends, and later on Instagram. I felt I had to do it, though, and that created the spark that made me quit my job and become a full-time photographer. Those images are now part of my new book, "Becoming an American", and together, they tell my story, what I saw and the places and experiences that made me who I am today (for better or for worse).

ADM: Per your description, this book is a private photodiary, not initially meant for public consumption - what was the impetus to release the book to the public?

AOV: Over the years, I realized that the most rewarding aspect of sharing my photography is that many people find it inspiring, and it helps them in their own creative journey.

With "Becoming an American", I wanted to share what's behind my photography, a window to a period of my life that changed so much. Hopefully, it will inspire others not only to share their journey, but to embark themselves in a similar adventure.

ADM: Following that up, what was the assembly of the book like for you? Was there a specific "click" moment when the book came together for you while selecting images for it? or did you know from the outset the book would take a specific sequence or form (even if it may not initially have been aimed at the public)?

AOV: I started working on an initial draft of the book almost 4 years ago, from a selection of around 100 photographs. I laid the book out and actually printed out that first version. I kept looking at it and reorganizing the images for weeks, but I ended up putting the project aside.

I kept taking photographs, and when I felt like one might work for this project, I'd add it to the original selection. I ended up with several hundred photographs. It wasn't until last year when I decided to go through them and came up with a collection of 88 images that finally felt *complete*. Now, I had all the pieces I was missing before.

ADM: When going through the book, you periodically intersperse written narrative or recountings alongside the photos - what was your inspiration for including text, and at what point did you incorporate it? Was it always part of the plan for the book?

AOV: Definitely not. I decided to include them as I was putting the book together. There are almost a hundred images in the book, so I thought that a few breaks in between would be good for the reader / viewer, plus it'd help giving some context to the images.

ADM: Your standard (the majority of what I've seen on your IG) photo aesthetic leans very minimal. Did you find it difficult to work on this, or shoot like this alongside the more minimal work that you're known for?

AOV: Quite the opposite! The snapshots I take help me stay inspired during my photography trips, as I'm always looking for something to capture. I also make videos of my outings, which is much more demanding than these snapshots. I still find them useful for the same reason: to keep my creativity flowing.

ADM: You talk about maintaining a creative flow between your two bodies of work - following that - did you find yourself applying what you learned in this Diary project to your more public work, as you shot it. If so, how, and if not why not?

AOV: I used to be focused on a specific destination: I’d drive or hike somewhere, take a few photos, and head back. Now, I don’t dismiss any location beforehand, I find myself being more aware and paying more attention to everything.

ADM: In your trip around the country, was there a specific turning point for you - and was there a photo accompanying that? I know you note your move to Portland as being a huge step, or the ending point for the trip - but was there any other major turning point prior to the conclusion to the trip?

AOV: The trip to Portland was the beginning of my journey. There was no major turning point per se. In hindsight, I'd say it was on a weekend trip to Utah (and back to Portland) when I realized how beautiful this world is and how much I wanted to capture it. Even though I wasn't fully aware of it at the time.

ADM: What was the inspiration, from the outset, to document your trip alongside the main body of work you produced?

AOV: I take a lot of photos everyday, using whatever camera I might have with me. While my main body of work is my "artistic view of the world", those snapshots are a visual diary of sorts. If I make it to old age, those are the images I'll cherish the most.

ADM: What were your influences, photographic or otherwise on the book?

AOV: It's hard to know what or who influences your work, I didn't think of anyone or anything while working on this book. I can only assume, though, that books of a similar theme and style that I liked in the past influenced me in some way. My favorites are "The Americans", by Robert Frank, "American Prospects", by Joel Sternfeld and "Minutes to Midnight", by Trent Parke.

ADM: What advice would you give for someone making a big life change like you did? And, if they're considering taking on a big photographically driven trip, what other advice would you give alongside that.

AOV: Travel light. I was shooting film exclusively during a 2-month long road trip across the US and brought with me not only gear (2 Bronicas SQ-Ai, 5 lenses, 3 film backs and 100 rolls), but also the chemicals needed for developing and the scanner. I definitely regret doing that.

I brought only my small RX100 cameras on my last road trip, across Germany, Austria and Italy. When the gear gets out of the way, you can focus on what you’re capturing.

About life changes, it depends on someone's specific situation. I’m a big advocate of traveling, I believe that getting out of your environment for a while is a very helpful way to get to know yourself better. But going somewhere else won’t make your current problems go away, so be careful.

Over the last few years, I’ve made some decisions that weren’t necessarily the wisest or safest, but I knew if I didn't go for it, I’d regret it for the rest of my life. So I did.

ADM: By way of Charlie Thom, but directly relevant here - What're you working now, or what are you planning, what's the next project or trip?

AOV: Right now, I should have been photographing Iceland and the UK, but I’m stuck in Spain instead due to the virus situation. Besides those islands, I was planning on doing a lot of hiking in the US this summer and fall, plus shooting some winter scenes in the Midwest. We will see if that can still happen.

For now, I’m going through the thousands of photos from past trips, making some videos for my YouTube channel, working on a couple of zines and a new book.

ADM: What question do you have for the next photographer? you can answer it if you'd like.

AOV: If you could go back in time and stand next to a photographer when they were making an image, which one would it be? For me, that’d be either Koudelka’s image of the dog in the snow, or the photographs of bats and kangaroos from Trent Parke’s “Minutes to Midnight”.

ADM: Thanks for doing the interview! where can people find your work, and purchase copies of the book, as well as your print work?

AOV: Thank you, Andrew! This was fun. My website is the best way to look at my work, and also where the book and prints can be purchased: https://aows.co. I post every day on Instagram (https://instagram.com/aows) and try to upload a couple of videos a week to my YouTube channel (https://www.youtube.com/aowsphotos).

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Coast to Coast: Charlie Thom

May 03, 2020 in interview

Coast to Coast: Charlie Thom

Andrew D. McClees (ADM): For those who may not be familiar with your work, can you please introduce yourself, and give an overview or introduction to your work?

Charlie Thom (CT): I'm Charlie, a 20-year-old film photographer and university student from Sussex, UK. I have a love for old cameras and visiting new places. I like to think my style of shooting is just "photograph whatever comes to mind". I've never seen myself as having a style as such, but every photographer captures their scene in unique ways and I'm no exception. During my gap year in 2019, I tried and travel as many places as I can as cheaply as possible, and it's taken me on some really memorable adventures. I visited a few places, including Chernobyl where I produced the content for my previous zine, The Nuclear Option, and the USA and Canada, where I produced the content for Coast to Coast.

ADM: We're here talking about Coast to Coast today - what's the concept behind the zine, what was the impetus to put it into a book format?

CT: In August 2019 I travelled to North America for 3 weeks visiting 5 coastal cities, my first time alone in a foreign country with a big bag full of snacks, clothes and cameras to keep me company. While I was there, I knew I wanted to have a final product made out of the pictures I took there but wasn't quite sure what form it would take. I find that happens a lot with my zines and books. I go out, focus on the pictures and then worry about presentation and narrative when I get my pictures back. I feel that way, you tend to stress a lot less about all the little details and just enjoy exploring new places.

ADM: What was the image selection process like for Coast to Coast? Did the images create the book, or did you work backwards from your body of photos?

CT: I didn't realise just quite how many pictures I'd taken until I'd got back and stared at the 700+ frames in Lightroom after hours of processing and scanning. I figured it would be a big, big project to make a zine out of, so I was going to wait till the summer to start working on it - that's when the outbreak occurred, and I thought I should finish it now before it got shelved forever. I thinned these pictures down to just over 70 and it had enough pages to be a paperback book, so I went full steam ahead and designed a pdf for a 66 page photobook. My last project, The Nuclear Option, had a text-based narrative that I felt worked really well due to its historical nature and the short time span I took the pictures in. With this one though, there isn't really much to say - I felt if I captioned a whole book just with stories about myself, it wouldn't be about the pictures anymore. The sheer number of pictures also meant I could divide the book into chapters, one for each city I visited. I think this really breaks up the story nicely and gives it a nice narrative without the use of text.

ADM: What was the specific impetus for your trip to North America, what made you choose the destinations you chose; and how does your book tell or document the trip?

CT: There were a few reasons for choosing America as the destination for my travels: I think the sheer scale of everything is something that really drew me in. The massive sprawling cities and eccentric characters really fascinated me. I'd been to the USA a couple of times before with family, but never had a proper chance to explore on my own and go on a proper adventure. The fact that everyone speaks English too is also a huge help. I chose to visit New York, Los Angeles, San Francisco, Vancouver and Seattle because they're some of the continent's biggest most interesting coastal cities. If my budget had been a bit bigger, I would love to have visited New Orleans or Portland (while strictly that isn't a coastal city, I guess West Coast still counts), but I was cutting as many corners as I could and had to let them go. Coast to Coast tells the story through chapters. Each chapter is headed with a scan of a Polaroid with a significant landmark in each city, something I already really wanted to do just so I could put them in my print albums. When I got home, I'd realised those Polaroids would be great to break up the book into specific segments and give the project's narrative a bit more structure. I captured everything else that caught my eye on my 1951 Leica iiif on whatever film I could get my hands on - colour and b&w stocks of various brands, expired film, etc. My friend Italo very generously gave me a big bag of assorted film when I met up with him in New York (Thanks Italo!). I shot a lot of street but also landscapes too if my surroundings allowed it. I tried my best to tell stories with each picture, and I feel each chapter really has its own distinctive, unique flavour.

ADM: Following that up, were there any big moments that stood out to you, or "clicked" the book into place when you finally did sit down in front of your scanner?

CT: I learned a lot of things about the United States and its people/culture throughout the whole of this trip. It was very insightful, almost enlightening, to see how different everything is to how it's portrayed on television. To actually see America in person was truly something special, and the people I met along the way were probably the best part of the whole experience. I also learned a lot about myself, how I overcame problems like having my flight home cancelled while I was there, and having to spend 4 hours on a bus through Compton and arriving at LAX airport covered in bleeding bug bites, or missing my Greyhound bus and hitching a free ride on another bus because the driver was a super cool guy. There always seemed to be solutions to the challenges I faced, and I think I got some really good adventures out of some of them. When I got back from the States, I was going to move into my university halls 2 days after I landed, and I don't think I've ever processed and scanned that much film in such a small span of time in my entire life. I also learned how to create a proper scanning and editing workflow, with this amount of film it's near impossible to sort through all the pictures and pick out the best images unless you have a good workflow setup.

ADM: What did you learn, either about your trip, or your photography while editing the book?

ADM: In terms of influence - what would you say your biggest influences on the project were, photographic or otherwise?

CT: Inspiration came from a wide variety of people for this one! I drew influence from a few great zines I have such as Useful Idiocy by Jules Le Moal, Reason for Visit by Nicolas Hagen, Enter Barcelona by Nigel Allison/unevenedits and Zoeld by Illia Popovich, as well as a few others. I also drew inspiration from a few of the classic American photographers of the 20th century: Robert Frank, W. Eugene Smith etc. I also got a lot of advice and second opinions during the production of the book from close friends and fellow photographers, which I'm eternally grateful for!

ADM: I find it a really interesting choice that all of the images are titled, what prompted you to title all your images, and was it difficult to title them?

CT: I've always had a fascination with titles - while I made the choice not to write out all my stories and experiences and focus more on presenting the pictures themselves, I still wanted to give the viewer my own impression of the picture to give it a bit of a personal touch. Another reason I added a black stroke and title on the images was to make the book feel like a miniature gallery. I based most of the captions for the pictures off my Instagram posts, but I changed some of them if they didn't fit the frame well. Presentation to me is one of the biggest parts of producing a zine or book, and I wanted it to feel a bit fancier than my previous works. You'll notice there isn't a single double page spread. While there were pictures I really wanted to print nice and big, I felt it wouldn't be doing them justice if a large portion of the frame was lost to the fold.

ADM: For someone on the fence about making a big, multi stop trip, in a very unfamiliar place - as well as documenting it - what advice would you give?

CT: Don't stress too much! It's not an adventure if you aren't lost. Try not to plan every last detail, just make sure you can get to and from your destination(s), have a place to stay, and have enough money in case anything goes wrong. The best adventures I had on this trip weren't planned, they just happened as I was out exploring the area. It was quite daunting at first when I was planning everything, but once I had everything booked it was really easy from there.

ADM: From Sadie Rose Bailey by way of Sam Lloyd: What other creative outlets do you pursue? And what does it bring you that photography doesn’t?

CT: I really don't have any other creative outlets! I can't draw or play any instruments, my co-ordination is absolutely terrible. I adore photographing bands though. I think being able to photograph a band is the next best thing to being in one. I'm doing a Media Production degree at the moment so I do have some video/audio production experience, and I know my way around photoshop. I also collect records and have a Hi-Fi setup in my bedroom, which has become the saviour of my quarantine lifestyle at the moment.

ADM: What question do you have for the next photographer? You can answer your own question if you'd like.

CT: Do you have any projects planned after this one? Spill the beans! If this lockdown ends before the summer and I can get a decent amount of shifts before the summer, I really want to travel Scandanavia, especially Norway and Finland.

ADM: Where can people see your work, and purchase your zine?

CT: You can find me on Instagram @charliethom_ or on Facebook at @charliethomphoto. My zine is available through my Etsy shop, a link is available through my Instagram bio. You can also search "charliethom" on Etsy and find my shop that way too.

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PARADISE: Sam Lloyd

April 26, 2020 in interview

PARADISE: Sam Lloyd

Andrew D. McClees (ADM): For those who aren't familiar with you, can you introduce yourself, and your work?

Sam Lloyd (SL): My name is Sam, I'm a tattooer and student of photography in Portsmouth. I shoot both 35 and medium format.

ADM: What's the guiding concept behind Paradise?

SL: The fundamental concept behind Paradise is memory. It's a visual response to growing up in a pretty mundane suburb, as I'm sure many of us did.

ADM: Did you end up finding out anything about your childhood, or the suburban lifestyle through the process of making your zine? How does memory or nostalgia play into what you photographed vs. what you thought you would photograph at the outset of the project?

SL: So the walk is from my Mums house to my friend Gregs house, from the ages of 11-17 this was the longest walk me and friends would have to make at that time. Now it doesn't seem such a tall order, but that's why I chose this route.

On one of my walks photographing for the zine I had Greg with me and we and we discussed in great length what had changed and what remained, who from the past lived where and other places we would frequent as kids. Looking back over the photos in the zine it definitely didn't occur to me (and my memory) just how mundane the backdrop to my childhood was. I guess if you're having a good time with your friends you could be anywhere. Saying that, I did come across a lot of odd and misplaced things!

The main element of memory/nostalgia in the zine is the sequence of the walk. I like that the relevance of it all is only really known to me. I must admit when I came on to this idea I was pretty set on how I would conduct it, but I haven't been back there in a few years so I had no preconceptions on what I would shoot and how.

ADM: What got you into the zine or book format?

SL: I'm an avid collector of books and previously made a DIY zine showcasing my creative peers. When they announced the "quarantine" or what ever I just got busy and finalised the project, I thought it might be nice to share something with my friends while they're stuck inside.

ADM: Interesting - what would you say your favorite or most influential books have been (photographic or otherwise), and why?

SL: 10 years ago or so I was really into collecting the free copies of Vice magazine that you'd find in selected stores, they were pretty eye opening as to what kinds of photography went to print and who was out there. It was obviously unlike anything I had been shown at A level in college. As for favourite books, that's tough, but i'd have to say Roger Ballen. I have a few of his now and I just love how he incorporates illustration, sculpture, portraiture and chaos!

ADM: What was the shooting and image selection process like for Paradise?

SL: I took out a Hasselblad with trusty HP5 an retraced a walk I commonly made as child, I needed to structure my ideas and this seemed like a fitting ritual to follow for my project. The images you find on full bleed in the zine are from a roll I put through a Holga circa 2008/9, I couldn't believe my luck when I came across the negatives and it was a really nice touch to the sequence.

ADM: Going from Holga to Hasselblad is quite a stretch - how do you think working with toy cameras influenced your image-making, and can you speak a little more on how contrasting the holga images from over ten years ago played into the zine? I find it interesting because a lot of the holga images center on your friends rather than the topographics you lived in.

SL: That does sound like a stretch put like that! I've never been too precious about what camera/film combo i'm using, I was an avid car boot sale raider as a kid and bought anything I found that wasn't already home. I strongly believe anyone can make a thoughtful image with any camera. I've recently come across a few people shooting Holga still with amazing result!

The Holga images I came across clearing out my spare room and I'm glad I did. My initial idea was to respond to a rather large instax collection I have amounted from that same period of time. I wanted the reader to encounter them along this this walk I had put together as they were flash backs. I wasn't really happy with how the instax sat with my photographs, so when I found the negs in black and white and square format I really lucked out, not to mention they also captured Greg and his brother whom lived at the end of my walk.

I chose only the photos from the roll that featured people so they had some kind of continuity on their own.

ADM: Also re: the layout - what prompted you to set it up so that the modern images are plainly laid out, with plenty of buffer against the holga images which are full bleed? is there a deeper significance to that?

SL: I wanted it to be obvious and quite abrupt that you are encountering a "flash back" or something from the past to break up the sequence a bit, so the full bleed was to enhance that abrasion and difference. I left a lot of white space and one image to a spread to encourage the reader to take their time with each image, like a slow walk or something.

ADM: What did you learn, putting the Paradise zine together - is there anything you'd do differently on the next zine?

SL: I think I had it pretty easy with this particular project due to nature of the sequence being a walk, but it was a learning curve curating a single body of work opposed to my previous zines which were collaborative!

In regards to doing things differently in the future, I would like to play with different layouts and sequences. Not because I'm unhappy with anything in Paradise, but it's nice to have a new challenge!

ADM: When you talk about growing up in the suburbs - is there a particular memory that you're trying to communicate to the reader - or like a specific piece of nostalgia that might escape the viewer?

SL: I honestly don't have an agenda with this. It's very much "my truth" and more of a shared experience with the reader. I guess it just is what it is to some extent, to some it might be relatable and others a window into another way of life.

ADM: From Sadie Rose Bailey - what other creative outlets do you pursue? And what does it bring you that photography doesn’t?

With tattooing i'm constantly drawing drawing, so in many ways photography is my outlet from that. I'm currently painting a lot of flash and have been playing with cyanotype printing. I'm quite lucky to have a close friend who enjoys artsy stuff too, so we're always playing with new mediums, chasing the next high!

ADM: What question do you have for the next photographer? You can answer it yourself if you'd like.

SL: I think you should carry that last question over, is that allowed? I'd be interested to know what other stuff camera nerds were into!

ADM: Sure, I can let that question ride! Where can we see your more of your work, and order copies of Paradise (if there are any left?)

SL: So my photography is at @fortyeighteighteen on Instagram, I have not deemed myself worthy of website just yet. Copies of the zine are on acidbathvampire.bigcartel.com where you pick up some of my paintings and prints also. I will be ordering another batch of zines this weeks, I had no idea people would actually buy them!

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Game Trails: Jay Neely

March 28, 2020 in interview

Game Trails: Jay Neely

Andrew D. McClees (ADM): Can you introduce yourself and describe your photographic work?

Jay Neely (JN): My name is Jay Neely and I'm a photographer and art director based out of Leavenworth, Washington. I’ve been shooting photos and making books for about 10 years now. My work has largely been inspired by my environment and tends to evolve with my interests and curiosity. Because of this, my work has ranged from conceptual still lives to pseudo documentary and everything in between. That said, I’m primarily project, or concept driven... if I think an idea could make for a series, or a book, I usually pursue it even if it doesn’t fit in the realm of things I’ve done in the past.

ADM: In broad strokes, what is landscape photography to you?

JN: For me, I think landscape photography is primarily about environment and context. A good landscape is the stage for something else that’s happening. Photographs by nature are still representations of a place, or a moment and I think for me, great photographs (in general) imply movement, conversation, or interaction in a way. When I think about landscape photographs that have moved me... the compositional elements of course are there, but I’m really more interested in how the image employs my imagination to see something else that is taking place in that space. Todd Hido talks about this in regard to his houses at night. He talks about how his work really isn’t about a house on a street corner, it’s about what’s taking place behind the glowing windows... the things you can’t see. I think that same idea resonates with me about good landscapes.

ADM: What was the inspiration to put together Game Trails?

JN: A couple of years ago, I started hunting big game in an attempt to be more self sufficient and to build a closer relationship with my food. It has proven to be one of the most important, difficult and meaningful journey’s I’ve embarked on. That said, the way that I interact with the natural world has changed pretty dramatically since I started hunting. Everything is important... every footprint, broken twig, flower, bush etc... anything can be a clue and whether I’m hunting, or not, I find my self paying a lot more attention.

One of the most immediate signs that game is in the area is a series of game trails. These game trails connect these animals to their primary needs - bedding areas, food sources and water. They can switchback up a hillside with impressive efficiency and most often they’re frequented by a myriad of different animals. This series is really a topographic study of these systems. Aesthetically and by design, the similarities between game trails and our own transportation pathways are pretty uncanny. They tell similar stories and they serve a similar purpose and I think this sort of Human / Nature connection is really what I’m most interested in.

ADM: While the photos in Game Trails do document and focus on the titular Trails, the photos have a very textural quality -- was that intentional?

JN: Absolutely, I think the thing that was initially striking to me about game trails was their imprint on the landscape. They cut up the mountains in a super interesting way ... particularly as the mid-day sun hits the hillside - they almost glow in the sagebrush. I feel like when I’m working with subjects that fall into the mundane, it’s important to me to try to photographically point out the thing that caught my eye.

ADM: It's interesting that you bring up natural topography vs. humanity - that's not something I see dealt with very often - did you find that the game trails were often interfered with by humans?

JN: Yes and no... Most of the places that I was hunting were far enough off the beaten path that I wasn’t running into many boot prints. In areas with established man-made trail systems, you’ll definitely find an intersection between the two, which can be quite interesting. In a lot of ways, animal motivations are very similar to that of humans, so the trail systems can lead you to similar places. Game animals find security in elevation, and they require a clear path between food and water which often times mirror the points of interest on common hiking trails. In the wilderness, a person can certainly use game trails to their advantage. If you’re far from a trailhead and you need to get to the top of a mountain, or find a water source, a well trafficked game trail can be a good place to start.

ADM: The choice to shoot the project in black and white is an interesting one, which succeeds in the book. How did you settle on black and white for your images?

JN: When it comes to my personal projects, black and white is really the only way that I’ve ever worked. I was exclusively a black and white film photographer in art school and printing really taught me the depth of a black and white image. I keep telling myself that I’m going to do a color project, but I still have so much to learn in black and white that I feel like I’ll be on this path for a while longer. Aside from that, when I was putting this book together, I was thinking a lot about Robert Adam’s, Along Some Rivers. Adam’s book is an elegant and meditative series of black and white landscapes taken in the Pacific Northwest. The images really feel less about the things in the frame and more about the feeling of being in that place. I think that idea really struck me and a sentiment that I tried to capture in my images. So much of hunting is about being in places that people are not and I think that solace and immersion into the landscape brings about an attentive calmness that I felt was communicated best in black and white.

ADM: What was the shooting and editing process like for Game Trails? did you make your images as you hunted, or did you make dedicated trips to photograph the trails separate from your hunts?

JN: It was a little bit of both, but most of these images were taken while I was hunting. Particularly during the early season, there is a tremendous amount of down time during the middle of the day when the animals are bedded down. Usually you find yourself traveling from one ridge to another ridge, or perched patiently on the side of a hill waiting for the forest to come alive again. It’s a beautiful time to be in the woods and it proved to be a perfect time for me to make these images.

ADM: I agree that it's important to work in series, as well as to make photographs where the focus is about what's not seen - do you have any advice or insight into how to impart that sense of "hidden" narrative?

JN: I believe that narrative can come before, or after a photograph is taken and I think it’s really about defining process. I think my biggest piece of advice would be to first study the work that has been done before. Look at books, read interviews with photographers, artists, filmmakers... Really get an understanding of what you’re attracted to (aesthetically and conceptually) and why. Learn about a variety of processes and take the parts that work and build a way of working that keeps you working. From there, it’s about developing and following your photographic instincts.

For me, I’ve learned that my best work happens when my intentions are loose to begin with. Sometimes I find a thing that is conceptually and visually interesting and I can immediately find a narrative and the book basically unfolds in my head... this is ideal and rarely happens. That said, most of the time, I’ll photograph something, or a series of things that are aesthetically compelling and then from there, I’ll research the subject and let the narrative emerge... it’s sort of a process of discovery... and it’s where a lot of my best work has come from.

ADM: Where can people see your work, and purchase Game Trails, and other books of yours?

JN: You can find my work at www.jaythomasneely.com and on instagram @jaythomasneely

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