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Talking to…Photographer Richard Gordon

Published September 22, 2009 Interview 212 Comments
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In his book American Surveillance photographer Richard Gordon takes on the topic of the ubiquity of surveillance cameras in the US. By documenting security cameras – in malls, buildings, musuems, on the streets – Gordon reminds us we’re being watched nearly all the time.

Gordon is a part-time instructor of photography at City College of San Francisco and Stanford Continuing Studies, and he’ll be a part of “Exposed: Voyeurism, Surveillance and the Camera” at the Tate Modern in London in June 2010. He’ll also have four photographs at the San Francisco Museum of Modern Art from October 23 through January 2010. Here, he answered a few questions about the book and photography for us.

What was the origin of this project for you – the spark or series of events that made you want to do it?

I photograph the social landscape and began to notice what seemed like an exponential increase in surveillance cameras in January ’03 and began to photograph them as part of the urban landscape.

Are these photographs more the result of seeking out the surveillance cameras, or happening upon them?

I avidly sought them out for five or six weeks and quickly came to realize that it was not necessary; they were everywhere and I just go about my business and photograph them in day-to-day life and photography. I did eventually make some trips with the object of photographing them in different places.

Before this project did you have an accurate idea of the amount of surveillance cameras out there? Was it eye-opening?

I have no idea of the number of surveillance cameras then or now except that there are many more now than in ’03. Everything is eye-opening.

It is often difficult to photograph malls and institutions and even architecture in this day and age with security concerns. Did you ever experience problems when taking these photos – either from security or passersby?

Malls are private property and the law regarding photography in public and private places is different and I know the differences. The most obnoxious incident was with an assistant manager at a Safeway market. In general I did not have problems for a few reasons (I suppose, but cannot prove): 1., I am a middle-aged, white-haired white guy. 2., I know how to photograph and when one does something with confidence and competence, most people accept it. I almost never skulked around and at times would make it obvious to any potential viewer of my photographing that I was taking my time, giving the surveillors time to study me as I made my pictures (the precise nature of which they could have no idea). In some circumstances, I would approach a security guard or employee and ask permission. I was chased off the steps of Enron after I made the pictures I wanted to.

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I’ve noticed on our own blog when we write about the erosion of civil liberties, people actually (and often belligerently) write in defending the government or police tactics and call those who are outraged “radicals,” saying things like it’s just keeping us safe from terrorists. What’s your take on that?

I try not to argue with the ignorant. There seems to be more than enough stupidity and/or ignorance on all sides of these issues than I care to indulge in.

Continue reading ‘Talking to…Photographer Richard Gordon’

Found on Flickr: amadnomad

Published March 18, 2009 Interview 63 Comments
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This is another installment in our continuing series where we talk to photographers whose work we’ve appreciated on Flickr.

This week we feature amadnomad.

discarted: So who is this little girl with her traveling zoo we found on flickr? What’s your relationship to her?

amadnomad: The little girl is my daughter, Zhenya L’vovna Jabban Rukhina. She is 2 years old.

discarted: Wow, that’s quite the name…where did it come from?

amadnomad: In Russia, the middle name is a patronymic — in other words, if you are male your middle name is your father’s first name plus -vich. If you are female you add -ovna. Zhenya (named after my father who was a famous painter in Russia) L’vovna (Lev+ovna, but the “e” is replaced by a character that does not exist in Latin characters) Jabban (her mom’s last name) Rukhina (my last name, but in Russia, women get an “a” at the end. Hence the complicated but *fun* name.

discarted: Looking at the photos, you can see that Zhenya has quite the collection of toy animals. Where did they all come from?

amadnomad: Her mom bought her the toy animals. Zhenya loves arranging them and corralling them about the city.

discarted: Can you describe what it’s like to wrangle up Zhenya and the entire traveling zoo for a day out with the camera?

amadnomad: I always carry my camera (Rolleiflex or EOS 1DS). Whenever I catch Zhenya playing with her animals, I try to capture the beauty and innocence of a child’s fascination.

discarted: What spawned this fabulous idea?

amadnomad: I noticed Zhenya’s imagination as she played with the giraffe over breakfast one day. I took a photo and came to admire her rapture with the animals, her “down time” as she quietly played.

discarted: For some time now I haven’t seen an image that has really stuck with me. But these three really crawled under my skin. I was fascinated and amused yet I was also creeped out by them. How would you describe them? 

amadnomad: The images area documentation of our journey via public transportation from Hollywood to the Museum of Jurassic Technology in Culver City.

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Though this was meant to be a shot of the loneliness one may experience during a layover from one bus to another, when you find yourself in an unknown section of the city, thinking of what is to come or what you have just left behind. The trash can, however, lent the image a much more forlorn feel, inaccurate of what I wanted to portray. I agree, it came out a bit creepy.

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The excitement of waiting for the bus, of the adventure ahead. Fun!

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Aahh, the adventure is under way. Unknown faces, unknown places, brochures and fliers everywhere. Exciting time of experience.

discarted: Are there any Zhenya shoots planned for the future? What are some of the other interesting and funny locations we might see her in?

amadnomad: I am working on a new series for Zhenya all the time. 

To see more of amadnomad’s work checkout Lever and Fulcrum.

Interview by discarted.

Found on Flickr: ockermedia

Published March 2, 2009 Interview , Street photography 73 Comments
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This is another installment in our continuing series where we talk to photographers whose work we’ve appreciated on Flickr.

This week we feature Lee Jordan/ockermedia.

cinemafia: The first thing I want to ask you is how you began doing street photography, as it is generally a different story for everyone who does it. Did you have any particular influences that helped you along the way?

ockermedia: My first connect to photography was in college in 1986. I was 16, and just left school to go to college to study media and film. My first year was taken up by a film project called “Life in the Shadows.” I met many a colourful character – one called Teddy Ruxpin and another called Elvis… back then, as you may or may not remember, tramps were real tramps! Quirky characters who drank far too much, lived under bridges and made funny grunts and noises at people as they walked by, good, old massive beards… anyway it was a good short film that paved the way into my sports filming career.

Although my filming progressed into extreme sports, I remained interested in capturing local street life and would often include edits of street people in sports videos. In terms of other artists that have inspired me, Joel Meyerowitz’s 1980s New York street photography was certainly influential; Martha Cooper and Henry Chalfant also influenced my style as I was interested in all aspects of street culture, street art, music, sports and lifestyle. It was only at the start of ‘08 [that] I picked up a DSLR and started my photography hobby. Having enjoyed all aspects of the creative control that filming gave me, I found digital photography a very accessible medium.

cinemafia: Why do you think it is important to photograph people who live or otherwise spend most of their time on the streets? Do you think these types of photographs will ever really make any difference in the world?

ockermedia: I think that it is an important record of people whose lives go largely undocumented and unrecorded [as] they slip through the net of any government statistic. Excluded from any family photograph, they have little or no paper trail of bank statements and addresses. A photograph gives them a lasting image, a record of their existence. “I am” is the simple statement they make in the photos. It is the way we view their existence that influences how we look at the photographs.

I think that street photography provides an important insight to all lifestyles in the city, for both current and future generations. We should all spare a thought for these otherwise forgotten souls. However, while I think that photographs of marginal characters in society can be useful in promoting awareness of social and cultural issues and provoke debate, I do not take the photos with this as an agenda; it’s simply a personal record of the characters I meet.

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cinemafia: One of my favorite shots of yours is of Goliath (above). It’s a striking image, and the story behind it is all the more interesting. It speaks a lot to the idea that those of us who shoot people who are frequently on the streets, whether by choice or by chance, often come to know these people very well, even becoming  friends with them. I wonder if you could talk a little about how it feels going out and seeing these people regularly, and how you think they feel about you photographing them.

ockermedia: Goliath is a gentle giant of a man that I met while shooting on the streets of Bristol. [I] sat on a bench having an in depth chat about life, and his role in it, and then I realized that I knew him many years ago. Back in his heyday he was a bouncer on the doors of many an establishment I frequented. Many Bristol locals would remember him from the Thekla, late 80s, early 90s, as the dominating figure on the door. He then went onto explain that he was also head of security at many famous festivals like Glastonbury, Reading, Leeds,etc, etc. But because of the nature of clubs and festivals he ended up an alcoholic, drinking maybe 30 cans of strong larger a day! So much of his time [now] is spent sitting around on streets drinking all day. However he does have a house – and a big house in the most sought after part of Bristol, yet he spends most of his time on the streets.

I know I was fuelling his addiction, but I bought him a couple of beers to say thanks for the photos. This put a beaming smile on his face – RESPECT he said! As I was leaving he called me back. He offered to repay my gift of beer with some old photography books he had. I didn’t want to take his books, but I saw it as a chance to see him more over the lonely Christmas period, if only to make sure he was well and happy. He is the most gentle of giants with an honest heart, and most of all, he is my new friend.

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Found on Flickr: evg3 photography

Published January 12, 2009 Interview , Street photography 69 Comments
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This is another installment in our continuing series where we talk to photographers whose work we’ve appreciated on Flickr.

This week we feature evg3 photography.

cinemafia: Your body of work spans many genres, from journalism to fashion to lifestyle. Yet, there seems to be a common theme or connection between all of your photographs that is difficult for me to describe. Could you tell me how you feel about the different kinds of work that you do, and how they might all come together?

evg3 photography: I think I’m looking for stories; there’s always a story behind a good image, you can feel it in a landscape, in a face, in the composition that suggests something you usually never see. Anyway, most of my work focuses on portraits or places that show you somehow the human existence.

cinemafia: You have many examples of street photography, or perhaps street documentary, in your stream that is taken from daily life in Mexico City. Being one of most highly-populated urban areas in the world, I wonder if you’d talk a little about the unique dynamic of approaching and photographing people there. In Los Angeles, there is a culture of suspicion and contempt for many people who photograph strangers in public, and I wonder what are the similarities or differences there in Mexico City.

evg3 photography: Indeed, most people don’t want just to be photographed, it’s kind of invasive. I believe the key is to get closer in order to make a great image, to tell a story; it’s about being human. Most photographers use the camera to take “snapshots” that only show the surface, not the real person. That happens with places too; a serious photographer needs [to be] going deeper, to share yourself, be a friend. I bring always with me an iPod touch with my portfolio to show my portraits – that works great to give an idea that I’m a serious photographer.

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cinemafia: I wanted to ask you about something you put in your flickr profile, and it has to do with the idea of the photographer and the camera, a kind of “man vs. machine” concept. This is a an important discussion because it is true that many budding photographers get caught up in buying the best camera and gear and lose sight of what it is they’re trying to do. I wonder if you can talk a little bit more about this – give us some details as to why it’s not the equipment but the eyes and brain behind it.

evg3 photography: Cameras are only tools; when you need special equipment [it] is because you have something in mind. I think most of those “photographers” don’t have a clear idea of what they want. It’s the same with software.

Continue reading ‘Found on Flickr: evg3 photography’

Found on Flickr: Gumanow

Published December 8, 2008 Interview , Street photography 50 Comments
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This is another installment in our continuing series where we talk to photographers whose work we’ve appreciated on Flickr.

This week we feature gumanow.

cinemafia: Many of your photographs are done in the street photography vein and are taken in public at close proximity to strangers, often with them obviously aware that you are photographing them. Many people would find this kind of photography uncomfortable or impossible, yet others seem to thrive on it. What does this overt process mean to you, and how do you think it affects the people who see the end product?

gumanow: First off, let me say that I am honored that you and discarted have selected me for this interview. Thanks!

I would have to say that I thrive on getting close. Sometimes now I wish I could get even closer. Yeah, many photographers find it uncomfortable to shoot close. A lot of the time my subjects think I’m shooting behind them or they got in my way and are sorry. If they do see me, I usually give them a nod or smile. Most of the time this disarms them – I did say “most” of the time!

When I first started out shooting street I was uncomfortable with getting close to people. I started out shooting from the chest without the camera to my eye, however, this lead to a lot of very poor results. This was one of my first street shots of people. You can see in this shot by the position of my shadow that I don’t have the camera up to my eye. I shot this from my chest and you can tell by the level of the perspective. Now I shoot exclusively with the viewfinder to my eye. I still feel nervous, uncomfortable, scared, and my heart races. But after the first few shutter clicks I feel right at home and energized.

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I’ve heard from a lot of beginning street shooters that say if you get close you are interfering with the “slice” of life you are trying to capture. And while I’m striving for that slice, sometimes being a character in the shot is interesting as well – and that interaction with people. By putting the viewfinder to my eye I am in effect saying, “I’m taking your picture!” I’m not going to hide or pretend that I’m not. How they react to me is just as much part of the “slice” as anything else.

I’ve also seen a lot of shots using a telephoto lens from far away and the photographer still gets noticed. My approach is to get into the action, be a part of the street scene. Most of the time people don’t notice me and when they do, I try to get the shot in that split second between when they first notice me and when they react. Sometimes a glance your way can really make the shot.

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Found on Flickr: Smalldogs

Published November 24, 2008 Interview 39 Comments
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Here is the first interview in our occasional series where we talk to photographers whose work we’ve appreciated on Flickr.

This week we feature an image by smalldogs.

cinemafia: One of your photographs features a bathroom stall in a public restroom that is in a particularly beautiful state of disrepair. Where and how did you come to find this scene?

smalldogs: I was in New York to see friends and for a job, and a good friend of mine took me exploring to one of the many abandonments she knows. This was shot at an abandoned resort in the Catskills. We started walking in, and I immediately noticed the light in this building. It was amazing.

cinemafia: For many this photograph might fall under the genre of urban exploration, or urban decay. These are both very popular areas of photography on and off Flickr, and also ones that have a classical and historical context. Do you think the rise in this genre of photography will help enrich the work of the new generation of shooters, or will it just be eye candy?

smalldogs: Well, I guess it depends on what you’re going to do with the work, or what you’re trying to say with it. This shot is purely eye candy for me. I saw the light and the ground covering, which, as a Los Angelino, I mistook for flower petals (shows you how much we know about the four seasons out here). But, there are several photographers I know who shoot this sort of decay very well and with a particular point to make. There’s a group who call themselves the Rustafarians, in New York, who go out on expeditions regularly to shoot these kinds of scenes. They, I think, are producing work that to me is historical and beautiful at the same time. The work of Michael Bowman, in particular, evokes some interesting discussion and reflection on the progression, and state of, society. His work is especially moving to me and many others, probably because he seems to have an intent in his shooting that I did not when I was shooting this scene.

There is absolutely a need for work like Michael’s. Unfortunately, here in LA, it’s very difficult to document urban decay because abandoned buildings out here are usually shuttered up and guarded. If you get past the security, you’ll find squatters and kids just hanging out. The buildings are usually vandalized to the point where it’s hard to even see the building in its original context. And it can be very dangerous. I would never go exploring for a shot like this in LA without lots of people with me. In other cities around the country, these buildings are open and accessible. I think that’s a good thing, but I can see why it wouldn’t work in LA.

But again, even if it were accessible, I probably wouldn’t shoot it. This shot doesn’t say anything to me, it has no context that I can appreciate. Now, if I could have gotten a person into that shot, that would have made me happy. I’m very into conceptual photography and environmental portraiture. I would love to have the day to shoot some people in that location.

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Talking To…Photographer James Knoblauch

Published September 26, 2008 Interview 34 Comments
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In the alternate universe that is Hollywood Boulevard, Marilyn Monroe has a restraining order against Chewbacca, the same guy plays Darth Vader, Barney and Mickey Mouse, and multiple Spideys vie for the title of baggiest costume. For years, photographer James Knoblauch has been photographing the characters who populate the few blocks around Graumann’s Chinese Theatre, and earlier this year his collection of portraits was published in a book called Imposters.

Here, we talked to him about what it’s like to go back to SpongeBob’s place for drinks, among other things.

You called Roger Gastman, the founder of Swindle magazine, the “instigator” of the book. How is that?
I did not use the words “instigator” to describe Roger Gastman, who was a business contributor to the project. Someone at the publisher thought it was a cute way to describe his function in the book project. I had sent Roger “imposter” photos with the hope of having some printed in his magazine and he suggested creating a book with 30 or so images of different characters. He then found a publisher to release the book.

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Talking to…Photojournalist Anthony Karen

Published June 29, 2008 Documentary , Interview , Photojournalism 96 Comments
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Photos courtesy of Anthony Karen

Whether it’s humility, patience, diligence or daring, New York-based photographer Anthony Karen has a personality that’s ideally suited to a photojournalist — because somehow he infiltrates enclaves and subcultures that are notoriously closed off, among them the Ku Klux Klan, shantytowns in Haiti and one of the few surviving leaders of Cambodia’s murderous Khmer Rouge regime.

After listening to a recent NPR interview with Karen, we were curious to know more about his start, his style and his process.

Interview by babydiscarted and discarted.

Why do you take photos?

I used to take photographs because I wanted to; now I also take them because I need to. I have to express myself in some creative way to feel alive — photojournalism allows me to do so many things. It fills my soul to experience the gift of being allowed into someone’s most private moments and the trust they give me to try and capture what’s going on the best that I can. It’s the beauty of creation, going home and seeing what I’ve captured on film. It’s not always a great image, but it’s a moment of time that I’ll always have access to. I can make that experience last forever. And I like to make people “feel” — hopefully it’s not a feeling to blog [about] me and say my images suck, but photography is so subjective. So what can ya do!

Continue reading ‘Talking to…Photojournalist Anthony Karen’

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