centritis

Julian Berman, 20

Fri, 13 Jan 2012 13:12:27 -0500

1. Let’s start off with the obvious: How’d you get your start with photography and why? Also, you still use film for a lot of your work, why is this? Your favorite camera or tool to use?

I got into photography the summer going into 11th grade. Class scheduling rolled around and I decided to dive into a Photo I course as an ‘elective’. From there on… it was history. At first, I was all about Digital, now a days almost 99% film work. I work with a Mamiya 7, which took a tumble a few weeks ago so I will be MIA for a second until my baby gets repaired.

2. Your consistency is what draws many to your work. How would you describe how most of your photographs are made? Under what sort of circumstances do you feel you are making your best photos?

I am very selective with what I shoot, possibly even a bit too selective. I’d consider my workflow consistent in subject or style matter, but in a timely matter, absolutely not. I am constantly wandering and exploring my surroundings, looking for something to catch my eye. I do really enjoy portraiture work, especially that working with strobes and artificial light, but adventuring is always a treat as well.

3. Where do you see yourself 15 years from this exact moment? What changes in photography do you see happening in this time? ( Seriously, feel free to get weird with this one…or not. Your interview)

Fifteen years is quite a while from now. I can only imagine how far I will go from here. This year itself has been so absolutely unreal and rewarding, that I cannot even fathom what the future has in store for me. I am afraid to think of what the trends in photography will be at this time, probably hundred thousand megapixel cameras and hopefully a consistent production of film emulsions. I don’t care really, I will still have my 7.

4. What is your style?

This is always a tricky question. To be honest, I just shoot what catches my eye. I enjoy shooting photographs that involve other humans, but I am learning to adapt my eye and consistently soak in my surroundings, as a lot of the of the time I really have nobody to shoot with.

5. Mandatory question: How did you start working with Tyler and Odd Future Wolf Gang Kill Them All? What sort of artistic license do you have in regard to the photographs being made for them?

I met Tyler in 2009 over on a fashion message board. I went to school with another member of the group, and from there we just began to hang out and shoot the shit. As a collective, we have three members who primarily shoot the photos, each with our own unique rolls and contributions. I do not think we are necessarily licensed, but the group in general tries to refrain from shooting with other photographers as much as possible.

6. How do you come up with ideas for your photographs? Is there a “lightbulb” moment, so to speak, or is it more of a meditative process?

Again, this really depends. Lately, I have just been testing my intuition and my ability to frame within whatever I am around. Most photoshoots for a group will have a general theme or aesthetic they are trying to capture. I am terribly bad at ‘scouting locations’ for shoots, so I guess you can say there is a lightbulb moment… especially in a fast paced city such as Los Angeles.

——————

Thanks, Julian.

Carlos Santana, 22

Fri, 15 Jul 2011 19:34:00 -0400

1. Do you remember the first moment you were excited about a photograph you made? What was it of and how did you see that particular scene?

Yeah I do, it’s definitely one of those moments I won’t forget. It was a couple months after I initially started taking pictures with my waterhousing. The waves were really good on a hot October afternoon and I had to skip class. To this day it was probably the best day I’ve seen and I have the photo to show for it.

2. Photographing with a water-housing in the impact zone is an incredibly extreme way of getting the photographs you want, why do you do it? Worst punishment you’ve ever received while shooting?

Besides just doing it for the love, I really like the fact that I am able to show people what I see in the water. Obviously anyone can’t just jump in and experience it, so yeah that plays a really big part. One of my worse run-ins out in the ocean was with my waterhousing. I got completely handled by a 8ft set, full cartwheel action underwater, and to not make it any better my 10 pound water-housing made of aluminum smacked me straight in the nose. Right between my eyes all I could see was blood projecting upwards. It felt like a movie.

3. You were recently placed as a finalist in the “Follow the Light Foundation” up and comer surf photography contest. Why do you feel your images made an impression on the judges? How did you pick your images to submit?

I feel like my images had an impression because I presented a variety of things. I had water images, portraits, and film that had a good influence on it which was something I was really excited about. I don’t know what they were mostly impressed by but I’m so happy they were into it. Picking them was not easy. My main focus was trying to show that I could be successful on taking a photo in the water and out so I went with those images that felt right

4. How important is seeing the composition? Can you “feel” a composition?

It’s everything. I “think” I can feel it, ha ha.. In the water its feels a little easier to me then when I’m just messing around with my 35mm. I like that. 35mm has become something I really really like. I used to hate it which is kind of sad.

Carlos Santana

Nathan Ward, 18

Thu, 05 May 2011 16:00:00 -0400

1. How do you feel about the concept of “free-writing” in relation to photography? That is to say, is it better to photograph without much thought and edit down later?

That question couldn’t be better timed. It wasn’t until the last few months that I feel like I started photographing with a purpose. It came very naturally, I didn’t just decide “I’m going to make my photos say this or make people feel this way.” I became really irritated with thinking that I was just taking pictures of things that looked cool. I started trying to make photographs that interacted with each other and I could call a series. That ended up being several failed projects. Out of lack of new work I decided maybe photographing the things that looked cool wasn’t so bad. So not too long ago I was taken through a small town not far from where I live that really struck my interest. So, I began to research the town and started making regular trips there, taking photos each time. Slowly I had started building a body of work with a narrative and purpose. It feels like an entirely new practice now that I have a focus when I’m shooting. I feel a lot more confident about what I’m doing and actually considering myself an artist. All the heavy shit aside though, (“free-shooting” I guess you’d call it) is the reason behind it all. When it comes down to it having a camera in my hand is the best feeling in the world to me. So whether I am working on something really thoughtful or just walking around and snapping photos, I’m doing it because that’s what keeps me happy. So, I guess the answer is to do what works for you. Don’t force yourself into making something that you think other people want to see.

2. Speaking of editing, yours is very select and minimal. Why is this?

I think a lot of that has to do with me being way too picky. Little things piss me off when I’m editing and sometimes that ends up with me ditching the photo. So I am pretty selective when it comes to photos I show and photos that just end up in a folder until I feel like working with them again. That being said, not all of my editing stems from pickiness. I do think a lot about how I present my work. One of the biggest issues I have with some photographers is their lack of control in what they show. There are some artists who have some incredible work but demean it by showing everything else they take. I don’t want to sound like I’m preaching about what the right way to do things is though. I guess if what you’re doing is working out for you, keep it up. Personally though, I prefer quality over quantity.

3. What do you want to do with your photography? What sort of work or internships do you see yourself applying for?

Ever since I picked up the camera when I was 15 I have been drawn to photographing people. I guess in the long run I’d love to do editorial work because it gives you the perfect opportunity to photograph a range of different people and situations. That is a pretty general statement but that is the kind of work that I see myself trying to get. Although making a living as an artist isn’t going to be easy so I have no room to be picky with what jobs I take (assuming I get any).

4. Any new material that you are excited about?

Like I mentioned in the first question, I’m in the process of making what I think will be my first significant work. There isn’t too much to say right now, but I plan to release a few of the images and some background about the project by the end of the month. I have a lot of unseen photographs, my attempts at sculpture, and eventually some of my design work I plan to release when my website is functional again. Right now the site is down, I’m a little embarrassed by how I manage my website, but should be up for good (might be the 10th time I’ve said that) by June.

5. If you could shoot one “dream assignment” what would it be?

I think I mentioned in an interview a long time ago that I’d like to photograph dinosaurs or aliens. I think that is still pretty true so I’m going to stick with that.

Nathan Ward

Missy Prince, 39

Sun, 05 Sep 2010 15:07:15 -0400

1. Despite your photographs being taken in two very different places (Oregon & Mississippi) your photographs retain very similar qualities throughout, despite the differences in the landscapes. Why is this?

On my recent visit to Mississippi I was able to explore to an extent never before available to me, and after driving around for a while I realized that in some ways I am looking for Mississippi in Oregon. The types of places that attract me in The Pacific Northwest share a feeling with places that caught my attention as a child in The South. I grew up in a subdivision and mostly visited nature in passing. My parents were not into camping or the outdoors, and I always wanted to explore things I usually only experienced through a car window: a bayou crossed on the way to the grocery store, rivers with exotic names like Tchoutacabouffa, dark forests along the highways. The best I had was the woods bordering my neighborhood. I think I’ve managed to retain that frustrated explorer’s sense of mystery and I respond to qualities of the Oregon landscape that speak to that sense. I often end up photographing places I am led to by thinking “I wonder what’s over there.”

2. Most of your photographs bear influence from the New Topographic photographers of the 70s, but some actually seem to deal with a contrary idea; like the old roads cutting through the country side in your photos will be taken back by nature. Do you feel this to be accurate?

Interesting. I never thought of it that way. Turning the New Topographic sensibility on it’s head. It’s true, I am drawn to the deadpan quality of those photos that treat everything on the land as just another part of the landscape. Humans are part of nature and the structures they build are in some ways not unlike bird nests and beaver dams. I am not intentionally reversing the land consumption theme, but there might be some of that coming through. I like places where nature has been allowed to run wild, and while that happens more completely in remote areas, it is the places where nature is pitted against civilization that that wild force is often most perceptible. I always think of The Zone in Tarkovsky’s film The Stalker.

3. How relevant is film to your photography? What will you do when your favorites are no longer available?

At this point film is 99.9% relevant. I have two digital cameras, a point-and-shoot and an SLR, but I have only a handful of images from them that I love. I don’t want to be anti-digital, I’d like to be able to embrace it, but I just can’t get the same experience I get with analog. I like the psychology of film. The risk involved makes me think harder about what I am doing. Then there is the suspense factor. Waiting to see what you’ve produced is a way of savoring the process. If film were to become extinct I’d have to give in, but until then I’ll be hanging out with the film snobs. That said, I would never deny myself the pleasure of enjoying a photograph just because it’s digital.

I’m not too picky about types of film. Right now my favorite is Fuji Pro 400, but I often use Fuji Superia, which is one of the most common and inexpensive ones out there. You can get it at Walgreens! So I’m pretty flexible.

4. What got you started taking photographs?

Nothing specific that I can think of. I was the creepy quiet kid who watched everything. Photography seems like a logical next step.

5. How do you feel one’s personality dictates who/what/when/where they photograph? What prompts you to raise the camera to your eye?

Well, I guess you have to be interested in a thing to want to photograph it, and there are many ways to be interested. Photography both at its worst and at its best comes out of some kind of personal urge. I think there is a lot of projecting of self mixed in with the whole process that can get in the way of making work that is engaging. I guess it just depends on what you want to show people and who you imagine your audience is. Even then, you never completely know what you’re showing.

One of the things I love about looking at photography is sensing the mind behind it. Looking through the eye that is looking. When you view a person’s photographs you see aspects of their personality that you can’t see in any other way. You sense what they care about. It’s like the first time you enter someone’s house. You get a sense of them that is otherwise ineffable.

I really don’t know what moves me to raise the camera to my eye. I like a scene that despite being very straightforward prompts a little bit of wonder. The fact that a thing exists is sometimes enough for me to want to turn in into a picture. It’s a tipping of the hat to that thing, an acknowledgment. Congratulations, you exist.

Missy’s flickr.

Taylor Radelia, 17

Fri, 20 Aug 2010 14:40:00 -0400

1. You shoot a lot of very effective photos with a simple point and shoot camera. How do you feel about using this camera opposed to something like a 35mm slr or medium format camera? Why do you use a camera such as this?

I like the idea of being able to have a camera on me at all times, something on the small side that I can slip into a pocket and is easily accessible. the Contax t2 that I use is more than your average point and shoot, a 38mm zeiss sonnar 2.8 lens, and aperture priority make it a great tool. I also shoot with a mamiya rb67 medium format system occasionally.

2. What are your favorite styles of photography? Where do you fall amongst these styles?

I’m not sure how to answer this. Favorite photographers of mine and their style of shooting? I would have to say I thoroughly enjoy looking through online photo blogs such as fourteen-nineteen, Mossless, and Blood of the Young. photographers I have been really into lately include, Keith Davis Young, Bryan Schutmaat, and a number of young adults i’ve become contacts with through flickr.

3. Your work, though it varies in formats, seems to have a strong focus on the banal terrain (and sometimes tiny details) you find around you. How did this evolve and are you happy with your current output? What will or do you want to change?

I guess these photographs evolved from my awareness to my surroundings. I’ve always been attracted to normal and almost uniform locations. I like to but a bleak twist on these normal scenes I run into daily. I guess I’m pretty happy with most of my work at the moment, but who knows where I may stand in the future. I may go another path and abandon my “style” completely. Lately i’ve been wanting to start to work more in series, rather than just individual pictures. I may experiment with some conceptual photography in the near future. Mainly i just want to shoot a solid series that I’m happy with before winter.

4. What was the best photograph you saw today?

(by this person)

5. Are all skateboard photographers good photographers? Is there something about shooting skateboarding that transfers over to non-sports related photography?

I wouldn’t say all skateboard photographers are good photographers. That’s like saying that all photographers are good at what they do. And i think we both know that there are some very bad photographers out there. I never really got into skateboard photography, I skateboard but photographing the activity never really appealed to me much. I do suppose that a skateboard photographer lends himself to other types of photography after becoming aware of the world of photography outside of skateboarding. It’s bound to happen, you can’t limit yourself to what you shoot, experimenting with different realms of photography is what makes it fun.

6.Where do you think photography will take you?

I hope to do something photography related with my life. I can’t really assume where it will take me in the future, I’ll just have to live, learn, and see where it takes me. Or where i take photography perhaps?

Taylor’s flickr.

Randy P. Martin, 26

Mon, 26 Apr 2010 15:12:00 -0400

1. Other than having an incredible first name, what about your lifestyle makes it’s way into your photos? you are probably one of the most consistent photographers contributing right now, how is this possible?

My photos are my lifestyle. It’s normal for me to meticulously document my life in different ways for whatever reason and I like to do fun stuff with my friends… a camera is usually at my side so it sort of just works out I guess. That whole consistency thing, hah I don’t know at all because the work you’ve seen is shot with probably 15 different cameras that I got in a big grab bag from a guy on craigslist. I can’t help it. My brain is kind of stuck right now.

2. Your photographs are almost the epitome of a narrative so how much do you photograph? How long would it take you to finish a roll of film, usually?

I don’t really know actually. I only started shooting film again for the first time in a long while this past year and it’s just been so up and down depending on the time of year and whether or not I’m traveling or actually settled down for a minute. I recently got around to organizing all of my negatives from april 2009 until now, and I’m counting 92 rolls. Scan scan scan is at the top of my to do list.

3. Regardless of your consistency, is there an effort you are striving for, something you want to achieve or change about your style?

Well, I definitely have come down with a pretty severe case of centritis over the past year or so and as blasphemous as it may be to divulge in this interview, I think i need to start easing away from how center heavy most of my images are. I’ve made an actual effort recently, against every instinct. It’s weird.

4. If your favorite photo was a song/album/famous person, who or what would it be and why?

I don’t really know what this means. A specific favorite photograph that I’ve shot? My favorite photo I’ve ever seen? A hypothetical photo that the song/album/person would turn into? That new Girls album is pretty summery bike riding beer drinking at sunset with all of your friends fun timey. I could stand to look at that for a while.

5. What is light?

Light is what makes or breaks my photos. I like it. Lots of it. And little tiny slivers of it. And all of it at once. Just so long as I’m smart enough to keep my camera back shut until actually rewinding, Or maybe not sometimes.

6. Most of your photographs are of your friends while adventuring or just hanging out, what would your photography be like without them?

A friendless adventureless existence? I don’t even want to think of it. My guess is they wouldn’t exist at all.

7. Your photos really bring the viewer into the moment and allow them to experience it along with the subject, all thanks to your perspective. Is this something that came natural or something you grew into?

Point and shoot point and shoot point and shoot.

8. It seems you’ve traveled across the US extensively, or at least more than the average person, out of the places you’ve visited/lived what’s your favorite?

In the U.S.? There are too many amazing places to name one favorite but this past summer I did visit a little self sustainable forest community in southern georgia that I kind of fell in love with. A clothing optional lake with a half submerged hammock in the center, a building called the glass house, and all of the accommodations tree houses! I leave for India on a one way ticket in 6 days. I think I may be able to pin down a favorite for you pretty soon.

Randy’s flickr.

Interview

Mon, 15 Mar 2010 15:22:00 -0400

Matthew Bivens, 16

Thu, 25 Feb 2010 02:23:00 -0500

1. The most immediate and topical essence of your photographs are your use of angles. Your perspective is able to transform an otherwise good photograph into a moment that is worth staring at. How do you find yourself in the position to make your photos? how often does a camera come with you on your journeys? Most uncomfortable pose you’ve ever assumed taking a photograph?

My camera is always with me. I’ve missed a lot of photo opportunities the one day I decide to leave my camera at home but I’ve learned from my mistakes. The most uncomfortable pose I’ve been in while taking a photograph is probably when I was bent down in a dumpster shooting my pals feeble grind behind a Hastings . It was pretty hot out and the garbage smelt as if it had been basking in the sun all day.

2. Another quite obvious element of your photography is the skating. how did you get your start and how do you feel your talent differentiates your photos from the 100s of other skateboarding-6x6-photographers out there? Are there things you want to do to further the distance between them and you?

I started skating when I was twelve and two years later I picked up a camera so naturally I photograph it. I don’t think there’s much difference in my 6x6 skate photos compared to others. The only thing that makes a 6x6 skate photo different is the variables used to compose, and light your subject / surrounding while still being aware of where shadows will lay and compensating for it.

4. What is your favorite color and why?

My favorite color is green, I suppose. It’s a color that’s always around me.

5. You’ve gotten quite proficient with using your flashes creatively rather than just blasting the subject to freeze the moment. what made you realize you can control & sculpt more with light, rather than just hope for the best?

I only have two flashes so I’ve worked around using the sandwich technique to give off a dramatic look while still lighting the subject properly and avoiding harsh shadows . I have to make due

6. I’ve watched your black & white and color photographer evolve rapidly over the last 4 months. Do you feel yourself growing into a style and place you’re comfortable with? Or do you think you’re still in limbo?

At this point, I find myself wanting to do nothing other than take photographs, whether they be black and white or color. So yes, I feel comfortable about the style I’m growing into.

7. Your work, for the most part, is spread out among your flickr. Have you thought about putting your connected & strongest work together into a website eventually? Because I can see your latest skate work, suburban landscapes, and 35mm portraits fitting into 3 different series’ very smoothly.

I’ve thought about a website, though I still have so much ahead of me. I don’t think my series would be strong enough, yet. Eventually, yes I will put together a website and I’ll keep in mind about those three series, Andrew . : )

8. How do you feel about living and growing up in Arkansas? Is it a place you love or hate? If you hate it do you ever think you’ll look back on it in appreciation? And how has growing up there affected you yourself and your photography?

Though the skate scene down here is small and the weather is always doing something different, I surprisingly love living in Arkansas. Growing up here has rubbed off alot of its southern-ness on me, though I’m not the stereotypical red neck like most would imagine when they think of Arkansas. I like the fact that I grew up here in a podunk state cause I haven’t seen/ experienced half of what the world has to offer, so when I see things that interests me photo wise it can be overwhelming. So I’m looking forward to the years ahead.

Glad to be a part of this.

Matthew’s flickr.

Colin Kenniff, 28

Tue, 09 Feb 2010 19:55:00 -0500

1. Where did you get the idea for making these videos? Where have they taken you?

I couldn’t sleep one night, and I needed something to do to pass the time, so I started trying to make videos with this cheap digital camera I bought that was half-broken. I kept fooling around with it for a while until it finally died. But my sister was kind enough to let me borrow her camera, which was a lot better quality, and so that allowed me to try some different things. With a few of the videos I may have had a specific idea of something, though with a majority of them I pretty much just end up framing a place, turning on the camera and let things happen, or not happen. It’s a worthwhile exercise to do, because it affords me an opportunity to notice things that I may not have otherwise.

2. Though simple at first appearances, the videos are beautiful in the sense that they are extremely thought provoking and peaceful. How do you feel when you make them?

I’m naturally attracted to things and places that are quiet or peaceful, and any sort of creative activity makes me feel more grounded and tends to lend a bit more coherence to the world around me; so, I’m generally in a calm frame of mind when I make them. Taking videos-similar to taking photographs-requires me to be a lot more sensitive to whatever is around me, whether it be sounds, silence, light, movement, proximity/distance, which are all things that are really important for me to be aware of. Though I think a lot of times, I’m guilty of getting too caught up in the act of trying to preserve a moment or situation I’m in, and as a result lose the ability to fully appreciate what it is making me feel. I’ve found that doing things like the videos, or some activity that still has an element of creativity to it, but is within a context or with tools that I am less familiar with-or better yet, completely naïve about- is an effective way to counter this, and in turn, can make the present feel more present.

3. Why do you mix moving pictures with still ones on your stream? Is there a particular medium that holds a special place in your expressionism?

I think I gravitate equally to both moving and still images. Each resonate with me in their own unique way, but at some level they kind of cross over into each other and merge together. I have been taking pictures on and off since I was very young, so for as long as I could remember I’ve had a certain fascination with observing. I have a strong admiration for those who can articulate something visually with clarity and honesty, but it’s something I’ve always struggled with. Even though I am very passionate about mediums like photography or film, and get a lot out of working with images, I would say that sound is rooted a great deal deeper in me. I’ve always felt far more at home with a guitar in my hands than a camera.

4. You’ve expanded from just ambient pieces to more along the lines of daily reflections, if you will, do you see yourself expanding to any further areas?.

I’m not sure. I haven’t really thought about it. I’ve just been trying to follow impulses whenever they come-some of which end up going somewhere, most of which fail miserably. I don’t know if it will be something that goes anywhere further. For now, I’m content with just using it as a way to help me observe small, simple moments.

5. Your music is fantastic, any plans to start releasing work?

Thank you. I’m currently trying to focus on writing music for a proper release of some kind. I don’t know when that will be. People have been after me for a while to get something out there, and I figured it’s probably time I did. Other than that, I’ve been keeping a blog here for a while where I put random projects that I’ve worked on and update it every so often with things.

Colin’s blog & flickr.

Celections

Sat, 06 Feb 2010 02:11:00 -0500

We have a new section to our blog titled as such: Celections.

It’s all about one photo and one sentence.

So follow us over there as well. You’ll like it I’m sure.

J Alex Goss & Alexa Rae West

Mon, 01 Feb 2010 00:53:00 -0500

Andrew M: Hello there.

Alex: Hello

Alex: Do you want us on two computers?

Andrew M: Sure, that might make it easier on the answering too.

Alex: she’s making grilled cheese

Alex: one minute…

Alexa: Im here now

Andrew M: Excellent

Alexa: if the grilled cheese burns I blame you, Andrew

Andrew M: Hahah, I don’t want that to happen.

Alex: no worries, I’m watching it from here.

Andrew M: Alright then, ready?

Alex: Yessir. Sorry for the wait. Traffic was grosss.

Andrew M: Haha, it’s totally fine. Here’s the first, just an intro, then the heavy stuff.

Alex: haha, hit me.

Alex: us

Alexa: thank you

Andrew M: Haha, Can you tell us your names and age?

Alex: John Alexander Goss - Eighteen.

Alexa: Alexa Rae West, 18 years old

Andrew M: Either of your work seems to be very inspired by one another or at least very interconnected. Can you tell us about that?

Alex: I smell burned grilled cheese… Since we’ve been dating, at least one of us had a camera. And then both. And we always seem to when we’re together now. We just document what we do together in a way.

Alex: oh, it’s good burned.

Andrew M: Hah, so I’m not blamed am I?

Alex: I like em with a little black.

Andrew M: Hahah. Is it natural for the both of you to take each other’s photo now?

Alexa: Haha, not really all the time

Alex: She was really against me photographing her for awhile.

Alex: But then she got her diana…

Alex: And it just became an exchange.

Alexa: I had to let him if I was taking his picture all the time

Andrew M: Haha, so an equal exchange?

Alex: Somewhat.

Alex: The first time I made it clear that I wanted to be more than friends was when I asked her to be in a photo.

Alex: http://www.flickr.com/photos/goss_alex/283778…

Andrew M: Wow, I don’t think I’ve ever seen that one. Don’t know why.

Alex: I hide things.

Alexa: it’s a bad habit of his

Andrew M: Hahah, So is that before or after?

Alexa: before

Alex: Before the hurricane too.

Alex: I seem to base most of my important dates off of that…

Alexa: that’s so random, Alex

Andrew M: Natural disasters?

Alexa: We just had it bad with Ike.

Alex: Last September Houston had a pretty bad hurricane. (Ike)

Andrew M: Yeah, we got some of that in Alabama, nothing horrible though.

Here’s another for you both:

Andrew M: Both of you seem to have a penchant for photographing very natural moments with friends, each other, and landscapes; in terms of both composition, mood, and light. Is this something each of you grew into?

Alex: My photography was all over the place before I started dating Alexa. I’m not saying she was the direct cause of its change, but she grounded me. I started to realize that what was true to me was more of a documentary approach to the world then I had been before.

Alex: I think it’s pretty natural to Alexa.

Alex: I have to work at it.

Alexa: Lies, I have no clue what I’m doing

Andrew M: Haha, Both of you have made some very distinct progressions lately. Alex you moved from 6x6 to 6x7, which doesn’t seem to be to big a change, but it really does change the aesthetics of a photo. What are your thoughts on that? Alexa you’ve progressed a lot in terms of style, do you feel like you’re getting closer to where you want to be? Are the both of you content with where you both are?

Alexa: I took photography freshman year but didn’t pick my camera up again till I started dating Goss.

Andrew M: So he got you to really carry it everywhere?

Alexa: Yeah, he pushed me to try it out. I get frustrated easily.

Alex: She’s learned a hell of a lot in a year. I grin like a fool when I see her negs that she gets back from that crazy little great wall.

Alexa: Im glad I got the Great Wall. Looking back now, the diana wasn’t smooth enough for what I wanted.

Andrew M: Yeah, that thing is a find, where did you get it from?

Alexa: Ebay!

Alex: We hunted on ebay for months.

Alexa: China.

Alexa: A man with a smokin’ problem.

Alex: Every camera I’ve bought off ebay smells like an ashtray.

Andrew M: Hahah, mine always smell like leather. Even when there isn’t any on the camera.

Alex: I tried to get her to buy a rolleiflex or even a yashica.

Alex: …But she wanted something different.

Alex: That is kind of creepy.

Alex: I don’t mind the smell of leather so much.

Alexa: Alex is rambling.

Alex: Back to your question.

Andrew M: Most definitely is, wears of after being with my other cameras. Hahah.

Alexa: Alex’s stuff changed during the summer. His black and white was a different feel than his other work.

Alexa: As for me, I don’t really know what my style is. I know what I like and what appeals to me and sometimes it comes out in pictures.

Alex: My brother (Ben Goss) and sister kind of challenged me to start over with Black and White. It was scary. I was in a dark place emotionally at times this summer. Not saying that B&W is automatically emotional, but I had to say some things and I wanted to push myself. The city helped too.

Alex: But when I got home and was back with Alexa, b&w wasn’t enough for me. It didn’t feel right.

Andrew M: So back to color it was.

Alexa: I like Alex’s color stuff more.

Alexa: It fits him

Alex: It’s what our eyes see. It’s truth.

Alex: I think the rectangle is also more truthful.

Andrew M: So you feel black and white is a more dynamic/dramatic version of reality?

Alex: It’s so open to interpretation. It isn’t reality. It’s beautiful and magical and malleable, but right now, it’s not who I am.

Andrew M: Right on.

Andrew M: Alexa your body paintings (for lack of a better term) are bold and complex. Do you have any plans to continue that and how did the idea arise? And how did you get Alex agree as well?

Alex: She’s a doodler.

Alex: But they’re badass.

Andrew M: Very.

Alexa: Haha, well like Alex said, I just doodle a lot. Play around and this and that. I have this weird adoration of the human body- feet and curves and backs, so I think that’s what inspired it.

Alex: She’s a dancer.

Alex: She needs to do another one soon.

Alex: (body painting)

Andrew M: Most definitely, do you have any ideas to continue it with?

Alexa: I’m not allowed to use sharpie anymore and eyeliner smudges so baaaad.

Alexa: I’d love to do something somewhere besides the back

Alexa: like a face or neck or chest

Andrew M: So that last one was sharpie?? So it didn’t come off easy did it?

Alexa: Haha, I’ll let Alex take this.

Alex: I tried to get it off in the shower, but my sheets and pillow were purple the next morning.

Alex: Worth it though.

Andrew M: Ohh man. Definitely.

Alexa: Mama Goss was not pleased.

Alex: She liked it a lot though.

Andrew M: The face, neck, and chest is probably more of a challenge wouldn’t you say?

Alexa: Depends on what I put on it. The areas are curvier. I’d also like to try someone on a female.

Andrew M: Looking forward to the next set either way you go Alexa.

Andrew M: Alex you’re skilled with both portraits of people and objects, is there one you prefer over the other?

Alex: That’s a question I’ve tried to wrestle with. But lose to all three beasts.

Alex: I see importance and beauty in a lot of things…

Alex: Objects can be little people, and people can be very sculptural.

Alex: That’s a crappy answer…

Alex: Oh, and the third I meant was landscape… Misread your question.

Andrew M: So you’d say your strength is recognizing certain qualities in anything?

Alexa: I like Alex’s portraits a lot.

Andrew M: Rather than a certain type of photo or subject I mean

Alex: I guess I’ve always got my eyes open… I don’t think what I see is necessarily better… but important to me.

Alex: My images of people are usually the ones I go back to more often.

Alex: To answer your question.

Andrew M: Right on, and I didn’t want to use the word landscapes as your photos that lack people usually focus on a certain object within it’s surroundings rather than the place as a whole. Would you agree?

Alex: Haha. I think that’s a good point.

Alex: That’s definitely the case with the “landscapes” that turn out well.

Alex: Something crazy’s got to be in there.

Andrew M: Haha

Andrew M: I think it’s definitely a strong point of yours either way.

Andrew M: Alright, running out of questions, so here’s the last one.

Andrew M: What plans lie in the future? Are both of you heading for New York? Or elsewhere?

Alexa: Alex is probably going to NYC, destined for greatest in photography.

Alexa: I am in limbo.

Alex: Alexa and I spent most of this month up there.

Alex: It was good to be there with her. I think she would do great. And she’s applying to Marymount for dance.

Alex: I’m not sure where I’ll end up exactly, but I like New York City a great deal.

Andrew M: It’s definitely a great place for both of those things.

Alex: It would be a good place to go to school.

Alexa: I think I’d miss trees a lot.

Alex: You’re in brooklyn now?

Andrew M: I am. It’s a great place.

Andrew M: And trees… I miss them too.

Alex: Damn we were just there. We shoulda gone to a show.

Alexa: I’m applying to a Long Island school too. Small place, but there will be trees.

Andrew M: Just missed each other.

Alex: I hope we were okay.

Andrew M: Hah, it was great. Pretty epic.

Alex: Hahaha.

Alex: Look forward to it.

Alex: We’re very flattered and honored to be on there.

Andrew M: Glad to have you.

More from Alex & Alexa:

alex’s website

alexa’s flickr

Van Robinson, 17

Thu, 28 Jan 2010 23:28:00 -0500

Randall

alright

what’s your name and your age?

Van

Van Robinson 17

Randall

so posed or unposed for your portraits? either way your portraits are very natural.

Van

Yeah about 90% of my portraits are posed, but I normally dont just snap the photo right when the pose. I watch them for a while with my camera read until their expression is just how I want it.

Randall

so do you ask them to hold their pose?

Van

Yeah, once I see the expression I like I normally will just ask them to hold. But that is not always the case, sometimes if we dont have time or I can tell that the subject isnt in the mood Ill just snap the photo

Randall

would you say that most of the photographs that you are happy with come from the “snap” method or the “hold” method.

sounds like we are in a birthing class.

Van

haha definitely the “hold” method

it gives me more control over the content

Randall

speaking of content. would you agree with our observing that the work of your girlfriend and friends are your most inspired photographs? what do you think this is attributed to?

Van

Well I spend all of my time with them. The two guys who come up in my photos are my bestfriends. Tosh (the one with a mustache) is also a photographer, so he will help me out with shots he think would look good. And my other friend Jesse is just really really comfortable in front of the camera, he is the most natural looking by far. As for my girlfriend she gets sick of me asking to take her picture when were out doing stuff haha. But she is very supportive of me so that helps. Since I am always with these 3 people i dont really have time to go out and shoot other stuff like landscapes or street photography. But I really am happy with what I get to shoot

Randall

so it’s the relationships that you have with them outside of photography that make your photographs so personal?

the photographs of your girlfriend are especially good.

Van

Yeah I would say that. My friends and my girlfriend especially are very comfortable with me. I think you can see that they feel comfortable and natural in my photos

Van

Ive taken pictures of other friends before, and it just doesn’t work the same. The end result usually looks forced and uncomfortable.

Randall

I see. I definitely understand that.

A lot of your photos are taken in really interesting places. Do you have any good stories about getting to these places or anything that happened while you were taking photos?

Van

Well I live in a very big 18th century home that is in the middle of a trailer park. My house is a historical site so the landlord cant tear it down, but he can let it fall apart naturally. So my house is completely falling apart. But its one of my favorite places to shoot, inside and out. I dont really encounter much with my girlfriend, but alot of funny things have happened with my friends. We have had some good times with homeless people in the past. Besides that we just go out to cool places with the intentions to walk around and take photos…But like I said before, my house is my favorite place to shoot right now

Randall

can you go into some detail about any specific time that stands out to you?

Van

I have always liked right before the sun comes up. And at night. I’m not really into long exposures, but I like using all of the different ambient light it has to offer. But my favorite is sunset when a storm is passing, its rare to have the two at the same time. But when it happens its magical.

Randall

agreed

california isn’t really the best on light so when we get some it doesn’t matter what you shoot as long as you shoot

Van

Definitely. That past storm that we had, when it was clearing I shot an entire roll, I never ever do that. But I got a bunch of good photos.

Randall

yeah I saw

so good.

Van

i gotta drain the main vain. next question?

Randall

im keeping that in

well your photography has definitely come into it’s own more recently. youre photographing more moments and fewer observations it seems like. why the evolution?

Van

Well i have just been taking things into consideration when shooting alot more, like composition and exposure. And it is a mixture of getting a rangefinder, and bulk loading film. Bulk loading enables me to shoot alot at a very low cost. And I started having CVS scan my photos, which is an incredible 3 dollar investment . I used to shoot alot more Medium Format which is alot more expensive, and only 12 frames in my 6x6 camera. So i would have never thought about burning through a roll. But now its like I’m not worried about wasting frames.

Randall

so 35mm is giving you more freedom?

Van

I would say so, its just so much cheaper for more photos. I have shot all formats and I know that 35mm is the lowest quality. But if I need a high quality photo then I will pull out the 4x5 and some of that film you sent me

Randall

hows that film by the way? do you shoot a lot of 4x5 or medium format still?

Van

Not so much 4x5 just because if i want to take a single portrait its about a 10 minute process for me.

Van

And medium format is just expensive to process where I live. I will always love 6x6 though. It was the first film format I got into, before 35mm even.

Randall

how did you get your start in photography?

Van

Its kind of funny, I acquired a water housing that would fit a Canon 20d, and at the time I was really into surfing (remember this was about 2 and a half years ago) so I got a 20d and tried surf photography and I hated it, I had that camera for about 9 months and then I got a 30d and started getting into portraits, I only had that camera for about 4 months. Then I sold it and got a Bronica Sq system. And since then its just been all learning

Randall

epic progression

well where do you want to go with your photography? where has it taken you and where will it take you as you get out of high school and into the real world?

Van

I am really enjoying it right now, as for the real world, I think I will photograph people no matter where I am. Photography has given me the best hobby in the world, its definitely my niche, I am constantly learning more and more. That is why I love it so much. There are countless amounts of things to be photographed.

Randall

love it

i think thats a great place to conclude

Van

No problem, I am happy I could be apart of this.

Randall

great.

thanks van.

Van’s flickr & website.

Sander Meisner, 30

Mon, 25 Jan 2010 16:14:00 -0500

1. You have a remarkably keen eye for urban landscapes. how do you find so often these interesting scenes? do you always carry your camera with you or do you seek then photograph?

I usually go out at night with a general idea of the area I am going to visit, but without knowing which buildings/places in this area I am going to photograph. I then look around for subjects that speak to me, either because of geometry, light, shadow, color, subject matter or (preferably) a combination of these things. I tend to revisit a location mutiple times, I think that if I shoot a certain place more often I get the more interesting shots, I come closer to the essence of a place and shoot less obvious shots.

On the other hand I sometimes see places I really like and then take specific trips to these places to photograph them, however, I like to photograph at night, quiet often something looks very promising in daylight but when I get there at night the light is wrong or it doesn’t have the same charm it had in daylight, these are the times I go back to shoot in daylight.

2. Generally speaking which is the more emotional photograph to you: the landscape or the portrait? are they equally as impressive when done “right”?

I think pictures need live, need to be populated, especially urban landscapes get some kind of sense of scale and grounding when there is people present, mine are empty, I like the quiet mystery the absence of people creates in my work, but I do try to substitute the people by objects, or try to photograph the spaces I take pictures of in such a way that there is some kind of presence, that the space or something in it is almost alive, in that way I am trying to generate emotion.

3. Why do you choose the night time to photograph the majority of your scenes? do you think the trend to photograph at night is catching on or fading away?

I mostly shoot at night because I think the light is much nicer, more interesting, daylight looks to obvious sometimes, and think the same scene will look much more interesting when shot at night. Some of my night work looks like daylight because of the very long exposure times, but the direction of the light is of the night, I think this is interesting because the untrained eye will not immediately realise that it is taken at night, but does notice it looks different. Also, the color of light at night is different, there is a lot of yellow, red and green in streetlights which can create a beautiful mixture of different colors in the scenes I am shooting.

Because I photograph at night I have to do long exposure, I really like these. I get to spend time in places I normally would never stop, now I have to expose my films for sometimes up to 15 or 30 minutes. I get a weird sense of connection with the places I photograph because I actually have spend time there, sitting down looking at the scene I am taking a picture of.

4. It is often said that architecture in europe is much more fascinating and pleasing than that of north america. As a skilled observer of such things, do you find this to be accurate or off the mark? If the notion is correct do these more beautiful arrangements attribute to your artistic inspirations or are they simply another object with a foundation to be photographed?

I do think there is good architecture in both continents. But I think there is a much older history in architecture here in Europe and in Asia, I also think it might be more daring in Europe and Asia, but I don’t know much about contemporary architecture in America, I am more interested in areas that are “in between”. Areas that are in between
old and new, in between used and unused, in between populated areas, basically I am interested in areas that are changing or about to change, I like to photogrPh these ugly unnoticed places and like to make them beautiful.

5. Speaking of north america, where have you been and what have you seen?

I have never been to North America, or, America at all. So far my work has been shot in Hollans, the United Kingdom and Iceland. I would like to go to Miami and California to work.

6. You often approach architecture with heavy diagonal/leading lines as something that could be described as a “classical” and weighted style of composition. Is this a style you grew into naturally? Or after many times of studying a structures form?

When I am taking pictures I try a lot of different compositions but usually there’s only one of two that work for me. I think this just grew on me, I don’t think a lot about my compositions, they are based on feeling and instinct, I always feel that certain compositions feel more balanced, more “correct” than others, those are the shots I take.

7. You seem to shoot a lot of work. is it purely out of enjoyment? or is there something along that drives you every night?

I love to do this, it is my favorite thing in the world. I love everything about the process, the shooting, the scanning of my films, the editting of my shots, having them printed and exhibiting them. I do this first and foremost for myself, but I do really like to show my stuff to other people as well, I try to create something beautiful,
beautiful things need to be seen.

8. How do you see yourself changing in the future? Do you think about expanding into shooting other subjects? Or do you think you’ll always be able to grow and progress with shooting the subjects you are currently?

I don’t have any plans to shoot other subject matter, I want to get better at what I am doing already. I want to go and photograph more in Iceland, but also China and Japan are interesting. Going to different places and cultures will allow me to grow.

Sander’s website & 2x2projects.

Pauline Magnenat-Mérigeot, 21

Thu, 21 Jan 2010 12:32:00 -0500

1. Have you found that traveling inspires art or that art inspires traveling? Where have you gone that is most and least inspiring?

I have always found that my best photographs were the ones I took away from home. I think the eye becomes more attentive when you’re in a unfamiliar environnement. I shoot a lot more when I am travelling, these days I’m not going out much and haven’t shot in quite a while. I’ve been going to Tuscany since I was born and yet my best images come from there, so it’s a mix of being used to a place and not living there I guess. It’s also got to do with the light, the colors of a place. Tuscany has that southern light that is so beautiful, especially during the summer at the end of the day. I don’t remember the least inspiring place I’ve been to. I went back to Geneva (where I’m originally from) a couple of weeks ago and during the winter the light is very grey and dark, so it wasn’t worth taking a picture. Summer and fall are best, in my opinion.

2. How have you grown or changed, stylistically, since you started studying at camberwell college of art? What would you advise to people looking to study photography or some artistic medium at an art school?

I think my photography and the way I conceive it have changed drastically since I started studying at Camberwell, but especially more during last year and this one. I tend to think more about my work before I actually shoot it, whereas last year I would take my camera and walk around for hours. Nowadays I am more interested in conceiving a photograph or a project prior to its realisation. I shoot maybe 1/10 of what I used to but all the photographs I take are thought of before they are made. Still, I tend to edit a lot and show maybe one photograph out of ten.Camberwell is a great place if you are willing to work independently. You don’t get briefs or if you do, they are very vague and you can work on whatever you want. It forces you to figure out what exactly is that interests you in the medium. And it is actually the case in all artistic paths, if you want something to happen, I believe you have to do it yourself.

3. Your photographs of people are from a stand-offish perspective however they don’t give off a “voyeurism” vibe. More, they seem to be compositions that emphasize empathy in the moment the subjects are experiencing. Has photographing people like this come naturally to you? and would you agree that your photography is more spontaneous than planned?

One of my current projects is to photograph strangers. I haven’t started it yet but it will be interesting to see how different it feels from photographing relatives and beloved ones, which is all I do and have done so far. Portrait photography has always been what interested me most in photography, as well as narrative photography. I am often drawn to photographing people quite spontaneously when I see something, a detail. It’s often a matter of shadow, a ray of light on a face, or something even smaller, water drops on my brother’s neck for example. I think the simple fact of taking someone’s photograph is already some kind of empathy and it is even more the case of course when you are photographing your beloved ones.

4. Sometimes it appears as if photographers are so gifted and so lucky (it can’t be denied that luck has a lot to do with photography) that their moments are crafted long before their ever leaving the household. Your photos oftentimes have this “perfect” quality. how do you find what you photograph? and is it always on your mind to look for some of the great subtle moments you have in your repertoire (say the photo of someone’s vague shadow on a closet door)?

Well thank you. I try to be as attentive as I can and look for the smallest detail that will make a good photograph. As I said, I really try not to waste any film and think before actually taking a picture. I sometimes feel like I am not shooting enough, but there’s nothing worse than getting a roll developped and not having even just one photograph that stands out. I am trying to avoid this as much as I can by taking a picture only when I know it will make a good one, but of course it doesn’t always work out.

5. The moments you’ve photographed in interior places seem to be far more intimate than your work from outside, what constitutes this slight change? because you’re closer to the people you’ve grown to know?

I really wish I knew how to talk strangers into letting me photograph them and this is something I want to do in the near future. I think it’s also got to do with the places and people photographed. I tend to photograph home quite a lot as this is my current project for Camberwell these days. Photographing the same person over the years is both intimate and very interesting, whether it be my girlfriend, my brother or my sister and I think the evolution of the relationships can be seen in the photographs very clearly.

6. Tell us about some of the people you look up to in the photography world (but not necessarily influenced by)?

I read a lot of photographers’ blogs and have always liked following the advance of their work through their posts online. Alec Soth’s recent return to blogging was great. Daniel Shea, Tema Stauffer, Richard Renaldi, Shane Lavalette, and Jörg Colberg are all people I read daily. It’s hard to look up to someone without being influenced and I don’t know how exactly they influenced me but Larry Sultan, Mitch Epstein, Doug Dubois have all been great influences to me.

7. What’s next for you?

I will have my BA in a year and a half and I quite want to assist a photographer for a while before settling on an MA as this is something I really wish to achieve. Photographing and reading about photography are so complementary to me and I just want to do this as long as I can.

Pauline’s flickr & blog.

Michael Donahue, 16

Sat, 16 Jan 2010 18:04:00 -0500

1. What do you look for in a subject? What draws you in to take a photograph?

Sometimes when I go out to shoot I have a particular subject or idea in my mind beforehand. Say for example, I have an idea for a series, I’ll try to compile photos that fit that theme. Other times, I’ll just go out with my camera and shoot whatever catches my eye. What I look for in a photograph changes all the time. Lately I’ve been interested in shadows and the way light falls on certain things.

2. What do you think of the word ‘meaning’ and how it correlates to your photography? What do your photos mean to you? You share intimate and sometimes very honest/simple moments of your friends and family. Sometimes just a photograph of your mother on the porch. It’s such an unassuming photograph, most people pass it up; what part of that photo compels you to share it?

Most of my photos I’m sure have more meaning to me than to anyone else looking at them. Whenever I take a photo, I try to capture a particular feeling I have at that moment. When I look at a photo it almost takes me back to when I shot it, and makes me remember that particular feeling. That photograph of my mom, for example, is down in Wildwood, NJ when we were sitting on the deck in the morning. That’s something I’ve always done down there and I love the feeling, so I decided to capture the moment.

3. Your photography is constantly growing. On your flickr one can see the multiple stages you’ve been through lately in the past couple months. What are your current thoughts about your work? Are you content or ever searching? And can you look back on your previous work with a satisfaction that you have moved forward or with a specific disappointment?

I always look through my flickr at my older work just to see how it has changed. Right now I’m pretty content about how my work is, but I’m still trying to better myself of course. When I look at my older work I’m happy that my work is somewhat improving. I remember the first time I was really stoked on a photo. It was one of my sister on the beach holding her flip flops with her back facing me and her head turned. I took like three or four of her and that was my favorite. It was during the last weekend of summer before I went back to school and my sister, cousin, mother, and I went for a walk on the beach to watch the sunrise. It was such an awesome moment I had to capture.

4. How do you plan to grow more?

Since it’s the new year I’ve made a few photography related resolutions. I want to keep shooting a lot. 2009 was the first year where I shot basically all the way through without any breaks or anything. I also want to print black and white and color in the darkroom. I made my first contact prints a couple weeks ago and that was a lot of fun, so I’m looking forward to printing.

5. Tell us about the best thing in the world.

The best thing in the world would probably be walking on the beach when no one else is on it. Either in the morning or at night.

Michael’s flickr & blog.

Ibán Ramón, 40

Tue, 12 Jan 2010 22:57:00 -0500

1. Your skills range from having a strong centralized subject to having a complex photograph with scenes within the scene. Where does this fluctuation between two polarized styles come from?

Acostumbro a colocar los motivos que fotografío sobre el fondo como si fuese un escenario, trato de controlar al máximo los pesos visuales y la composición, esta manera de trabajar tal vez tiene que ver con mi profesión de diseñador gráfico.

I like to placing the things that I photograph on the bottom as if it was a theatre scene, i try to control the visual weights to the maximum and the composition, this way to work perhaps has to do with my profession of graphical designer.

2. What do you and the subjects of your portraits talk about before you photograph them? Do you direct them for a specific look you want or do you just let them relax?

Les explico cuales son las intenciones, lo que que yo veo en las escenas que fotografío, y la expresión que busco en ellos. Habitualmente les hablo hasta encontrar lo que busco.

I explain to them which are my intentions, which that I see in the scenes that I photograph, and the expression that I look for in them. Habitually I speak to them until finding what I look for.

3. What is the ideal photograph? Is there such a thing?

Cada día sería diferente. Creo que puede haberla en un instante preciso y en un lugar concreto, pero sólo por un instante.

Every day would be different. I believe that it can be it at a precise moment and a concrete place, but only for a moment.

4. When did photography find it’s way into your life? How have you grown/changed as a photographer since that moment?

Hago fotos desde muy joven, para mí es un modo de expresión más que alterno con la pintura, la ilustración y el grafismo en general.

I make photos from very young, for me is a way of expression more that i alternate with the painting, the illustration and the graphism in general.

5. How often are you inspired? What inspires you?

Uno se siente inspirado a la vez que necesitado de hacer cosas. La vida es una fuente de inspiración inagotable, a mí me inspiran mis propias obsesiones.

I’m feel inspired at the same time as needed to make things. The life is a source of inexhaustible inspiration, I’m inspired by my own obsessions.

Ibán’s flickr.

Armando Alvarez, 37

Sat, 09 Jan 2010 01:47:00 -0500

(and wears a size twelve running shoe)

1. Your photographs seem to have a certain “americana” feeling, more prominent in the earlier work on your flickr to the much more subtle, though still striking, in the latest. do you agree with this observation? where are you deriving the inspiration from to photograph like this?

Yes, I’d agree. I’m obviously very drawn to vernacular photography. Though there is an apparent shift in my subjects from the oldest of my stream to the newer work, I am still very intrigued and inclined to shoot the everyday, and in spite of the “shift”, I believe I am still shooting similar subjects. I wouldn’t say I’m necessarily inspired by certain photographers because I think that can be a mistake. I tried to think I was Stephen Shore for a bit and realizing that I failed miserably is a huge understatement. I do look at the greats for motivation, though. My favorites (for now) are Elliott Erwitt, Stephen Shore, Martin Parr, and William Eggleston. There are definitely some great ones here on flickr, too, that make me want to grab my camera and shoot.

2. How do you feel about your photography, and everyone else’s for that matter, at the turn of the first decade of the 21st century? What is going on for you in the next decade?

I’m a hopeless romantic and my purely unscientific research (and hope) leads me to believe there will be a huge renaissance in film photography. You see a lot of younger people who started with digital picking up film cameras or processing their digital shots to look like film. Photography magazines like PDN also feature a lot of up and coming artists with an appreciation for film.

As for me, I’m just going to keep shooting for fun, and if something comes along that seems fun, I’ll jump on it. I shoot for enjoyment, and the feeling I get from seeing my results after development is something that will never get old.

3. The photographs of (presumably, pardon the error if this is incorrect) your children and family are absolutely striking and beautiful. How do you find these moments? Do you feel photographing one’s family is easier or harder than photographing a stranger?

I really relate to photographers that are in the same stage of life as myself—husband and father. Although they are not always the most popular photos (almost like watching your neighbor’s vacation videos), I love to photograph my children. Some of my favorite photos are those my dad took of my siblings and I when we were kids, and I just hope my children will treasure those moments that were special to me when they were kids.

Photographing strangers is most definitely more difficult. I’d really like to do more portraits, perhaps of strangers, but I’m still at the point where I feel too intrusive for the moment and mood I’d like to capture from a stranger.

4. You have a small set of work called ‘the progressive blues experiment’ based off of simple in-camera tricks that end up as photographs with mind-blowing results. what was your inspiration to shoot those?

Those came during a time when I came to the realization that a huge majority of photographs on flickr had some form of post processing. Photography books used to focus on your technique in capturing the moment at the time of taking the picture, the fundamentals of photography, etc. Photography books now focus on computer software. I find this a bit tragic, so I thought of a project for myself where I could create some moments with my old camera that were fun and extremely simple without the use of any post-processing. Let’s face it, the shots in that set could be created with any entry-level software, but I got a kick out of doing those with just a camera and props. This set was not made to prove a point, it was mainly just for me to have fun.

5. Have you photographed the most beautiful thing you have witnessed thus far in life? What was it?

Interestingly enough, I’d have to say this is one of my favorite and most beautiful photographs I have ever taken…

Not only because it is a photograph of my daughter, but because it was not staged, and I didn’t tell her to look a certain way. It was all her. She has this ability to completely forget that the camera is there and just be. My son is a ham in front of the camera, but she just stands there and is just herself. This is the kind of portrait I want to take all the time.

6. Your night photographs are astounding and introduce the great, endless possibilities of careful/metered long exposures to many photographers. Since I’m sure many people want to ask this, we’ll ask it for them… can you tell us about the first time you went night adventuring? and how did your procedure grow over time?

The first night I went out night shooting is with my trusty Nikon FM. I went out not knowing what I was doing, just knowing that I wanted to capture some great photographs. My first few rolls were not entirely awful, and I didn’t care too much because I knew I just wanted to learn. I took a lot of notes, did a lot of bracketing, and just sharpened everything by applying what I was learning. The technique of shooting at night really isn’t difficult. The challenge comes in framing/composing subjects a certain way, and using the available light to do whatever you want it to do. My process has really not changed, but things have definitely become much easier now that I feel comfortable knowing what works and what doesn’t. I have to admit that I also enjoy the challenge of getting something right in one shot, so I very rarely bracket now that I shoot only medium format.

7. Is your flickr name, the whïte elephänt, just an jest or does it have a meaning to you or others?

Definitely in jest—I’ve used that name for a long time as a nickname for my 1965 Impala that is in some of my photos. A huge mass of white sheetmetal. The umlauts came as a nod to the hairbands of the 80’s. Now I use my real name, but I’m still diggin’ The White Elephant and may go back to that after I get my website set up.

8. Golden hour at dawn or dusk?

Definitely dusk, you have more opportunities to play with.

Mando’s flickr.

Erin Hanson, 34

Sun, 27 Dec 2009 18:07:00 -0500

1. If you could only make one more photograph or design project, no matter the scale or complexity, what would you do with it?

That’s hard to say. I have a wishlist going and if time or money were not an object I’d love to tackle one of them sooner than later. But I feel like my ideas are always changing or new situations/settings present themselves and what was once “the greatest” idea becomes usurped by something else entirely. And the thought of making only one more project breaks my heart. I do what I do because otherwise I would probably be institutionalized… I need an outlet.

2. When you are photographing is there one thing in particular you look for? Is there a common theme you feel that ties together your photographs (other than the fact, of course, that they all came from the same mind)?

Not exactly. My favorite thing to do right now is drive around aimlessly. I’m not necessarily looking for anything but I keep my eyes sharp. Ever since I was a kid I have been fascinated by the things left behind, the stories abandoned places tell so that is what definitely attracts my attention. In general, whether it’s a building or a person I like things that are not necessarily conventionally beautiful or are a little off. That I would say is an accidental theme. Also minimalistic composition, maybe to an almost boring fault sometimes.

3. Who or what do you listen to while you make your non-photographic art?

I don’t have any particular routine. Sometimes my TV is playing in the other room, sometimes music, and sometimes I grotesquely and obsessively play the same song over and over if it’s enhancing my mood.

4. Could you go a little in depth on your project “the black and white years”? Is it actually the culmination of years of work?

It is a collection of several years … from high school to my mid-ish twenties. At that time I was mainly shooting people with black and white film. For the most part they are all very personal images and I look back on them fondly. One in particular I love is the one of my grandmother smoking a cigarette in my mother’s wedding gown. And a lot of these marked the beginning of my initial love affair with photography… the excitement, being a part of the process from start to finish, getting people to play along. Individually the photos might not be very impressive but they are a great life bookmark to me.

4b. What is going on in this photo?

Oh, and THAT picture… that was a guy (Joe) I went to high school with. I basically picked through all of my friends or acquaintances and had a session with them. We took a ton of pictures inside and faced with a “now what” I let him do whatever he wanted. He found a gun in his father’s closet and went outside and did this. He thought this was funny. I did not. But that was Joe and this was the end result.

5. Do you always carry a camera with you?

Yes, some sort or another.

6. Is there anything you really need to get accomplished this week but haven’t even started on yet?

The answer is always yes. I need to work on some photos that I took of a friend’s daughter. And I have also been planning on putting together a few photo booklets and having them printed. AND updating my website. I dream of a day that I will be one step ahead of my to-do list.

7. I always though it was amazing that you could take sometimes horrible consumer films and create something great regardless. Is there a reason, though, that you’ve mostly been shooting with Instant film and digital lately?

I have always loved instant film and when there are spikes in my instant output it’s either because I could afford it or found the film somewhere. Digital, long story short (maybe)… when I made the conscious decision to get it together and get back into photography I initially chose live music as my brushing-up activity. Using digital seemed like it made more sense and I splurged on a nice (at the time) digital camera and lenses. Over the last couple of years as I have been rediscovering photography I’ve been finding what I truly love to take photos of, what feels most natural and most satisfying. I have a 35mm camera that I just had cleaned but I only have one lens for it, so I have not been using it as much due to lack of flexibility. I miss it, although I will say there are pro’s and con’s with every kind of camera (definitely prefer the richness and depth of film, but love the affordability of digital). I also have a Yashica medium format camera that I need to stop being afraid of and use it.

8. What does the near and distant future entail?

Learning to use that damn Yaschica for starters. I was unemployed for quite a while and that allowed a lot of free time to spend on projects. So now I’m trying to figure out how to keep the creativity in my life. My job before pretty much derailed anything non-work for years. I’d like to keep the momentum of the last year going and keep doing whatever enters my brain. Mostly I want to keep taking pictures, keep learning what I don’t know and get more confident, and ultimately be able to incorporate it into some sort of career (don’t we all!).

9. Your photoshop projects use common phrases and analogies twisted into sharp and sometimes depreciative humor. How and what made you start working on these? And it seems you currently flip back and forth from being into graphic design then to photography, is this something that manifests in real life or just the way you display it on the internet?

The very moment these started I was sitting in a coffee shop with my boyfriend looking for jobs on Craiglist. I was at my wits end and in my moment of utter frustration I made some silly thing that said “I need a job… please”. That’s it. No intent in trying to make something artistic or that people would like, simply letting some steam out of my head. I posted it on Flickr maybe also hoping someone somewhere might know of a possible job. My expression of unemployment exhaustion I suppose struck a cord with other folks. Ultimately I kept making them in an effort to unburden my brain… between money problems, relationship highs and lows, looking for a job… and then sometimes I translated some dumb nonsense that came into my mind in a flash to a Photoshop design. I’m honestly surprised that what is essentially a diary of mine is liked by strangers. As far as how they appear on Flickr, it’s an actual timeline of what I’ve been doing with my life. Photography I always try to do; the Photoshop stuff appears when something pops in my head or I’m having “a moment”.

Thanks so much for letting me be a part of this. I hope I do not sound like a giant tool!

(don’t worry, erin. you don’t)

Erin’s website & flickr.

Sarah Hermans, 19

Mon, 21 Dec 2009 16:25:00 -0500

1. What’s your philosophy?

I believe that what goes around, comes around. (Not that I never do or say the wrong things, but I think that when you try this, you’re already accomplishing a huge part of what Karma is about) I also don’t want to look back on life thinking anything that starts with ‘would have - could have or should have.’ And that’s a hard thing to accomplish, but I try. On another note, do you know the book ‘Extremely Loud and Incredibly Close’ from Foer? It almost felt like reading my soul, for example this line: ”I’m so afraid of losing something I love that I refuse to love anything”. It’s not a philosophy, It’s sad, but true, and I recognize myself in it. I do realize that means I should (ha there is the ‘should’) change something about my philosophy, but again, it’s not that easy.

2. In your ‘west usa’ series, you managed to capture landscapes and life/death with such a raw clarity, was your approach to these subjects different from your other work?

I started the trip after a few months of printing black and white and spending heaps of money, so I had no other option than using my digital camera. I did shoot one roll of film, but over a thousand digital ones in those 3 weeks. It’s easier to photograph digital, but I feel less connected to what I see, when I do so. I feel less and that’s why I stick to film. Probably because of the fact that I didn’t use film, it was easier for me to photograph, for example, that dead deer. I knew that if it would be too hard for me, I could delete it as soon as I had it. With film, it’s there, I can’t throw away film, so it would lay in your drawer, your room, your place, your life. It could be haunting in a way. Anyway, those weeks were the best weeks of my life. I’ve often said ‘let’s go somewhere unknown tomorrow’, but until january 2009 I never actually did it. It was beautiful, I’ve never been more grateful than I was then.

3. How many places have you traveled?

Not that many until last year, when I went abroad for a year. I shared a room with Sabrina and in that year I’ve been to quite some beautiful places in the US. New York was one of them. I loved the city, and admired how one could feel so at ease in such a big city. Ok, we woke up everyday by 7am to see New York awakening instead of rushing, but I still felt great there, while usually I prefere calmer places better. Another place I went to was Zion, where I forgot my heart, it’s so beautiful, the people were almost surreal. I don’t mean dreamlike, but beautifully down-to-earth, and not putting themselves but nature first, I must return there one day to pick my heart up again, and stay there for a bit. And become more like them.

4. a lot of your recent posted work is black and white. is there an aesthetic reason for this? do you self-develop/print?   

I miss colour terribly, but I just started studying photography in Sint Lukas, Brussels, and since our first year is black and white only, I barely/ don’t have time to shoot colour. I love black and white, printing it is nicer than colour, but it don’t think it’s as much my cup of tea as colour is.

5. The way you find your compositions and your light are remarkable, how often are these photos made on days that you go out specifically to take photos as opposed to days where you are just out and have a camera? Do you always carry a camera with you?

Most of them are taken on days where I accidentally have my camera with me. Accidentally, because I rarely have it with me. I wish I would take it more often, but I’m not a ‘decesive-moment’ photographer, so I’m not really needy of doing so. Unless I’m bored, or I have schoolassignments. Then mostly they’re made up in my head already, and selfportraitures. But I seem to love the ones taken on moments that were a coincidence of beauty, best. Light, discoveries of places, the clothes one wears that day, the way someone bends forward…

6. How do you feel about your photography? What part of you does it fulfill or drive?

Gosh… I like them, in that way that they’re memories. I have trouble remembering good things in life, I seem to forget them too easily. And my camera helps me with memorizing. And the images I took, whether they’re made up in my head first or not, whether they seem hopeful or melancholic or painful, they’re always about things that happened to me, things I felt or saw, and I’m happy they did, because they’re about life as I live it. I don’t think every image has an amusing story with it for strangers, but they do make me feel when I see them again. And some people seem to feel or see that for themselves, even though they weren’t there themselves. That’s fulfilling for me.

7. Where do you see photography in your life in the future?

For myself, everywhere, always. I really can’t be more specific.

Sarah’s flickr & website.

Randall Phenning, 20

Tue, 08 Dec 2009 02:48:00 -0500

1. What made you get into large format photography? and how many photos, that you’re happy with, are you hiding from everyone?

I guess I started LF because of the way the portraits look and since I’ve always liked photos of people it seemed like a good plan to try and get into it. On top of that there really is no better way to learn than to get a LF camera. No electronics, no reminders to do anything, just me and a lens and some film. As far as the photos that I am happy with, it changes day to day but I have a few projects that will have 4 or 5 photos each that are going ok so far. I will put those up on a site in February I am hoping….but I have a binder full of negatives that nobody will see while I am alive. ha

2. Have you always lived in newbury park and has that made any impact on what or how you shoot?

Yeah unfortunately I fucked off in high school too much and have had to stay in NP for all 20 of my years, not ship off like most of my friends. Not to be corny but it changes the way I look around a lot just because I really cherish when I am away. I love my town though. There are always golden moments in many more ways than one.

3. What was your first photo? (show us?!?)

Ha my first photo. I’ll get it in a sec from my dad. It is from a trip he my sister and I took to Maryland to go look at colleges for her. I was 15 or 16 I think. It was some Olympus digital that had a 3 second shutter lag and was 4 or 5 megapixels. My dad is really the one who motivated me to try it out more. His dad was an excellent photographer. Had a Mamiya tlr and a nikon. I have all of his old slides in two giant bins in my room.

4. What are YOUR future plans?

My future plans are to get up tomorrow morning.

5. What do you do when you aren’t taking photos? And what’s the weirdest place you carried a camera?

When i am not taking photos I am taking orders at chili’s bar and grill. I have eaten there twice in my life. when people ask me what is good there I always just say the water. I’m in love with one of my coworkers and I don’t think she knows. She has a lip piercing. Weirdest place I have ever carried a camera isn’t really that weird to me but to some it could be odd I guess. I used to have a surf housing for a canon 6-something and I shot a bunch of rolls with it before I sold it to pay credit card bills. I paddled out with it at 8 foot zuma one day on a good south swell. the current on the inside was really shitty so it was a chore to try and stay in position to take good photos of my friends when they caught waves. good fun though.

6. Who or what are you influenced most by? And how many photo books do you have?

I would like to say I am not influenced by anyone or anything. I have my own feel for things and I just go by that but I’m not sure how accurate that is….I don’t really know though. It depends on what kind of mood I am in when I walk outside. I used to like Nachtwey a lot. Flickr is insane for how many talented kids are out there too. I have a few photo books, maybe six or seven. The ansel adams ones are really good for learning.

Randall’s website & flickr.