Bookworms and Shutterbugs

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Photography books often have titles like the photographer's eye or the vision
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of so-and-so or seeing photographs as if photographers didn't have minds only eyes.
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A book is like a piece of music. It has a beginning and an end,
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but what happens in between is up to you.
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Music.
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Hey, welcome to the Street Shots Photography Podcast.
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This is Antonio. And this is Ward.
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Choking to death. It's Ward. It really is. It's not. It is Ward. Yeah, yeah.
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This is Happening Live. And this is episode 215 for the, what are we,
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in the middle of September.
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The middle of September, yeah. Yeah. Kids are back in school.
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Right. Leaves are starting to fall. School buses are running over people.
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Oh, okay. I didn't hear that one. Okay.
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You know what? Sorry, I can rant a little bit, but I don't know who's training
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the bus drivers in New York City, the school bus drivers.
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But they must have trained at some demolition derby or something.
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They are the most dangerous drivers, I think, in New York City.
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And you know they've got the worst vehicles those big yellow school buses are
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just are terrible and and they have really bad driving some of them like for
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for i get it they'll drop off a kid and you know like a two-way street what
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they'll do is they'll diagonally cut both
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like instead of staying on their side of the street right they'll cut into the
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both lanes on a diagonal so that nobody can get by now i get that sort of like
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yes it's going to stop any car,
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coming by. But, you know, I mean.
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That must say something about New York drivers, too, because they don't see
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the little stop signs that come out of the school bus.
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Even with a big fine, that's no deterrent. It's just...
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Anyway, so yeah, school has started. It's a lot... I don't know if it's quieter, but who knows?
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And it feels like... This feels like the beginning of the year.
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September always feels like,
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Like, I think I don't know about you, but I always still feel like I'm on a
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school schedule for some strange reason.
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I think I did now that our kids are older and we, I don't really have that ebb
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and flow. It's just the traffic, I guess. The traffic looks different.
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But I mean, just in terms of like your general overall, like feeling,
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don't you, do you still feel like, you know, September is like the start of
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a year in some way? Not really. No, I don't think.
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It's just here. There's this kind of doom waiting for the snow to fly.
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That's part of that right yeah but that's not
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like you know hunker down that's you know back to
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school it's we're we're back at it i don't really
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have that feeling okay all right
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i don't know i hated school so so
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you know september comes up and i dread i kind of dread like
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it feels like the beginning of a season right so
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you know the beginning of therapy because they all go go away on august
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and so therapy starts in september school starts
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in september you know the seasons change like all of
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a sudden the you know like a switch flips sometimes and
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like our temperature drops so anyway anyway
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yes it's the middle of september that's a long long way to say that and we don't
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remember we don't know what the area code is do we for 215 i didn't look it
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up i didn't look good so let's just leave that leave that as homework for the
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viewer what is area code Code 215. 215.
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There is one. Yeah. So how have you been?
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I've been good. There's some stuff we'll be talking about.
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I've been doing the last couple of days and it has remained warm here,
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thankfully, and will probably remain warm, I guess, into the mid eighties Fahrenheit
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and a little warmer over these past few days.
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So that's very good for this time of year and the length of time we've had this warm weather.
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You can say unseasonably warm.
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So does that mean anything for your photography or it doesn't matter?
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It's just like more people are out or like, does it, does it change?
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Well, I mean, if I was still working downtown, I think I would, I would do more.
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And there were, there were some things I did, uh, whatever, two weekend,
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two weekends ago, a weekend ago, or it was a lot of fun covered the parade and that was fun.
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And good weather, right? In good weather. Yeah. And very often it's,
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it's cooler and it's not, not as much, not as much energy in the crowd or in
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the parade participants.
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Right. Cool.
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Yeah. Nice. Yeah. We've, we've turned into fall today and I think we're going
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back to summer tomorrow.
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So, uh, yeah, it's, it's okay.
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Yeah. And what have I been doing? I don't know. I've been playing with the new
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camera. So, you know, there's that.
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Sorry to say i'm not sorry to say this but you know there's sometimes when a
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piece of gear you know you can resonate with it on all levels and that model
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camera not necessarily the specific one but just that you know that x100 series
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like yeah once i pick it up and and get sort of,
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reintroduced to it again and just me and me and it work really well together
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i just feel that it's It's the kind of camera I really always wanted to have and use.
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I mean, yes, it's digital, not film, but it's just to me and it like I get back
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my pictures with it and I'm looking and I'm like, you know what? This just feels right.
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So last on Labor Day.
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My friend and I, my friend Geraldine and I did a walk, a photo walk,
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sort of the opposite direction that we went, that you and I went.
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We started up, actually, no, sorry. No, we walked, we started off at B&H and
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I helped her buy a camera.
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And, you know, that's, she was getting a new camera for doing some,
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for some job that's coming up.
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And she hasn't purchased a new digital camera in a while.
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So I was there to help. And I, and I bumped into my friends there.
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And so we talked for a while, but then we walked from there down to eighth, eighth street.
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So from 34th street on the West side. Yeah. Yeah.
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And so reminiscent of, of when you were in town and we stopped by,
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we walked down sixth Avenue and we stopped by the jazz loft and we took the
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same selfie that you and I did.
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Although they've changed the the another
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another store or something like that moved in but
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i did yeah i did go up the stairs i went
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halfway up and the floor that i went
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to was was closed and the next floor was open and i decided not to push my luck
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but i was inside of the i was actually inside the jazz loft on the stairway
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yeah and so that was pretty exciting so both of us walked down the street and
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she was using her camera and i was using my x100 and and doing some street I
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haven't put any of those pictures up yet,
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but that was, that was kind of fun.
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And then I, I understand now what you were talking about, cause it's really
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hard to talk and photograph at the same time. Yeah.
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So, and, and, but we were there to talk. I mean, I wasn't, it wasn't a photo
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walk. We were, we just brought our cameras to walk. So that was great.
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That was a blast. And I realized I need to go back into the city more often
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to, to do some photography.
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There's just so many opportunities or just drop myself into some place where there's a lot of people.
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And now that the holidays are coming up, like that's going to be pretty rich
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and especially going to like, I want to do some stuff at night,
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you know, but like in the time square area where there's a lot of lights and
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stuff, I really want to try doing that.
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And because it'll get darker earlier, I could go in, you know,
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you know, earlier in the day and not stay so late and, uh, come home.
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And so I'll be shooting at night. So anyway, it was, it was, it was some of that.
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And yeah, but of course I went to BNH and I had to buy something,
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but I just bought it. I bought some strap.
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I bought a strap for my camera. One of the peak design straps,
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which I really like. I've sort of fallen for those peak straps.
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I don't know if the button thing. Yeah. It's got that little red. Yeah.
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Clips on. Yeah. Yeah, it's nice because you can, once you have those little
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connectors onto the camera, you can, you know, pull off the strap whenever you want.
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It doesn't make the camera have these little dangly things, but,
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you know, taking the strap on and off is not a problem.
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So it's a, it's, it's a nice little design.
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So I got that in a little wrist strap too, like a clutch or something like that.
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So cute, but yeah, but you know, I walked out without spending too much money. Yeah.
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It was in the the the two
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to three digit not the three yeah yeah yeah
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yeah there's a there's some lenses that i
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was i was intrigued by but uh i also took
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a look at this sorry this is a gear thing but i did take a look at the
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nikon zf the their you know
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version of it's kind of like the modern version of the fm2 or the is it a full
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frame or is it a crop it is a full frame they have two two cameras they have
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the zfc and they have the zf right the zfc first came out and it's been around
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for a zillion years and it's got that retro look but it's the smaller frame and then the zf.
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Is is just the big brother of that but more
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modern things going on inside and a full frame and
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i gotta say if i
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if i sell some gear or something like that i'm gonna get that icon yeah no i'm
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not gonna buy it now i wouldn't buy it now but it it had a 40 millimeter lens
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on it and that seemed like such a nice it like seemed like a perfect focal length for that camera and,
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i don't know it just have lovely electronic viewfinders don't they yeah this
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was this was really a nice camera and plus it's got all the stuff on the outside
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and my friend we had already.
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We'd already purchased the the sony or she put
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the order in for it and then we walked by and i showed her the zf and
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i said she bought a sony and i said and she
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was looking at this she was oh i like this one i was like yeah but
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the sony's got better autofocus you know but uh you know it was a bit she was
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but i like all this stuff on the outside i get it i go yeah yeah but you know
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it's like it's more expensive than the sony and then but yeah anyway it was
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it was it was you You know, it's a, it's a temptation.
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You're walking that place. So, so speaking about temptations,
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uh, yeah, as we segue into this segue into this segue in a ham handed consumeristic way.
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Yeah. But before we do that, I do want to, I do want to mention,
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you know, usually bring this to the beginning, but one of our listeners,
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Tim Arthur bought us some coffee, right?
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Wow. He bought us five coffees and he said he loved the Meyer,
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the mayor discussion. And so thank you, Tim, so much.
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That was a fun one to do. Cause we were really lighting fires on with that discussion. That was that.
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And I, I've, I felt thankful that you were able to see, you know,
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a lot of the same stuff that I did and how inspiring it was and the whole thought
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around her and, and the work and where she fits. That's was great.
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But thank you, Tim. Thank you so much. Yeah. Thank you, Tim.
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And, you know, I'd like to put a, you know, sort of a rain check on continuing a discussion with her.
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Cause I can't imagine we could have solved or talked, talked her out in a half an hour.
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So I would love to pick that up again, maybe with somebody else too,
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if we can get to get someone else to come and talk to her.
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But yes, Tim, thank you for the coffees. I'm, I'm, I'm definitely caffeinated for sure.
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So I really, really, really appreciate it. it so if you want to if you want
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to join tim and support the show and buy us a coffee it's uh,
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buymeacoffee.com slash antonio rosario i'll put that up at the end of the show
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anyway but figure this is a good time to put it in and make tim a honorary producer for today's show.
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Very cool thanks tim all right anyway so yeah now to segue into stuff yeah so this This weekend,
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we're recording this on a Sunday, this weekend, for those of you who are in
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New York City, you might know of the International Center of Photography.
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And if you're not in New York City, you may know about it, but it's like the
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one large photography museum in New York City and also an education center.
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And they were having a photo book fest this weekend, Friday,
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Saturday, and today, Sunday.
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Day and i decided to go to
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that i went i went yesterday i have
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all the cool stuff what uh yeah well you know
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what again another embarrassment for me is just like i had not been to the photographista
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place and now they're going to be closing although for those of you who are
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in new york you still have 20 days to go see the vivian meyer and bruce gildan
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show there it's going to close on the 29th.
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But I have not been to this. ICP has been in different locations in the city.
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They first, or at least the first time I went there, they were in this really
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old sort of gilded age building on like West 87th street, right off of a central park.
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It seemed, it was a really nice place, but it didn't, it was never big enough
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to hold all the stuff that they would do.
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It was kind of, it was a nice gallery space and it was definitely gilded age kind of thing.
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And then they moved to sixth avenue and 42nd street in which they had this sort of modern.
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Classroom space that was sort of underground a
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little bit and then they also had a museum space or
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gallery space across the street so they sort of occupied two locations
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i kind of like those locations but
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especially the the classroom thing they had this giant underground classroom
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thing and then they moved down to essex street
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now and it looks to me
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like i'm not sure about this because i haven't researched it but
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the building might have been specifically built for them so it's like a modern
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building with multiple floors and the ground floor is the entrance and it's
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a coffee shop cafe and and a bookstore too you know they have all the books
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and other things which i walked in to go to go show my tickets i was like i'm gonna,
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yeah it was like a wall of books and it's like all right i said i'm going to
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the book fest it only costs five bucks to go to the book fest so that's that was nice,
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And I went there, you know, I brought an empty backpack with me because I did
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anticipate buying some books.
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And I actually asked you for some, some recommendations because.
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And I just kept shoveling on pictures from my library until you said enough already. I know.
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I wanted to get a couple of books at least so that you and I can have the same
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library in some sense so we can talk about it on the show.
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Or if we, if we decide to do something else with books, you know,
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we both have the same book. So I thought it would be a good opportunity for
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me to, to see about buying at least one or two of the same ones that you had.
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And I, and I did buy, I did get a couple of books that I know you have.
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So that's, that's a good thing.
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But the multiple, multiple, excuse me, multiple publishers, they're publishing
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companies I never heard of before.
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I mean, but, uh, you know, I'm not very well-versed in the photography publishing
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business, so I don't know if they're new or not.
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It was, it was overwhelming.
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There was two floors of books of vendors and publishers.
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And they also had a couple of classrooms running some seminars,
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which I didn't really go to.
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And I didn't want to spend all day there.
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And it was very crowded. It was very crowded. And I did scope out all the different
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publishers and just the sheer number of books that I want.
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And photographers I've never heard of, too. I think it's, I think going to see
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like a book fair like this is a great way to get yourself introduced to people
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that you've never heard of before, because these, especially with the smaller publishers,
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they're producing pictures of books for photographers who are,
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you know, they're experimenting.
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And, and so I don't know where you get the chance to see all this stuff because,
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you know, you're not necessarily finding the books on Amazon and you're definitely
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not going to find a lot of this stuff in the library.
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I can guarantee you, I got to find some of this stuff in the libraries,
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you know, and where kids can look at it or stuff like that.
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So I didn't spend as much time scouring. I was looking for some of the books
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that you were talking about.
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And I, I, I was going to pick up a Ralph.
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There was two Ralph Gibson books I wanted that I saw. And then I walked around
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and I totally lost where they were.
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I don't know if I, which is probably good because I would have bought them in
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addition to all the books that were already stuffed in my, because by then I
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was like, I had already bought a bunch of, of books and I'll tell you what I got.
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I got this book called photographs, not taken a collection of photographers,
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essays edited by Will Stacey.
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And it's actually, I'm going to open it now. It's if there's no photos in this
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book whatsoever, I think it's just, hang on. I didn't plan for this.
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So I don't have my blade with me. I got my blade. Here we go.
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There we go. There you go. With the gravity flick thing.
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Yeah. Yeah. Okay. There we go. So it's a small, it's a small book,
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but the photographers who wrote essays in it, I go, wow, there's a whole list of them.
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Tim, Timothy Archibald, she's Nina Berman, Tim Davis.
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I'm just mentioning names. I don't know necessarily. Jim Goldberg,
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Tim Hetherington, Chris Jordan.
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There's, there's at least like 50 photographers here.
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David Mizell, Alex Webb, Rebecca Webb. Yeah.
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Mark Power. So let's see if I can read you what the book is about.
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So on the preface, it says, Photographs not taken as a collection of essays
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by photographers about moments that never became a picture.
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I have asked the photographers within these pages to abandon the tools needed
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to make a photograph and instead describe the experiences that did not pass
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through their camera lens.
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Here, the process of making a photograph has been reversed.
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Instead of looking out into the world through a camera lens,
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these essays look directly into the mind's eye to reveal where photographs come
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from in their barest and most primitive form, the original idea.
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These mental negatives depict the unedited world that could not exist in a single frame.
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So that's by Will Stacey. That's an interesting premise for a book, for sure. Sure.
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Yeah, it caught my eye, especially because I started to think about like,
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well, what what is it the books that I want to get here?
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And I decided to sort of aim at books that might help me for doing teaching.
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So I thought this would be a good this would be a good a good thing to read
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and add to, you know, whatever curriculums that I'm going to create in the future.
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The next book I got was called Looking at Photographs. so
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this is just another i think this is just it's
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a book by what is it by laurent julier
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i'm probably pronouncing that wrong j-u-l-l-i-e-r but
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it's another book essay it's sort of an introduction guide to about how to look
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at photographs but it's it it seems like it's not just an intro you know what
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i mean but again i bought it in in the idea that i could use it for help with
295
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With inspiration coming from other people's work.
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Another book by Sophie Howarth called The Mindful Photographer.
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So being present is the key to mindfulness and to taking great photographs that
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this helpful guide will show you the way this is the way the mindful photographer,
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part of a series of essential pocket companions.
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So it's a, it's a practical guide about mindfulness and photography.
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That's cool. I like, I like this side. It's not just about other people's work.
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It's about the philosophy and, and some of the, whatever you want to call it,
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the scholarship around photography and not just the act itself.
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Yeah. I figured that was a good, it was a good way. That one not taken.
305
00:20:57,365 --> 00:21:00,465
I'm going to have to get that title from you. I'm going to see if I can find it locally here.
306
00:21:01,325 --> 00:21:04,545
Yeah. And it was not an expensive book. It's only like, it was only like 15
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bucks. It's 15 bucks. So it's a worthwhile little thing.
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It's nice because the cover is this empty frame. It's this empty four by five
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piece of film. So it's, it's really, it's really nice.
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It's caught my eye. I did buy on your recommendation, the Stephen Shore modern
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instances, the craft of photography, a memoir.
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You could probably tell me a little bit about this. Yeah. So it is a memoir
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and it's also a description of individual circumstances he's been in.
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It's very, it's about what goes on in his mind so much. It's not a teaching book.
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It's his musings about his life and his work.
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And it's great because it's more like you and I sitting and talking to each
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other. It's not like, here's what I did.
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Here's the chronology. Here's what I did this year. Here's what I did that year, blah, blah, blah.
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And it's wonderful. It's light. It's not a heavy text.
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Although he does go into, well, maybe I should take that back a little bit.
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He talks about a lot of art and there's a lot of art criticism.
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As it pertains to his ideas and perception about art and how it affects his photography.
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So the densest parts of the book are around art and how they have affected him
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and how art has affected him.
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That's just my problem not being able to digest it, I think,
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for a normal human. It's not a problem.
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Because I'm like, he's talking about art. I don't know about photography.
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But definitely, there's this back and forth. I mean, it's, and I like,
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I like it because it's not, it's not a textbook.
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It's you're sitting across from shore and he's telling you what he's thinking, what he's feeling.
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So you think, do you think something like that, like this could make a good textbook in some way?
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Like that, cause you know, it's not, when you're talking about,
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it's not like the how to is, you know, as a memoir of a photographer,
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I'm always like trying to tell students, like if you get involved in the mind
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and the thinking of how a photographer,
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like what's going on in the making of the pictures, like not,
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not the actual making of it, but like the, the whole process of it,
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you know, I always think that's a valuable.
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Well, it's the other side of the brain you're using when you read that book, right?
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It's not, I mean, there's scholarly
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material in there. That's not really the point of the book for me.
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It's who sure, who sure is as a creative person and those things that help build him up that way.
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I mean, I'd have no problem with if a prof dropped that book in, in front of you and said,
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aside from all of this dry history stuff, here's a contemporary photographer
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who, you know, here's his creative outlook on things.
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I think it's great. I mean, I mean, the fact that it isn't, that it is,
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has a more creative bent to it, I think is its real appeal.
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And maybe it should be, it should be taught. Maybe it is. We don't know. Just the way it is. Yeah.
349
00:24:06,029 --> 00:24:12,089
We don't know. But no, it's very enjoyable. And it's, most chapters are very
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short, two, three, four pages.
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There's usually one photograph associated with each.
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There could be, there could be one paragraph or three pages based on kind of
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keyed off what goes on in that photograph or that photograph was produced because
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of this set of perceptions.
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And so it's just, it's just, just to keep you in the, in the game.
356
00:24:35,149 --> 00:24:38,469
And I love it. Like I've got it, I've got it on my, you know,
357
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beside my easy chair in my, in the living room and I can just thumb through.
358
00:24:43,249 --> 00:24:47,209
It's one of those books. You don't have to start from the beginning if you don't want to.
359
00:24:48,032 --> 00:24:51,252
Oh, okay. All right. I think I'll start. I did the first time.
360
00:24:51,272 --> 00:24:55,112
The first two times I read it, I went from front to back. Oh, wow. Okay. Wow.
361
00:24:55,372 --> 00:24:59,492
So it's interesting. I haven't unwrapped it yet. The book cover is really nice
362
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because it's got a sort of what looks like an etching of a camera obscura.
363
00:25:03,952 --> 00:25:07,652
And it's a very low key book,
364
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but the back has got a couple of blurbs from the Washington Post says modern
365
00:25:12,592 --> 00:25:17,152
instances is more than just a collection of musings about a life lived in the
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arts. It's the book itself is an artwork.
367
00:25:19,932 --> 00:25:23,632
David Fincher, who I think is the film director. He's a director.
368
00:25:23,772 --> 00:25:28,472
Yeah. Right. Yeah. Modern instances will no doubt affect how you make or appreciate
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photographs. It might even alter how you see.
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00:25:31,512 --> 00:25:37,212
And then Alex Soth says modern instances is the textbook I've been waiting for.
371
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It's about craft and biography and the subtitle suggests, but as the subtitle
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suggests, but it's also a guide for living.
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So that's an interesting thing to say So this one I'll probably unwrap And maybe
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start this week I'm in the mood for something along these lines So the books
375
00:25:59,172 --> 00:26:01,872
continue Hang on There's a couple more Wait,
376
00:26:01,892 --> 00:26:04,432
there's more Now how much will you pay? Wait, there's more Well,
377
00:26:04,452 --> 00:26:05,792
actually, there's a couple of Hang on,
378
00:26:06,802 --> 00:26:13,502
I'm going to pull these out. There's a publisher in Brooklyn called,
379
00:26:13,562 --> 00:26:16,002
or at least they were in Brooklyn, called Red Hook Editions.
380
00:26:16,742 --> 00:26:22,022
They've got a picture. They've got a logo of the giant crane.
381
00:26:22,422 --> 00:26:26,702
The cranes that are down in the shipping cranes that are down in Red Hook.
382
00:26:26,822 --> 00:26:29,122
But they're no longer in Red Hook. They moved to Queens.
383
00:26:29,742 --> 00:26:35,702
But they were giving out these zines called dog food.
384
00:26:37,162 --> 00:26:40,162
And you know you look at them and i'm not
385
00:26:40,162 --> 00:26:42,862
gonna i'm not gonna you know obviously people who are listening are
386
00:26:42,862 --> 00:26:47,242
not going to see them so i'm just showing you ward yeah they're really sort
387
00:26:47,242 --> 00:26:53,142
of designed and experimental and they're just these great zines and they gave
388
00:26:53,142 --> 00:26:58,822
out like i took five of them they they were actually making them for free and
389
00:26:58,822 --> 00:27:01,962
you know they're this they're these great eight zines.
390
00:27:02,102 --> 00:27:07,322
And so I picked up a bunch of these also because I do teach zine classes and
391
00:27:07,322 --> 00:27:12,902
I wanted to have multiple samples of zines to show people who come to that class.
392
00:27:13,102 --> 00:27:16,922
So that was nice. That was really nice. I got to meet the guy who was running it too.
393
00:27:17,782 --> 00:27:23,322
I also went to the Magnum booth or actually this one was from the Aperture booth
394
00:27:23,322 --> 00:27:25,822
and I bought a book from Todd Hido.
395
00:27:26,922 --> 00:27:29,322
It's called It's called On Landscapes, Interiors, and the Nude.
396
00:27:29,342 --> 00:27:30,842
It's a photography workshop series.
397
00:27:31,542 --> 00:27:34,362
And it's just, if you know Todd, how do you pronounce his name?
398
00:27:34,462 --> 00:27:36,982
Heido or Heido? I honestly don't know. I thought it was Heido,
399
00:27:37,082 --> 00:27:40,002
but we could. I'll say Heido because that sounds better.
400
00:27:40,402 --> 00:27:46,782
I don't know. But it's all a book on his pictures and why he's photographing them and how he does it.
401
00:27:46,942 --> 00:27:49,862
The color of emotion, the intimate distance. Yeah.
402
00:27:50,796 --> 00:27:55,136
Finding your way. Right. And so it's a nice selection of his pictures and then,
403
00:27:55,176 --> 00:27:59,796
you know, paragraphs about, you know, as if you were talking to photography
404
00:27:59,796 --> 00:28:04,236
students, but he also signed it. I got a signature.
405
00:28:04,776 --> 00:28:08,316
Nice. Yeah. So he signed it. That was nice.
406
00:28:09,116 --> 00:28:19,196
And then last but not least, I bought at the Magnum booth. Okay.
407
00:28:19,776 --> 00:28:23,656
They had a copy of Trent Park's Minutes to Midnight.
408
00:28:24,176 --> 00:28:30,236
Totally. Fantastic book. And when you texted me that you were looking at it,
409
00:28:30,276 --> 00:28:33,436
I had assumed that you hadn't made a decision to purchase it.
410
00:28:33,796 --> 00:28:37,416
So I was, I was giving you a rough time. The number that you said that they
411
00:28:37,416 --> 00:28:41,616
wanted for it. I'm like, oh, it's a great book. It's not worth that.
412
00:28:41,736 --> 00:28:44,736
I mean, I would, I would, I would spend my money somewhere else.
413
00:28:44,796 --> 00:28:49,596
I said, well, don't judge me because I bought it. now i
414
00:28:49,596 --> 00:28:53,216
feel like a horse's ass uh yeah so
415
00:28:53,216 --> 00:29:00,016
okay well you know to be fair it is a book it's one it's it's amazing book to
416
00:29:00,016 --> 00:29:04,976
be fair it was it was pricey and i i rationalized and judged by saying it will
417
00:29:04,976 --> 00:29:08,556
be my early birthday present well what you can say about anything that you buy
418
00:29:08,556 --> 00:29:13,156
yeah as long as it's before your birthday you can say after your birthday he's like well you know
419
00:29:13,196 --> 00:29:19,176
it's a belated birthday present so yeah it it's so i have to blame you okay
420
00:29:19,176 --> 00:29:24,696
great so i feel bad it's a double whammy i give you grief for spending the money
421
00:29:24,696 --> 00:29:30,176
on the book yeah i know you're the one who got me into into trent parker at
422
00:29:30,176 --> 00:29:31,736
least you introduced me to him and then.
423
00:29:32,356 --> 00:29:37,436
Just by what i've seen of his work in the connections and you know i've only
424
00:29:37,436 --> 00:29:40,516
i think i've only scratched the surface looking at his work but i've fallen
425
00:29:40,516 --> 00:29:44,956
in love with that of the, we, we talked about the book monument and I have at
426
00:29:44,956 --> 00:29:46,576
least two copies, you know.
427
00:29:49,376 --> 00:29:53,156
I actually by accident ordered a third. So that's sitting on a shelf someplace.
428
00:29:53,376 --> 00:29:56,396
I didn't realize he did that. I wanted to have one so I could thumb through.
429
00:29:56,516 --> 00:30:00,236
And the other one is a collector's thing. Cause it's just a beautiful book in itself.
430
00:30:00,336 --> 00:30:04,976
And I won't rehash that. And we can go back to that episode, walk in the park.
431
00:30:04,996 --> 00:30:08,736
But when you, you have this book. Yes. Yes, I do.
432
00:30:09,176 --> 00:30:13,196
Yeah. Yeah, so when you showed it to me, I think that was my first introduction to his work.
433
00:30:13,656 --> 00:30:18,796
And then as I started to find more of it, and then I found a YouTube video where
434
00:30:18,796 --> 00:30:21,856
somebody was, you know, viewing this book and going through all the pages.
435
00:30:23,156 --> 00:30:28,016
And I'm just floored by his work. There's something to be moved by a photographer
436
00:30:28,016 --> 00:30:31,576
in a way that, you know, that doesn't happen that often.
437
00:30:31,656 --> 00:30:35,676
You know, I've had it with like Irving Penn, and there's probably a few other photographers.
438
00:30:35,796 --> 00:30:37,656
I think Michael Kenna has done that to me.
439
00:30:38,536 --> 00:30:41,636
David la chapelle of of all photographs like
440
00:30:41,636 --> 00:30:44,596
there's just color and noise and structure
441
00:30:44,596 --> 00:30:49,556
yeah just over the top stuff right you know and then and then you know trent
442
00:30:49,556 --> 00:30:55,396
park it speaks to me on a level that is there's almost no words to so you know
443
00:30:55,396 --> 00:30:59,556
there's nothing so the book itself is like it's it just looks like a book right
444
00:30:59,556 --> 00:31:04,416
but it's out of print and it's his pictures and so it did make it an expensive collector's item.
445
00:31:05,816 --> 00:31:09,176
And my intention is it's still wrapped up in the plastic. My intention is to
446
00:31:09,176 --> 00:31:11,956
unwrap it and look at it because I bought it. Cause I want to look at the pictures.
447
00:31:12,076 --> 00:31:17,856
It's, I mean, of course I'll try to take care of it because it is, it is a valuable thing.
448
00:31:17,956 --> 00:31:22,796
And I want to, I treat, I try to treat my stuff with respect because it will outlast me.
449
00:31:23,036 --> 00:31:27,916
You know, we're just the caretakers of these things, I believe, you know?
450
00:31:29,036 --> 00:31:32,656
So yeah. So that, you know, actually after I got that, I said,
451
00:31:32,696 --> 00:31:35,016
I got it. I told the woman at the counter, I said, I got to go now.
452
00:31:35,516 --> 00:31:39,636
Yeah. I got to leave because, you know, and then that's what I was trying to
453
00:31:39,636 --> 00:31:43,196
find the Ralph Gibson books that I didn't. And I, well, actually I want to get
454
00:31:43,196 --> 00:31:46,116
one of those books, but I'm glad I couldn't find it because that would have
455
00:31:46,116 --> 00:31:47,976
just sent me over the edge.
456
00:31:48,056 --> 00:31:52,016
But the, the, you know, Trent park was, that was well worth it.
457
00:31:52,056 --> 00:31:54,776
And it was a book that you have, and I'd like to sort of do a,
458
00:31:54,856 --> 00:31:58,216
you know, you and me talking about it sometime, you know? Sure.
459
00:31:58,896 --> 00:32:01,856
Yeah. Yeah. There's something amazing about the light in that book. and
460
00:32:01,856 --> 00:32:04,896
and also echoes into monument too
461
00:32:04,896 --> 00:32:08,356
that light that low you know
462
00:32:08,356 --> 00:32:12,056
morning and evening light at that latitude it's fascinating
463
00:32:12,056 --> 00:32:17,296
different and slightly alien to us that are in north america yeah and you know
464
00:32:17,296 --> 00:32:21,276
that cover with these bats that are you know translucent wings and it's just
465
00:32:21,276 --> 00:32:27,136
you know and it's printed on it like it it's printed i mean you must have the
466
00:32:27,136 --> 00:32:29,236
same one but but the pictures are printed on the linen.
467
00:32:29,436 --> 00:32:32,936
Yeah. Like it's not a book cover. It's, it's really kind of cool.
468
00:32:33,056 --> 00:32:36,236
So, oh, all right. So I got that and you know, we'll leave that.
469
00:32:36,296 --> 00:32:40,656
We'll, we'll shelf that, you know, literally till the next time.
470
00:32:40,816 --> 00:32:44,876
But I, I did see, remember, I don't know if we talked about it,
471
00:32:44,936 --> 00:32:49,456
but the photographer, Matt Black had, I know of Matt Black. He was a magnum. Yeah.
472
00:32:50,136 --> 00:32:55,016
American geography, I think was, was, I don't, I don't know that.
473
00:32:55,056 --> 00:32:58,716
Oh, maybe, maybe we did, But I don't know if we talked about it,
474
00:32:58,756 --> 00:33:02,856
but anyway, his, his book was there, which I have, and he signed that.
475
00:33:03,636 --> 00:33:06,776
And then there was another version of it. That was the cover.
476
00:33:06,816 --> 00:33:09,936
His book was all black, right? And even the type is all black.
477
00:33:10,076 --> 00:33:13,696
And it's, it's this trip that he took through the United States.
478
00:33:14,536 --> 00:33:19,736
I'm, I'm, I'm not doing it any justice by this description, but it's incredible photography.
479
00:33:19,936 --> 00:33:23,756
Right. And then there was a second volume there that was all white.
480
00:33:23,796 --> 00:33:26,356
That was the same name. And it was, it was part of the same trip.
481
00:33:27,076 --> 00:33:31,116
And I almost bought it and I was, had I not gotten this thing,
482
00:33:31,276 --> 00:33:34,716
I still might get it, but it was a collect, think of it like,
483
00:33:34,736 --> 00:33:39,156
like an Irving pen and burned and Hilla Besher combined.
484
00:33:39,596 --> 00:33:45,636
Oh, okay. Where he's photographing ephemera and garbage and debris and detritus
485
00:33:45,636 --> 00:33:48,196
and, and, and cataloging them.
486
00:33:48,256 --> 00:33:53,536
So the like double page spreads of like crushed beer cans and they're black and white.
487
00:33:53,536 --> 00:33:56,756
And there's like hundreds of them all lined up
488
00:33:56,756 --> 00:34:00,636
sort of like a catalog and and and i didn't
489
00:34:00,636 --> 00:34:03,796
quite get it immediately because i was not sure i wanted to like i didn't
490
00:34:03,796 --> 00:34:09,816
i wasn't sure i wanted this book about this catalog of of items but now that
491
00:34:09,816 --> 00:34:13,296
i've been thinking about it it makes a nice companion to his other book and
492
00:34:13,296 --> 00:34:17,236
it's part of the whole process that he he went through while he was photographing
493
00:34:17,236 --> 00:34:21,336
because he was photographing america and all the things that make in his mind what was.
494
00:34:21,416 --> 00:34:24,056
Making america at least during this trip so i think i might
495
00:34:24,056 --> 00:34:27,056
get it you know if it's i think i'm i'll put that on my amazon list
496
00:34:27,056 --> 00:34:30,796
and hopefully buy it or go to a store and buy it so
497
00:34:30,796 --> 00:34:33,896
yeah so that's it i walked out with a good
498
00:34:33,896 --> 00:34:37,896
selection of books you know i've got stuff to keep me company as
499
00:34:37,896 --> 00:34:41,276
the weather starts to turn yeah i
500
00:34:41,276 --> 00:34:44,116
can sit and read at the coffee shop or here
501
00:34:44,116 --> 00:34:46,856
and you know this this trend park book i'm
502
00:34:46,856 --> 00:34:50,476
gonna have to like you know it's gonna have a special place yeah take
503
00:34:50,476 --> 00:34:53,516
care you know don't want a cat scratching it otherwise
504
00:34:53,516 --> 00:34:56,736
like that cat will have to pay the ultimate price all
505
00:34:56,736 --> 00:34:59,896
right there's a
506
00:34:59,896 --> 00:35:04,376
loving cat owner right there yeah no no i used to have a cat that used to i
507
00:35:04,376 --> 00:35:09,136
used to have cats that scratched my books these guys don't do it but they used
508
00:35:09,136 --> 00:35:12,596
to use it as a scratching person oh you gotta be kidding you've ruined how many
509
00:35:12,596 --> 00:35:18,156
books so anyway so that was that That was my, that was, that was my hall.
510
00:35:18,296 --> 00:35:23,116
And again, you know, we've talked about books here on this show a lot and I, I.
511
00:35:23,710 --> 00:35:26,850
I don't think I can get enough of them in some way, you know?
512
00:35:27,390 --> 00:35:29,730
Well, you know, it's nice. I get a burst of them and then I'm done.
513
00:35:29,810 --> 00:35:31,390
Like I'm kind of running out of shelf space.
514
00:35:31,430 --> 00:35:34,250
I have to get rid of some other books and stuff, but you know,
515
00:35:34,270 --> 00:35:39,770
this, this idea of having like the, the next best thing to seeing their photographs
516
00:35:39,770 --> 00:35:43,130
in a gallery is, is having a book, I think.
517
00:35:43,690 --> 00:35:47,870
Yeah. And so I just wish I could have spent more time there.
518
00:35:48,350 --> 00:35:51,650
And I think I need to just go to ICP and just go through the books themselves.
519
00:35:51,730 --> 00:35:55,190
Like again, Again, I tell students, like, if you want to find photographers,
520
00:35:55,310 --> 00:35:58,070
just go to a bookstore and hang out there.
521
00:35:58,130 --> 00:36:00,450
And I probably said this a million times, but we used to have this place in
522
00:36:00,450 --> 00:36:02,210
the city. It was called the photographer's place.
523
00:36:02,730 --> 00:36:06,530
And it was just a bookstore for photo books.
524
00:36:06,590 --> 00:36:11,110
And it was a big bookstore for what it had. And it was amazing.
525
00:36:12,430 --> 00:36:16,370
And, you know, we don't really have that much anymore.
526
00:36:16,590 --> 00:36:21,110
And for people who are not in a place where they can easily go to a bookstore,
527
00:36:21,110 --> 00:36:24,590
store you only have amazon or something like that where you can order you
528
00:36:24,590 --> 00:36:28,110
know it's a little trickier but i would say anytime you get a chance to go to
529
00:36:28,110 --> 00:36:31,550
some place and just dive into the books it's just a great way to like you know
530
00:36:31,550 --> 00:36:35,830
if you randomly pull something off the shelf and and take a look you know you
531
00:36:35,830 --> 00:36:41,150
don't know where you're gonna find so anyway that's that's my uh that's what
532
00:36:41,150 --> 00:36:42,930
i did that was my week you did.
533
00:36:44,560 --> 00:36:56,560
Music.
534
00:36:56,406 --> 00:37:01,846
Now there's a couple of things book-wise that happened this week for me.
535
00:37:02,306 --> 00:37:07,566
Um, one was, I received a book I ordered some months ago, actually,
536
00:37:07,606 --> 00:37:12,326
or quite a few weeks ago called eight seconds, black rodeo culture.
537
00:37:12,766 --> 00:37:15,086
It's by Ivan McClellan.
538
00:37:16,006 --> 00:37:21,086
Believe Ivan is a photographer from Oklahoma.
539
00:37:21,226 --> 00:37:27,386
I would like to say. And he discovered black rodeo culture just,
540
00:37:27,626 --> 00:37:33,406
he happened to drive, if I remember correctly, he just happened to drive by a rodeo.
541
00:37:33,406 --> 00:37:38,246
He noticed that all the participants were black, as we tend to think of the
542
00:37:38,246 --> 00:37:46,346
cliche cowboy as being white, but there's a whole culture of black farming, ranching, and rodeo.
543
00:37:46,346 --> 00:37:51,826
And so like McClellan, I was embarrassed to be ignorant to that.
544
00:37:52,106 --> 00:37:57,426
And so I, it just arrived, this book just arrived yesterday and it's a vivid
545
00:37:57,426 --> 00:38:06,046
color images of, of competitors in rodeo, of families, of dads with their babies up in the saddle.
546
00:38:06,046 --> 00:38:10,826
Battle you know it's a competition for kids called mutton busting where the
547
00:38:10,826 --> 00:38:17,326
kids put on you know a vest and a hockey helmet and they put them on sheep and let them go really yeah.
548
00:38:18,766 --> 00:38:26,946
And so yeah so just just all of all of the you know all of the aspects of of rodeo culture,
549
00:38:27,546 --> 00:38:31,626
but with uh with the african-american little
550
00:38:31,626 --> 00:38:34,506
to it and i had no idea and so i'm going to go through this
551
00:38:34,506 --> 00:38:37,646
and i think it's going to be a treasured volume because it
552
00:38:37,646 --> 00:38:40,546
is what i think i know about rodeo which is
553
00:38:40,546 --> 00:38:44,206
actually really not that much i take pictures of them but now i've
554
00:38:44,206 --> 00:38:47,226
got something to help help complete the circle of north
555
00:38:47,226 --> 00:38:50,246
american rodeo culture and it's it's amazing
556
00:38:50,246 --> 00:38:54,366
and i'm very glad i had it how did you find this book in the first place like
557
00:38:54,366 --> 00:38:59,846
you said you ordered it but it was i think mcclellan was on the berrian x's
558
00:38:59,846 --> 00:39:04,466
oh yeah and that's where Where I first heard of it and then I was embarrassed
559
00:39:04,466 --> 00:39:07,826
when I was listening and I thought, well, I have to order.
560
00:39:09,326 --> 00:39:16,126
So, so yeah, so that was, that was great. Next was on Friday night and I went to the camera store,
561
00:39:16,286 --> 00:39:21,746
which is not quite ICP, but it's our little, they have, they have quite a well-stocked
562
00:39:21,746 --> 00:39:26,106
photography photo book store inside the store.
563
00:39:26,106 --> 00:39:32,186
They were advertising for Friday night this guy who is a mathematician.
564
00:39:32,326 --> 00:39:33,706
He's called a pure mathematician.
565
00:39:34,918 --> 00:39:38,478
And his name was Arturo, Arturo Pianzola was his name.
566
00:39:38,898 --> 00:39:41,778
What is a pure math? What is a, do you know what a pure mathematician is?
567
00:39:41,778 --> 00:39:48,198
Pure math as opposed to, you know, doing math for astrophysics or chemistry or that sort of stuff.
568
00:39:48,278 --> 00:39:51,158
It's just pure, pure math numbers.
569
00:39:51,338 --> 00:39:53,478
And so that just on its own.
570
00:39:53,978 --> 00:40:00,558
So it's very much into symmetry and plotting out various things in algebraic,
571
00:40:00,558 --> 00:40:03,298
you know, functions and things like that.
572
00:40:03,298 --> 00:40:09,878
So his whole life, he's grew up in Argentina, moved to Canada to work with a
573
00:40:09,878 --> 00:40:12,658
Canadian mathematician in Edmonton,
574
00:40:12,678 --> 00:40:15,658
which is about three hours north of where I am sitting right now.
575
00:40:16,958 --> 00:40:23,118
And he's, yeah, that's his day job. And he joined a group called the Monochrome
576
00:40:23,118 --> 00:40:27,438
Guild, which is an Edmonton based black and white gelatin silver club,
577
00:40:27,578 --> 00:40:30,078
basically a group of, a group of photographers.
578
00:40:30,878 --> 00:40:34,778
And they. What a great name too. I know. It sounds great.
579
00:40:35,478 --> 00:40:40,358
So he has some six by six cameras. He's got a Leica M4, I think,
580
00:40:40,358 --> 00:40:45,858
that I saw him, that he had out on when he was giving his talk on Friday night that I attended.
581
00:40:46,418 --> 00:40:51,898
And he also does shoot digital, but because of the idea of the club,
582
00:40:51,898 --> 00:40:55,138
as you print your work, he creates a digital negative.
583
00:40:55,298 --> 00:41:00,458
So it's a transparency, a black and white transparency created from the digital source.
584
00:41:00,978 --> 00:41:04,098
And then he prints that. that so and basically
585
00:41:04,098 --> 00:41:07,998
the thrust of his talk was is if it's
586
00:41:07,998 --> 00:41:11,118
really your passion put every every bit
587
00:41:11,118 --> 00:41:15,598
of effort into creating the work that you're creating which you know in the
588
00:41:15,598 --> 00:41:19,038
instagram culture when i use the phone and all that sort of stuff i i don't
589
00:41:19,038 --> 00:41:23,278
do that i yeah i put in as little energy as possible to get the image i want
590
00:41:23,278 --> 00:41:28,058
it's just this different you know i have this idea of what i want to shoot and so on.
591
00:41:28,278 --> 00:41:31,338
Well, he was very much about, he's in the location.
592
00:41:31,418 --> 00:41:36,418
He told the story of standing in front of a basilica, I think in South America somewhere.
593
00:41:37,958 --> 00:41:41,478
And there was, it was a crypt. It was like an outside crypt,
594
00:41:41,658 --> 00:41:45,378
like a small, like a, almost like a sarcophagus out in the street.
595
00:41:45,498 --> 00:41:51,218
And there was the Virgin Mary standing as a statue behind in this kind of scalloped
596
00:41:51,218 --> 00:41:58,978
in area of this, of this presumably a basilica. and it was a very symmetrical looking,
597
00:42:00,106 --> 00:42:03,186
composition and he was getting his he had a film camera like a
598
00:42:03,186 --> 00:42:06,846
like a six by seven film camera and he
599
00:42:06,846 --> 00:42:10,946
was kind of lining up trying to decide if you know if he should take this picture
600
00:42:10,946 --> 00:42:14,386
and he thought there was an element that was missing and a little boy about
601
00:42:14,386 --> 00:42:19,286
four years four years old ran into the frame and stopped and looked up at the
602
00:42:19,286 --> 00:42:26,666
virgin mary and he said oh i think i got it the composition is good now, I will shoot it.
603
00:42:26,806 --> 00:42:34,186
And so he had stories that he told of that ilk, of these different pictures that he took.
604
00:42:34,506 --> 00:42:36,986
And so all these images that he
605
00:42:36,986 --> 00:42:43,906
spoke about are in this book that he was promoting as part of this talk.
606
00:42:44,706 --> 00:42:47,726
Sorry, did you say he lives in Canada? He lives in Canada.
607
00:42:47,786 --> 00:42:51,806
He lives in Edmonton, yeah. He's been here for quite a few years,
608
00:42:51,826 --> 00:42:54,326
actually. Maybe 40 years he's lived here.
609
00:42:54,746 --> 00:42:58,006
I see. Okay. So, and it's, it's great to buy local.
610
00:42:58,086 --> 00:43:03,126
I got a book from, from a local photographer. So his images are from South America
611
00:43:03,126 --> 00:43:07,586
around where he grew up, Buenos Aires, also around Alberta too.
612
00:43:07,686 --> 00:43:13,686
And there's Alberta, which is like a couple of hours east of here and out in the mountains here.
613
00:43:13,866 --> 00:43:19,486
And that's, it was really, really good to see some kind of fine art,
614
00:43:19,526 --> 00:43:24,746
black and white pictures around the local area. So I was happy to, happy to get that.
615
00:43:25,206 --> 00:43:29,186
What's the date? Does there a date range in the book? Like, is it of a certain
616
00:43:29,186 --> 00:43:32,226
period of time or like a. That's a good question.
617
00:43:32,486 --> 00:43:36,486
Actually, that never came up, but I'm just looking at the images here.
618
00:43:36,566 --> 00:43:42,946
I don't think there's anything earlier than perhaps 2000 in these.
619
00:43:42,986 --> 00:43:48,526
There may be stuff from the nineties, but it all to, to, to my eye,
620
00:43:48,566 --> 00:43:51,426
I think it was, it's all pretty recent.
621
00:43:52,046 --> 00:43:56,426
And the stories that he told of the images that he did highlight from the book, uh.
622
00:43:57,370 --> 00:44:03,050
Would, you know, was shot with this camera and I went with my friend from Edmonton
623
00:44:03,050 --> 00:44:04,930
and we, you know, shot this picture.
624
00:44:05,050 --> 00:44:07,330
So it's all, it's all pretty recent.
625
00:44:07,530 --> 00:44:14,550
And I have a feeling it's just probably since he joined the monochrome guild is what I think.
626
00:44:14,590 --> 00:44:17,710
And he's just got, got support from that, from that group of people.
627
00:44:17,750 --> 00:44:22,410
Probably they probably helped convince him to, to produce the book.
628
00:44:22,850 --> 00:44:27,250
Is it, is it a self produced book or is it? It is. Yeah. Yeah, he's selling it.
629
00:44:27,350 --> 00:44:31,850
I mean, he's, it's in the, a few different camera stores, but it's in,
630
00:44:31,930 --> 00:44:37,650
if you look up the, the monochrome guild, there's, there should be links there to, uh, to the book.
631
00:44:37,950 --> 00:44:40,090
All right. We'll make sure we put that in the show notes too,
632
00:44:40,130 --> 00:44:41,590
so that we can click on that.
633
00:44:41,810 --> 00:44:46,290
And yeah, so I believe it is for sale on the web. I could be wrong about that.
634
00:44:46,330 --> 00:44:49,110
I purchased this in the camera store right after his talk.
635
00:44:49,890 --> 00:44:53,230
And it's funny because I told him, you know, I have a book in here.
636
00:44:53,270 --> 00:44:55,690
My friend Mark and I have a book in here and it's just right over there.
637
00:44:56,510 --> 00:45:00,530
So he ended up buying, he and his wife were there and they, they said,
638
00:45:00,590 --> 00:45:01,830
well, we have to buy your book.
639
00:45:01,910 --> 00:45:05,650
So they ended up buying, it was the last one that they had in stock there.
640
00:45:05,770 --> 00:45:07,370
Oh, that's great. That's great.
641
00:45:07,590 --> 00:45:12,990
So, and we, we dedicated the books to each other. So that was kind of nice. Oh, that's nice. Yeah.
642
00:45:13,210 --> 00:45:17,430
And it's nice to just sit and hear someone who's passionate about.
643
00:45:18,246 --> 00:45:21,366
About photography in a different way than you are you
644
00:45:21,366 --> 00:45:24,406
know like there's always lessons you can learn about somebody
645
00:45:24,406 --> 00:45:27,826
else who's doesn't have the same equipment
646
00:45:27,826 --> 00:45:30,666
or doesn't have the same interest in
647
00:45:30,666 --> 00:45:33,626
the gear or doesn't have or just comes from
648
00:45:33,626 --> 00:45:36,726
a different background entirely and how they discovered
649
00:45:36,726 --> 00:45:40,106
and how they work and how they think you're getting
650
00:45:40,106 --> 00:45:43,226
into steven shore too you know same kind of thing like it's
651
00:45:43,226 --> 00:45:46,806
nice to appear inside somebody else's mind about their creativity
652
00:45:46,806 --> 00:45:50,266
and how they work do you do you
653
00:45:50,266 --> 00:45:53,906
find yourself like i mean how can we not compare yourself
654
00:45:53,906 --> 00:45:57,286
to someone like that like you were just saying before about instagram and how
655
00:45:57,286 --> 00:46:01,346
you you know how you think about pictures compared to someone like him and i
656
00:46:01,346 --> 00:46:04,366
i was as you were saying that i'm thinking the same thing it's like you know
657
00:46:04,366 --> 00:46:11,506
there are people who who live and breathe photography and you know which this
658
00:46:11,506 --> 00:46:13,786
gentleman sounds like he's doing in some way.
659
00:46:14,206 --> 00:46:19,846
And, you know, I, I, I tend to sometimes want to like, you know,
660
00:46:19,846 --> 00:46:21,786
I wish I could be like that.
661
00:46:22,526 --> 00:46:26,826
You know, there's some part of me that wishes that. And, you know,
662
00:46:26,826 --> 00:46:28,666
I don't know if it's just, you know, something, well, just do it.
663
00:46:28,706 --> 00:46:32,046
You can't just do it. Like there's something further, there's something deeper about it.
664
00:46:32,086 --> 00:46:33,546
So anyway, I was just curious about that from your point of view.
665
00:46:33,546 --> 00:46:36,026
No, well, I asked him in the Q and a, after I said,
666
00:46:36,526 --> 00:46:39,586
you know, if your, your day job is mathematics,
667
00:46:39,586 --> 00:46:43,226
mathematics is a very concrete academic you
668
00:46:43,226 --> 00:46:46,066
know procedural thing that you're
669
00:46:46,066 --> 00:46:48,886
doing day in and day out and i said how
670
00:46:48,886 --> 00:46:51,926
do you separate like i talk about my own experience
671
00:46:51,926 --> 00:46:54,846
how do you how do you separate the act of shooting
672
00:46:54,846 --> 00:46:58,406
the pre whatever you want to call it pre-visualization lining up the shot whatever
673
00:46:58,406 --> 00:47:04,686
the shooting the developing the printing and the spotting of the print he had
674
00:47:04,686 --> 00:47:10,006
a story about one print that was particularly dirty the negative was really
675
00:47:10,006 --> 00:47:13,146
in poor shape and there was pots all over and.
676
00:47:14,321 --> 00:47:18,301
And he spent hours spotting the print because he didn't have time to go back
677
00:47:18,301 --> 00:47:21,961
in the dark room to get, and the whole, and the, and the, the,
678
00:47:21,961 --> 00:47:26,321
the picture is in the book. The spotted print is in the, is in the book.
679
00:47:26,381 --> 00:47:30,501
And it's this kind of masterpiece of tonal range.
680
00:47:31,001 --> 00:47:34,121
And he was talking about how you get the ink and it's pure black,
681
00:47:34,201 --> 00:47:38,201
and then you water it down until it's the right tone on the print.
682
00:47:38,361 --> 00:47:41,361
Well, if it's too light, that's not a problem. It's too dark.
683
00:47:41,401 --> 00:47:46,021
You're screwed. I remember those things. Tell that story, yeah.
684
00:47:46,261 --> 00:47:53,481
I was lucky. I didn't have to spot too much, but the whole, what do you want to call it?
685
00:47:53,521 --> 00:47:59,861
The mystery and the joy and the frustration and the victory of that particular
686
00:47:59,861 --> 00:48:07,121
picture was all these hours of spotting it to make the print in such a way that
687
00:48:07,121 --> 00:48:12,041
it's a world-class fine art print that's in a book now. Right. Right.
688
00:48:12,701 --> 00:48:15,381
But yeah, so I asked about how do you, how do you separate that,
689
00:48:15,401 --> 00:48:20,641
that concrete academic part of you from all these different steps of photography?
690
00:48:20,701 --> 00:48:23,061
Now myself, I, I love those steps, right?
691
00:48:23,161 --> 00:48:27,321
Like I get to go out, I get to hold a camera, which is kind of a valuable thing.
692
00:48:27,461 --> 00:48:32,001
I get to line up a shot. I get to look for all these beautiful composition and
693
00:48:32,001 --> 00:48:34,701
I get at home and do the post-processing and blah, blah, blah.
694
00:48:34,701 --> 00:48:41,181
And the posting, that's all fun. And he just wore glasses, and his head was
695
00:48:41,181 --> 00:48:43,741
down while he was listening to me, and he just looked up through his glasses.
696
00:48:43,821 --> 00:48:48,361
He says, I just love it all, which is like the best answer ever.
697
00:48:48,501 --> 00:48:50,401
I'm like, sold. I want to buy a book now.
698
00:48:52,441 --> 00:48:59,561
And it was kind of perfect. So as different as he was, a personality and his
699
00:48:59,561 --> 00:49:06,021
day job and all that kind of stuff, he's this kind of lyrical gentleman with an accent.
700
00:49:06,161 --> 00:49:13,941
You know, with a different accent, who really transmitted his passion and love for photography.
701
00:49:15,267 --> 00:49:19,767
And, and in, in, in that answering that question, you know, there's a connection
702
00:49:19,767 --> 00:49:24,007
between me and him, you know, it's like every step is, is enjoyable.
703
00:49:25,087 --> 00:49:28,367
So do you, do you see, and I don't have the pictures in front of me,
704
00:49:28,387 --> 00:49:33,647
so I can't, I don't know what they are, but can, can you see any connection with his photography?
705
00:49:33,687 --> 00:49:38,587
And then what he does as a, as a pure mathematician, like, or are they, are they very separate?
706
00:49:38,947 --> 00:49:44,327
The old, no, they are, they are separate. The only pictures that are direct
707
00:49:44,327 --> 00:49:47,167
relationship to mathematicians are,
708
00:49:47,347 --> 00:49:52,087
he took a picture of one of his grad students and he took a picture of a prof
709
00:49:52,087 --> 00:49:56,547
at his blackboard with the equations up on the blackboard.
710
00:49:56,867 --> 00:50:00,807
And he says, those are the only two that have a direct relationship with mathematics.
711
00:50:01,707 --> 00:50:06,947
So you look at his pictures and you couldn't, on a list of, if you had to guess
712
00:50:06,947 --> 00:50:10,447
what this guy does for a living, you could probably not guess from the picture. Okay.
713
00:50:10,587 --> 00:50:16,067
That's interesting. And the whole thing is the whole, what's the word I'm looking for?
714
00:50:16,167 --> 00:50:22,447
The conceit of this book is he tells you in the foreword that he's a mathematician
715
00:50:22,447 --> 00:50:25,227
exploring the world through photography.
716
00:50:26,107 --> 00:50:29,907
And what would a guy like me, what kind of pictures would I create?
717
00:50:31,807 --> 00:50:36,887
So, and in that way, you know, you're just, it's the story.
718
00:50:36,887 --> 00:50:41,267
So it's unlike, you know, a zine or something where it's just picture,
719
00:50:41,347 --> 00:50:46,027
picture, picture, picture, and you're left with, you know, your perception and
720
00:50:46,027 --> 00:50:48,867
what you're pouring into the picture as you perceive them.
721
00:50:49,127 --> 00:50:54,567
Here, he's telling you, this is me. These are the pictures I made. This is my story.
722
00:50:55,167 --> 00:50:59,867
And I would say in terms of story too, which he did touch on during his talk,
723
00:51:00,407 --> 00:51:03,907
the pictures are very good storytelling pictures.
724
00:51:04,067 --> 00:51:06,367
They're not just cold, fine art pictures.
725
00:51:07,267 --> 00:51:11,727
There's a lot of texture and, and humanity in the images.
726
00:51:12,667 --> 00:51:18,547
So, so there's, there's a richness there. It's not just his technique or his,
727
00:51:18,607 --> 00:51:24,307
his craft, but he is, he is good at, at discovering and transmitting story.
728
00:51:25,127 --> 00:51:28,167
So I give him all the credit in the world. So I really enjoyed the talk.
729
00:51:28,307 --> 00:51:31,807
I enjoyed the book very much. Yeah. And I'm very happy.
730
00:51:32,247 --> 00:51:36,607
Did he talk anything about the production of the book? Like just the making of it or like why?
731
00:51:36,887 --> 00:51:42,387
He did, he surrendered design of it to a designer in Italy, I believe,
732
00:51:42,507 --> 00:51:44,707
and it was printed in Italy.
733
00:51:44,827 --> 00:51:49,187
And so the paper that it's printed on is apparently ancient,
734
00:51:49,327 --> 00:51:51,567
produced with an ancient process.
735
00:51:52,167 --> 00:51:55,467
And it's very, it's very beautiful. And the tones are.
736
00:51:56,309 --> 00:51:59,129
Are amazing and it reeks of ink
737
00:51:59,129 --> 00:52:02,509
which is my favorite oh i love that yeah the reeks the ink
738
00:52:02,509 --> 00:52:08,429
reek the reek ink reek yes yeah so in terms of ticking the boxes for a photo
739
00:52:08,429 --> 00:52:12,309
book it's got and it's got the lay flat binding which i showed you before the
740
00:52:12,309 --> 00:52:17,569
uh right before we started the recording so yeah so yeah so the design so a
741
00:52:17,569 --> 00:52:21,549
lot of the pictures are like one third two third where
742
00:52:21,749 --> 00:52:25,949
the picture does go over the middle of the book.
743
00:52:26,289 --> 00:52:30,049
And there are others where it's just a catch and throw. There's one frame,
744
00:52:30,129 --> 00:52:37,329
one picture higher on one page and lower on the other side and so on. So just the design of it.
745
00:52:37,409 --> 00:52:41,909
So he was fine with surrendering design of the book to someone else.
746
00:52:42,089 --> 00:52:45,149
And I think it works. I think the book has a good flow and good sequence.
747
00:52:45,529 --> 00:52:48,489
I'll have to look at that. I could use another book for my show.
748
00:52:50,289 --> 00:52:53,089
Last question about this guy just is a technical thing
749
00:52:53,089 --> 00:52:56,429
but you said that he would be making negatives from
750
00:52:56,429 --> 00:52:59,229
digital files did he did he mention anything about how he did that
751
00:52:59,229 --> 00:53:02,209
no he didn't he he my sense
752
00:53:02,209 --> 00:53:05,709
was that much of the crowd that was sitting there were
753
00:53:05,709 --> 00:53:08,849
not well versed in chemical photography to begin
754
00:53:08,849 --> 00:53:11,629
with i see so and the whole idea of the
755
00:53:11,629 --> 00:53:14,269
enlarger and that sort of thing so he kind of
756
00:53:14,269 --> 00:53:17,189
held back the technical deals i didn't think to ask him but
757
00:53:17,189 --> 00:53:20,889
presumably he would have printed
758
00:53:20,889 --> 00:53:23,909
on printed transparency on some kind of inkjet device
759
00:53:23,909 --> 00:53:28,649
with high resolution that's about the size of a negative that would fit in the
760
00:53:28,649 --> 00:53:33,569
carrier and is enlarged yeah i i remember trying to do that a zillion years
761
00:53:33,569 --> 00:53:37,949
ago with inkjet printers and like you know you'd look at the print and you know
762
00:53:37,949 --> 00:53:42,749
because inkjet printers were not so good yeah back then i guess if if that's
763
00:53:42,749 --> 00:53:43,809
That's the technique he's using.
764
00:53:44,732 --> 00:53:48,332
Be really curious to see what the, the end results are. Cause that's such a
765
00:53:48,332 --> 00:53:49,392
nice thing to be able to print.
766
00:53:49,812 --> 00:53:54,152
If you can print a negative on an inkjet printer at a high enough resolution,
767
00:53:54,312 --> 00:54:00,292
and then use that as a, use that as your, your main negative to print a silver
768
00:54:00,292 --> 00:54:01,912
gelatin prints, that'd be kind of cool.
769
00:54:02,112 --> 00:54:06,292
So, all right. To be, to be, to, to be continued in some way.
770
00:54:06,872 --> 00:54:09,032
Yeah. Cool. All right. Nice.
771
00:54:10,632 --> 00:54:14,532
And that's a, that's a nice full couple of days.
772
00:54:14,732 --> 00:54:22,232
Yeah yeah and and you and you had one last thing right well i had i had a couple of things like.
773
00:54:22,932 --> 00:54:26,112
Experiences kind of peak experiences in photography the act
774
00:54:26,112 --> 00:54:29,052
of shooting as opposed to collecting books and i don't
775
00:54:29,052 --> 00:54:32,032
get out enough since i don't work downtown i complain about this
776
00:54:32,032 --> 00:54:35,532
every show i know just to
777
00:54:35,532 --> 00:54:38,272
get out and have an excuse to shoot a couple of things and i think it
778
00:54:38,272 --> 00:54:41,192
was around the time that we recorded last i went to
779
00:54:41,192 --> 00:54:44,612
shoot the pride parade and downtown calgary now that
780
00:54:44,612 --> 00:54:47,312
I've been there once I will always go there it's an
781
00:54:47,312 --> 00:54:50,212
amazing just a human and love and
782
00:54:50,212 --> 00:54:53,632
color and noise and fun and the
783
00:54:53,632 --> 00:54:56,952
Calgary parade that's very open in terms of as
784
00:54:56,952 --> 00:54:59,852
a photographer you can go kind of anywhere you want and I
785
00:54:59,852 --> 00:55:02,772
joked that I could have probably crawled up on a float if I wanted to
786
00:55:02,772 --> 00:55:05,552
and it was just it was
787
00:55:05,552 --> 00:55:08,252
just amazing fun colorful and then you know get at ward
788
00:55:08,252 --> 00:55:11,892
to shoot color yeah like you said one
789
00:55:11,892 --> 00:55:14,852
does not shoot a pride parade in black and white so right
790
00:55:14,852 --> 00:55:18,172
i had to put that bit of ego aside and
791
00:55:18,172 --> 00:55:20,912
work on my color processing i should say
792
00:55:20,912 --> 00:55:25,932
one ought not to one ought not to yeah i do have one image of a gentleman holding
793
00:55:25,932 --> 00:55:32,892
a placard saying you know dad hugs free dad hugs standing with the placard off
794
00:55:32,892 --> 00:55:37,332
his hip so that was that was the only black and and white image that I,
795
00:55:37,332 --> 00:55:39,572
uh, that I took that I felt would work in black and white.
796
00:55:39,972 --> 00:55:43,812
Everything else was in vivid color. So that was one thing that was a lot of
797
00:55:43,812 --> 00:55:46,772
fun. I'm going to do that again every year. I'm going to try and always cover that.
798
00:55:47,172 --> 00:55:53,472
The other thing was a year ago, I was gifted a twin lens reflex. It was a.
799
00:55:54,320 --> 00:56:00,980
There's a Rolacord, what is it, Rolacord 5B from 1959 or 1960.
800
00:56:01,900 --> 00:56:07,800
A gentleman was retiring. He was downsizing. And so he was giving away all of
801
00:56:07,800 --> 00:56:10,240
his stuff or selling what he could and the stuff he couldn't.
802
00:56:10,600 --> 00:56:17,660
And a friend of mine who was helping him do that said, he's handed me all of his photography stuff.
803
00:56:17,960 --> 00:56:22,060
Would you like it? So I've got digital cameras. I've got all kinds of little
804
00:56:22,060 --> 00:56:27,780
things here that, that he also, that I also got, but I think the prize of the
805
00:56:27,780 --> 00:56:29,560
collection is this roller cord.
806
00:56:29,920 --> 00:56:33,320
So it hadn't been used in years and years. So I sent it to a friend of mine
807
00:56:33,320 --> 00:56:39,460
who does this is that's his, his, his, what is it? His side hustle. Yeah.
808
00:56:40,660 --> 00:56:45,380
What is it? The word is cleans, lubricates and adjusts old cameras,
809
00:56:45,500 --> 00:56:51,040
CLA as the kids call it. So he cleaned it up and that was ready for me a year
810
00:56:51,040 --> 00:56:53,380
ago and I hadn't run any film through it.
811
00:56:53,420 --> 00:56:56,740
And so I decided enough is enough this summer.
812
00:56:56,840 --> 00:56:59,460
Another summer is going to go by and I haven't used this twin lens.
813
00:56:59,540 --> 00:57:03,260
So I put a roll of film in it and I went to a little car show,
814
00:57:03,380 --> 00:57:08,720
little car club show that was celebrating a hundred years of Chrysler products or whatever.
815
00:57:08,900 --> 00:57:15,180
So I went there and I just took, shot this roll of Ilford HP5 in a 120.
816
00:57:15,180 --> 00:57:18,800
Is a these would use as 120 film and
817
00:57:18,800 --> 00:57:21,860
sent it i didn't do my own processing though
818
00:57:21,860 --> 00:57:24,600
i almost have enough stuff here i probably could have but anyway
819
00:57:24,600 --> 00:57:29,100
sent it to a local lab a young couple have a lab here in the city so sent it
820
00:57:29,100 --> 00:57:35,880
to them and pictures came back on friday thursday or friday they they they scanned
821
00:57:35,880 --> 00:57:40,680
the negatives they're gonna they're gonna mail me the negatives physically but
822
00:57:40,680 --> 00:57:44,320
they They did scan them and sent me the scans,
823
00:57:44,540 --> 00:57:49,580
and I did some digital processing on the scans, and they turned out amazing.
824
00:57:51,600 --> 00:57:58,140
The lens is sharp. It's providing the coverage that, you know,
825
00:57:58,180 --> 00:58:05,520
the kind of feeling, the twin lens medium format feeling that I missed from my old plastic,
826
00:58:06,380 --> 00:58:08,180
whatever, twin lens that I used to have.
827
00:58:08,180 --> 00:58:12,000
And my, my Yashica, I had a Yashica mat, 124 G.
828
00:58:12,900 --> 00:58:20,420
And so we printed, I did print, I just processed them in Lightroom and it's amazing.
829
00:58:20,680 --> 00:58:26,540
So the gentleman who, who brokered this deal for me to get all of this equipment,
830
00:58:26,640 --> 00:58:31,240
including that camera, he, he, he's a few years older than I am.
831
00:58:31,380 --> 00:58:37,240
And he said, he'd like to get a portrait done of himself for his family. Oh, as a legacy thing.
832
00:58:37,480 --> 00:58:43,720
And I said, well, let's use Lawrence as a gentleman who, who owned this gear originally.
833
00:58:43,740 --> 00:58:48,500
I said, once we get Lawrence's camera figured out and it's good, why don't we use it to,
834
00:58:49,576 --> 00:58:54,676
And now that these pictures have come back and I think I underexposed a bit,
835
00:58:54,736 --> 00:58:57,316
but I, it's word. I always underexpose my film.
836
00:58:58,656 --> 00:59:03,136
So. Well, did you use to underexpose and overdevelop? No, I used to,
837
00:59:03,156 --> 00:59:06,956
I was consistent underexposure, exposure. Okay. Just in general.
838
00:59:07,176 --> 00:59:09,336
You didn't compensate for the overdevelopment. Just add a half stop or a stop.
839
00:59:09,516 --> 00:59:13,436
Yeah. It's just a typical word. You wanted the extra speed in some way.
840
00:59:13,956 --> 00:59:19,596
No, it's just like reading the scene and going, no, I could use another half
841
00:59:19,596 --> 00:59:20,896
a stop. Anyway. All right.
842
00:59:21,076 --> 00:59:27,296
So, so he, so I just pinged him tonight here after I, I had posted the pictures on Instagram.
843
00:59:27,356 --> 00:59:29,696
I said, look, we, these pictures look good.
844
00:59:29,796 --> 00:59:33,096
I think we should go ahead and do this, this portrait thing.
845
00:59:33,216 --> 00:59:39,016
So yeah, between Pride Parade and then now I had to wait three weeks to get
846
00:59:39,016 --> 00:59:41,576
the negative scan because they're a very busy lab.
847
00:59:41,916 --> 00:59:45,696
And so I got them. And so these were all gifts. Like all this stuff happened this weekend.
848
00:59:45,996 --> 00:59:50,016
Wow. Oh, so it all just came to a head. Yeah. I got these two books and I got
849
00:59:50,016 --> 00:59:51,876
these negatives, these negative scans.
850
00:59:52,156 --> 00:59:54,636
And so, yeah, there's a lot going on, man.
851
00:59:55,276 --> 00:59:58,696
I saw the pictures that you're talking about, the ones that you shared with
852
00:59:58,696 --> 01:00:02,016
us. They're very simple. They're just pictures of the front of the car,
853
01:00:02,056 --> 01:00:03,176
detail of the headlights.
854
01:00:04,636 --> 01:00:09,716
They're as much, they don't really cover my love of old cars so much because
855
01:00:09,716 --> 01:00:12,296
I really don't love old cars that much. They're like a taster,
856
01:00:12,376 --> 01:00:18,056
though. Yeah, but there's a lot of chrome and some high contrast and like,
857
01:00:18,116 --> 01:00:19,436
how does the film render it?
858
01:00:19,676 --> 01:00:23,116
There was a little boys about, I don't know, five years old,
859
01:00:23,176 --> 01:00:26,116
six years old, wanted me to take his picture because his dad said,
860
01:00:26,196 --> 01:00:27,776
Oh, you got this old camera, like whatever.
861
01:00:27,976 --> 01:00:30,636
And that little boy saying, can you take my picture? I'm like, sure.
862
01:00:30,896 --> 01:00:35,396
So I got a picture of him holding a Slurpee cup or something in front of one
863
01:00:35,396 --> 01:00:38,396
of these old cars. And so I took that picture.
864
01:00:39,169 --> 01:00:43,429
And just really loving the grain pattern of seeing film and seeing the grain
865
01:00:43,429 --> 01:00:46,409
again. It's, it was good. It looked very special.
866
01:00:46,509 --> 01:00:50,449
It looked like a special shot. The one shot I saw it and I could tell that you,
867
01:00:50,509 --> 01:00:53,669
you made sure that your reflection wasn't being seen in the Chrome.
868
01:00:54,049 --> 01:00:56,689
Yeah. There was some shots looking at us. I wonder if he was like,
869
01:00:56,709 --> 01:00:59,509
and I looked, I was like, oh yeah, you positioned yourself so that you would
870
01:00:59,509 --> 01:01:03,849
be like this amorphous black shape in the Chrome. And I was like, okay.
871
01:01:05,009 --> 01:01:08,109
And you know, I never, I would say never, but in school,
872
01:01:08,209 --> 01:01:11,049
you know, know i was doing mostly 35 i i
873
01:01:11,049 --> 01:01:13,889
didn't do medium format until i was
874
01:01:13,889 --> 01:01:16,549
shooting stock and then i wasn't thinking about it
875
01:01:16,549 --> 01:01:19,949
in the terms of like useful like way
876
01:01:19,949 --> 01:01:22,689
to make good art pictures or anything like that it was just
877
01:01:22,689 --> 01:01:25,869
i'm going to make bigger negatives or bigger slides i should say and
878
01:01:25,869 --> 01:01:28,669
and it's it's nice to sort of come back to that now when
879
01:01:28,669 --> 01:01:31,629
i saw your picture i was like boy man i
880
01:01:31,629 --> 01:01:34,329
wish you know of like i kind of wish i had
881
01:01:34,329 --> 01:01:37,429
done this way back when when it was
882
01:01:37,429 --> 01:01:40,249
you know film was cheap in the camera you could have the cameras and
883
01:01:40,249 --> 01:01:43,429
it was just something nice but it's not a nostalgia feeling because
884
01:01:43,429 --> 01:01:46,289
i never really had no that's funny too i didn't think it was nostalgia
885
01:01:46,289 --> 01:01:49,349
i had a bit of nostalgia operating the camera now
886
01:01:49,349 --> 01:01:52,469
it's a roll of cord not a roll of flex and so
887
01:01:52,469 --> 01:01:55,709
you advance the film till it stops then you
888
01:01:55,709 --> 01:01:58,549
cock the shutter and then you
889
01:01:58,549 --> 01:02:01,429
release the you know focus do your thing and then you release the
890
01:02:01,429 --> 01:02:04,329
shutter and then you know it's there are
891
01:02:04,329 --> 01:02:07,489
a couple more steps than just winding like on the roloflex
892
01:02:07,489 --> 01:02:10,509
it's got a crank and another thing
893
01:02:10,509 --> 01:02:14,309
too is i went out that's another thing but i've got i've got another yashica
894
01:02:14,309 --> 01:02:19,509
matt 124g that i've lent to my son to use and we went out last weekend and shot
895
01:02:19,509 --> 01:02:23,629
some street work but those cameras they have a crank and it does everything
896
01:02:23,629 --> 01:02:28,789
for you it advances the film anacoxa shutter and it's like a modern and mechanism.
897
01:02:29,049 --> 01:02:34,029
But there's that something of lining up and then reaching underneath the lens to cock the shutter.
898
01:02:34,189 --> 01:02:38,369
And there's some kind of classic about it. Yes, it does slow you down,
899
01:02:38,429 --> 01:02:43,969
but you know, my first time using a twin lens reflex in over 30 years, I was going to be slow.
900
01:02:44,589 --> 01:02:49,489
Yes. Yeah. Yeah. And the viewfinder, the viewfinder is all backwards,
901
01:02:49,609 --> 01:02:51,249
right? The viewfinder is, yeah.
902
01:02:51,309 --> 01:02:54,429
You turn the camera to the right and the view goes to the left.
903
01:02:54,529 --> 01:02:59,009
Yeah. Right. But I see my friend Gary, when he CLA'd it, he actually,
904
01:02:59,089 --> 01:03:05,049
he looks like he put in a Fresnel lens finder window or finder glass in there.
905
01:03:05,129 --> 01:03:06,289
So it's brighter? So it's brighter.
906
01:03:06,489 --> 01:03:11,449
Yeah. It's very bright. Image is very bright. So. Yeah. It's very happy to see that. And grid lines.
907
01:03:11,549 --> 01:03:14,929
It's got grid lines on it. So. Oh, nice. Helps you with the, helps you.
908
01:03:15,429 --> 01:03:19,869
Which is funny too, when you tip the horizon and when Tom, my son Thomas and
909
01:03:19,869 --> 01:03:22,529
I were out shooting, you know, you tip the horizon.
910
01:03:22,569 --> 01:03:24,669
It's like, whoa, it's getting worse. It's sort of like. I know.
911
01:03:25,289 --> 01:03:29,829
I'm getting seasick with this thing. And then I shot up a building.
912
01:03:30,189 --> 01:03:34,749
Oh my God. Trying to shoot up a building. This was in, this was this last weekend.
913
01:03:34,989 --> 01:03:37,369
And then trying to get the top of the building to be vertical.
914
01:03:38,377 --> 01:03:43,557
And I thought to myself, and then the voice said, twist from the hips.
915
01:03:44,037 --> 01:03:49,737
Okay, now I'm getting it right. It's not moving the camera, yawing it left and
916
01:03:49,737 --> 01:03:51,277
right. It's twisting at the hip.
917
01:03:51,397 --> 01:03:54,437
That's how you get it to line up. What do you mean twist from the hips?
918
01:03:54,657 --> 01:03:58,897
When you're pointing the camera up and the top of the building,
919
01:03:58,957 --> 01:04:04,537
you want to be like, you know, a few millimeters parallel to the frame.
920
01:04:05,697 --> 01:04:11,637
And it doesn't seem to line up, right? And so in order to get it to line up,
921
01:04:11,677 --> 01:04:17,117
you have to turn the camera, but you turn the camera in the wrong orientation, right?
922
01:04:17,357 --> 01:04:21,977
You want to, you want to turn it in your hands like it's a steering wheel.
923
01:04:22,017 --> 01:04:23,137
No, no, no, that's not right.
924
01:04:23,217 --> 01:04:30,377
You want to turn at your hip so that it's, you know, so that you're changing on a different axis.
925
01:04:31,217 --> 01:04:36,397
Okay. Oh, maybe that was driving me crazy. It was like a minute of like,
926
01:04:36,477 --> 01:04:38,317
what the hell am I doing wrong here?
927
01:04:39,097 --> 01:04:43,037
And my son is standing there. He's got it all figured out. He knows what he's doing.
928
01:04:43,077 --> 01:04:47,917
He's shooting his pictures of detritus and Mylar balloons blown out on the street.
929
01:04:47,957 --> 01:04:49,437
And he's got color and I got black and white.
930
01:04:49,497 --> 01:04:52,497
And we're doing our thing. But I'm like, God, I just...
931
01:04:53,672 --> 01:04:57,552
I got a digital picture of this very same composition, but I don't have it in square.
932
01:04:57,712 --> 01:05:01,652
And this will be a great way for me to get it right. And I went to all the trouble
933
01:05:01,652 --> 01:05:03,592
of trying to calculate the exposure and everything.
934
01:05:03,712 --> 01:05:07,052
And I'm like, God, it's not lining up. And I'm like, twist.
935
01:05:07,232 --> 01:05:10,672
I just heard this voice run. I twist from the hip. Okay.
936
01:05:10,952 --> 01:05:15,732
There we go now. Oh, there we go. And it's like, I got reached down to the shutter
937
01:05:15,732 --> 01:05:17,432
release and make sure I kept it steady.
938
01:05:17,632 --> 01:05:21,892
Yeah. You know, cause it's not, you know, thankfully it's not a lot of effort
939
01:05:21,892 --> 01:05:24,872
to trip the shutter on that thing. You should get, you should get a cable release
940
01:05:24,872 --> 01:05:27,092
for it so you don't have to reach over. Well, I'm going to, well,
941
01:05:27,152 --> 01:05:30,412
I've got a cable, I've got cable releases, so I'll use that for on the portrait session.
942
01:05:30,652 --> 01:05:33,412
Yeah. It's just easier than not having to reach under because then you don't
943
01:05:33,412 --> 01:05:37,192
screw around with the camera. Yeah. You've got this, the trigger, or you can even tape.
944
01:05:37,692 --> 01:05:43,612
I remember seeing one, somebody had like gaff taped the, the cable release to the side of the camera.
945
01:05:44,052 --> 01:05:48,072
Yeah. So I could do that. But it was just in that particular circumstance holding
946
01:05:48,072 --> 01:05:50,692
the camera awkwardly. Yeah. It's usually not a problem, but.
947
01:05:50,952 --> 01:05:54,852
Yeah. You know, but. It is an interesting experience if you've not done it in
948
01:05:54,852 --> 01:05:59,192
a long time and you're trying to, like, I remember when I took out my Minolta
949
01:05:59,192 --> 01:06:03,472
cord and I was just, even just like the tilting back and forth and like, whoa.
950
01:06:03,712 --> 01:06:06,652
And you talk about getting car, you know, seasick. It's like, yes.
951
01:06:06,892 --> 01:06:11,112
And it seems like such a simple thing. It's like, all you have to do is tilt
952
01:06:11,112 --> 01:06:13,972
the camera in this way. And you don't.
953
01:06:15,432 --> 01:06:19,092
Anyway, it's funny because I'm standing there. I imagine you're the same.
954
01:06:19,152 --> 01:06:21,772
You're just looking at this thing and you're like, what the hell am I doing wrong?
955
01:06:22,372 --> 01:06:25,572
Why is it not working? And why do I feel ill anyway?
956
01:06:28,012 --> 01:06:33,732
Well, that's cool. You're inspiring me to, I mean, I still have,
957
01:06:33,752 --> 01:06:37,212
I'll show you this little bag. Oh yeah, with 120.
958
01:06:38,072 --> 01:06:44,372
Yeah. Those are exposed? Yeah. There's eight rolls here and I got one roll and
959
01:06:44,372 --> 01:06:46,812
a camera, maybe two rolls and a camera that I haven't finished yet.
960
01:06:48,292 --> 01:06:49,792
And there's a local...
961
01:06:50,765 --> 01:06:54,225
There's a local processing place in my neighborhood. Not, not quite,
962
01:06:54,345 --> 01:06:57,105
but it's like on fifth Avenue and the 18th street.
963
01:06:57,165 --> 01:07:02,205
So I can drive over there and I want to do that because I want to support a
964
01:07:02,205 --> 01:07:04,345
local processing place.
965
01:07:04,505 --> 01:07:08,965
And someone told me that they're very good. So you got me sort of hyped up to
966
01:07:08,965 --> 01:07:09,805
say, I should probably draw.
967
01:07:09,845 --> 01:07:12,765
This film has been sitting around for a while. So can we plug these labs?
968
01:07:12,945 --> 01:07:16,445
Cause I would like to, I can't plug this lab, right? You can plug your lab.
969
01:07:16,525 --> 01:07:18,785
I can't, I don't know the name of mine yet, but I will. When I,
970
01:07:18,785 --> 01:07:21,045
when I process it, You tell me the name of your lab.
971
01:07:21,085 --> 01:07:25,705
Mine's called Neat Film Lab and they're in the Inglewood neighborhood of Calgary
972
01:07:25,705 --> 01:07:31,105
and it's a young couple, Haley and Louie, and they're going great guns.
973
01:07:31,205 --> 01:07:35,285
I wish them all the best. And it's nice to have, they do black and white.
974
01:07:35,345 --> 01:07:37,765
They do C41 and they do E6.
975
01:07:38,365 --> 01:07:45,565
Okay. And so that, and that's black and white, color negative and color transparency, ectochrome.
976
01:07:46,365 --> 01:07:49,545
So. E6 processing. E6 processing. Yeah.
977
01:07:49,825 --> 01:07:54,805
Yeah. Send me the link and I'll put it in the show notes. All right. Okay, cool.
978
01:07:55,265 --> 01:08:00,445
All right. I think, uh, my, my watch just buzzed me and it said time to,
979
01:08:00,525 --> 01:08:05,605
uh, time to reflect on time to reflect on the show that you've just recorded.
980
01:08:05,865 --> 01:08:10,005
So let's, let's tell the world. Oh, anyway, first, thanks.
981
01:08:10,085 --> 01:08:14,245
This was glad we got to talk about books like this. It's a nice sort of Sunday
982
01:08:14,245 --> 01:08:20,305
afternoon, evening thing to, to talk about. So I hope everybody who's listening
983
01:08:20,305 --> 01:08:22,485
is enjoying, enjoys this as well.
984
01:08:22,565 --> 01:08:26,225
And, and you know what, if there are books or photographers you guys know about
985
01:08:26,225 --> 01:08:28,505
that we don't know about, just drop us a line.
986
01:08:28,545 --> 01:08:31,765
I'd be really curious to be able to feel like, you know, we've got this network
987
01:08:31,765 --> 01:08:33,305
of people out there listening to the show.
988
01:08:33,325 --> 01:08:37,445
It'd be great to, you know, hear what photographers they're into and,
989
01:08:37,485 --> 01:08:41,225
and, and, and sort of bring them into our sphere of influence,
990
01:08:41,405 --> 01:08:45,165
you know, just to, to, you know, so we can discover them as well.
991
01:08:45,285 --> 01:08:51,445
So I would say send, drop us a line. So anyway, Ward, where, where are we?
992
01:08:51,645 --> 01:08:53,765
Where, where's the world finding you these days?
993
01:08:54,025 --> 01:08:59,405
Well, on Vero and X, formerly known as Twitter, I am at W Rosin photo Instagram.
994
01:08:59,605 --> 01:09:05,485
I'm at, at Ward Rosin fine art, which by the way, those car pictures that I took are posted there.
995
01:09:05,985 --> 01:09:09,065
Ah, okay. I put, I put a soundtrack on it.
996
01:09:09,105 --> 01:09:14,265
I put, uh, the, um, the roadrunner song from the cartoon. Okay.
997
01:09:15,225 --> 01:09:18,665
Cause one of the cars in the, in this sequence, I think, as a roadrunner.
998
01:09:18,745 --> 01:09:23,045
As a roadrunner? Yeah. Yeah. On Facebook, you can find me at Ward Rosin Photo.
999
01:09:23,505 --> 01:09:25,525
My website is rosin.ca.
1000
01:09:26,045 --> 01:09:28,065
And I promise one of these days we're going to...
1001
01:09:29,151 --> 01:09:32,031
Put up most of my street work and my film work.
1002
01:09:32,591 --> 01:09:37,191
Cause I have a feeling there'll be more film work coming and our unofficial
1003
01:09:37,191 --> 01:09:38,931
sponsors or an official sponsor.
1004
01:09:39,171 --> 01:09:43,251
Yeah. Our unofficial sponsor. And I am working, trying to build relationships
1005
01:09:43,251 --> 01:09:48,091
with other manufacturers outside of seven artisans and photo deox,
1006
01:09:48,111 --> 01:09:51,591
although they're, they are great partners to work, to work with,
1007
01:09:51,671 --> 01:09:57,731
but I'm trying to expand that reach and market and, and hopefully generate some more sales.
1008
01:09:58,171 --> 01:10:02,691
So that's it for me, my friend Antonio. Where can we find you in the Internet?
1009
01:10:02,951 --> 01:10:07,611
Oh, and I do want to mention that it's ornis.photo.
1010
01:10:08,671 --> 01:10:12,291
So just make sure you get that address in there. You know what?
1011
01:10:12,331 --> 01:10:14,011
I'm going to skip a lot of my stuff.
1012
01:10:14,811 --> 01:10:19,551
All right. Well, no, I'm going to say Instagram would be the place to look for
1013
01:10:19,551 --> 01:10:20,671
when I post on Instagram.
1014
01:10:22,151 --> 01:10:26,791
So my Instagram account is amrizariophoto. My website is amrizario.com.
1015
01:10:27,931 --> 01:10:31,711
But you know we've been getting a lot of we've getting a lot of traction on
1016
01:10:31,711 --> 01:10:36,231
substack because we've been posting a couple of articles lately so i kind of
1017
01:10:36,231 --> 01:10:38,791
want to lean people towards me
1018
01:10:39,231 --> 01:10:41,951
to go to our substack i think that's going to be a
1019
01:10:41,951 --> 01:10:44,711
nice place to sort of hang out so go check
1020
01:10:44,711 --> 01:10:52,891
out our stuff substack at streetshots.substack.com all right uh you guys know
1021
01:10:52,891 --> 01:10:56,171
where you can find me in other places but i really like to build up the substack
1022
01:10:56,171 --> 01:11:00,831
community It's a nice little it's growing nicely there and I like what I see
1023
01:11:00,831 --> 01:11:02,771
about other people what other people are doing with I.
1024
01:11:03,576 --> 01:11:08,896
Community and just sort of the social aspect of Substack. So I think I'm just
1025
01:11:08,896 --> 01:11:10,516
going to lean towards pushing that a little bit more.
1026
01:11:10,656 --> 01:11:13,816
So go check that out. I owe you a couple of articles probably.
1027
01:11:14,256 --> 01:11:19,376
You can do whatever you can. Yeah, as the weather closes in,
1028
01:11:19,516 --> 01:11:22,136
I'll be inspired to write some stuff down.
1029
01:11:22,576 --> 01:11:26,436
I also like summing up our, you know, taking this podcast too and turning a
1030
01:11:26,436 --> 01:11:29,736
little bit of it into an article. Well, the Vivian Meyer discussion,
1031
01:11:29,856 --> 01:11:33,816
I think, has really generated some interest. And I really like your article about it, too.
1032
01:11:34,296 --> 01:11:37,556
Yeah. So I'm going to keep doing that. So that's good.
1033
01:11:38,136 --> 01:11:42,976
If you want to leave us a voicemail, you can do it at speakpipe.com slash streetshots.
1034
01:11:43,076 --> 01:11:50,316
You can leave us a little 30, 40, 90 second street thing, you know, voicemail.
1035
01:11:50,316 --> 01:11:59,256
And, you know, if you want to emulate our, you know, our honorary producer,
1036
01:11:59,516 --> 01:12:08,836
Tim, you can support us by buying us a coffee at buymeacoffee.com slash Antonio Rosario.
1037
01:12:09,196 --> 01:12:15,576
So thanks again to Tim. And he's our honorary producer for this episode.
1038
01:12:15,716 --> 01:12:20,496
I'm really happy. That's really fun to be able to say that. So, yeah.
1039
01:12:21,096 --> 01:12:25,176
Yeah. Yeah. So, so that's it. We're, we're good. We actually,
1040
01:12:25,196 --> 01:12:27,796
we actually had a show tonight.
1041
01:12:28,116 --> 01:12:32,096
I'm always, I'm always happy when we can find something to talk about for a
1042
01:12:32,096 --> 01:12:33,656
while and I'm hoping everybody finds it interesting.
1043
01:12:33,756 --> 01:12:36,816
Anyway, I'm, I'm, I'm already now in chatty mode, so I got to stop.
1044
01:12:39,236 --> 01:12:44,116
All right, everybody. So we'll see you guys at the end of September and Ward.
1045
01:12:44,196 --> 01:12:46,416
Thanks for joining me tonight. Always a pleasure.
1046
01:12:46,996 --> 01:12:52,196
Yeah. And to everybody, Everybody have a good rest of the September and see
1047
01:12:52,196 --> 01:12:54,336
you in a couple of weeks. We'll see you. Good night.
1048
01:12:55,440 --> 01:13:04,084
Music.