Monthly Archives: August 2010

We Interrupt this Program…

to bring you this important message:

For the first time in over a decade, my work will be hanging on a wall outside my home. From September 6th through the end of the month, I’ll be showing my Subway Series #1 at the Starbuck’s in Plainville, Conn. For those in the area, the address is 275 New Britain Ave, Plainville, CT 06062.

Naturally, I will be available for coffee dates throughout the month, so ring me up.

Taking an August Break

Les Vielles

So I was reading this post over on Nick Turpin’s street photography blog today. One of the things that I like most about reading other street shooters’ blogs is how we all seem to love exactly the same thing about it – the fun of just showing up to life for a while.

But sometimes I wonder if street shooting doesn’t have a finite lifespan. I mean, any Buddhist will tell you that staying present and open to life on a daily basis is a pretty tall order. For a professional photographer who’s constantly working to someone else’s order, a street shooting holiday is probably a pleasant change of pace now and then. But what about guys like me, for whom street shooting is all there is? How do we keep it fresh year after year?

I guess I’ll find out, huh?

You can see the rest of the August Break participants here:

A Rally for August Break

Love Makes a Family

One of these days, I’d like to tail a real photojournalist for a while, just to see how they work. I’ve got this mental picture how “real photographers” work (whether they’re portrait, documentary or fashion photographers), but I’m finding that most of my mental pictures are at least partly wrong, so I’d like a chance to confirm this one.

In my head, “real” photojournalists are aggressive, shoving people aside for the sake of their shots. They charge headlong at the action, shooting with abandon, sort of like an infantry soldier in hitting the beach in one of those D-Day movies like The Big Red One or Saving Private Ryan.

Unfortunately, while I love the idea of telling stories in photographs like they do, that way of working feels completely at odds with who I am. I don’t think a person like that would get a shot like this – a quiet view of the story behind the story. The bigger picture. So one of two things needs to happen – I either need to change my mental picture or change my goal.

Well, I suppose there’s a third way – do the job the way I think it should be done.

You can see the rest of the August Break participants here:

A Kiss for August Break

Grand Central Kiss

This shot is a perfect followup for yesterday, given that I have an equally difficult time taking credit for it.

In February of 2009, I was spending a lot of time in New York. While usually good news, last year was anything but. The first weekend, I was down to attend a memorial for my Uncle Paul. The following weekend, it was to say goodbye to my Aunt Mary the day she died. The week after that, I was back for her funeral. Naturally, I brought a camera with me as often as I could, but I wouldn’t say I was paying much attention.

I had only just started developing my own film and was beginning to test the edges of what I could do. This shot came from one of my earliest push processing experiments. At the time, I chose this shot as about the only halfway decent one and posted it up to Flickr, as was my habit. It was only when my friend, Jen, mentioned Doisneau that I actually saw it.

When I was younger, I spent what felt like an eternity in various doctors’ offices. One of those doctors had a poster of Doisneau’s The Kiss on the waiting room wall. I can’t guess how much time I spent looking at that photo. I’m not even sure what effect it had on me at the time, though it’s since become very important. Whatever it was, when Jen mentioned him and me in the same breath, it pretty much blew my mind.

I still don’t know that I feel much responsible for this shot, but I’m more than happy to share it with as many people as care to see it.

You can see the rest of the August Break participants here: