CHI DSC 3029 3-22-24 “Untitled” (Wells & Wacher, Chicago)

Chicago Photograph brings back memories of 25 years ago

June 21, 2024

When I got back from Chicago in March and started going through all my images I came across this photograph above. At first glance I saw how the elements in the frame were interesting, and I understood how I was drawn to make the exposure. But when I zoomed in, I immediately realized that the little girl in the stroller looked so similar to my daughter Alyssa at that age and that reminded me how often we used to take her to Chicago for vacations. The little girl in the stroller is so alert to the world around her just like Alyssa was at that age. I am assuming it was seeing the stuffed animal in the girl’s arm that really made the connection. The girl is clutching it in such a protective way, you know how special the toy is for her. My daughter was exactly the same way, and that period of innocence was so wonderful. The image brought to mind how much a parent tries and protect their children when they are young and also how in today’s society I still worry about my adult children’s safety as crime and world tensions rise. Viewing this image became an incredibly intense experience rather quickly as I realized everything I just mentioned, and I was not expecting that. The experience motivated me to revisit my negatives and see what images I had of Alyssa when we would take her Chicago when she was young. Below is one of my Chicago photographs from 25 years ago when Alyssa two years old.

CHI-171 #29 5-03-99 - Alyssa Valentine at the Hancock Tower

I don’t know if there is too much more to say about these images or the recent experience. I don’t want to make it into something more than it is, but I thought there was value in sharing how I felt with people interested in my work or just interested a photographer’s process. I think it not only gives insight to the fact I am an admitted romantic, but it also highlights how a photograph can evoke strong emotions from the image maker even when that was not the original intent. I know everyone brings their own experiences with them when they view an image and that people often have different responses to images based on their own prior experiences. I also want to point out that images can become more important overtime and develop new layers of meaning particularly if public opinion of the subject matter changes or if the subject matter documents change in and of itself. Viewers opinions can also change over time as they have different experiences with the same image. These are all some of the reasons why I don’t delete image files or purge old negatives.

CHI DSC_6274_ 03-26-2024 - Laureen V. Connelly with her Cook County Assessor’s Office Certificate of Retirement plaque documenting 25 years of service.

Nikon Z6ii with a 24-120mm lens - Ms Connelly with her Retirement plaque

June 21, 2024

This photograph is another one from my Chicago trip that took on more so much more meaning once I got home and started going through the editing process. I am sure the faces, the contrast, and the forms all drew my intention when I made this exposure. I almost overlooked it until I zoomed in on the plaque that the woman was carrying and realized it was tack sharp and I could read what it said. The plaque is from the Cook County Assessor’s Office and was recognizing her retirement after 25 years of service, I could also read her name, Laureen V. Connelly. Being a block away from the Cook County Building I assume that this woman was coming from her old office where she had just had a retirement lunch, or reception, and they presented her with this plaque. I have no idea who the woman with here is, but I would guess it might be a daughter or even a former coworker that is a close friend.

With the information in the image, and some reasonable assumptions this image now has become pretty powerful. Laureen and the woman with her look rather solemn, like there might be a lot of reflection and thought going on. I can envision Laureen having the realization of the change in her life might be pretty intense. I assume she had a cubicle type job where she pushed a lot of paper and with it being the Assessor’s Office some of the citizens she interacted with daily might not have been in the best moods. But I can also imagine she took pride in her work and liked some of her coworkers. Change is not always easy and after 25 years to walk out of the office for the last time with just a pension and a basic plaque might be a little tough. The person with Laureen seems to be there in a supportive role. We can all imagine our own scenario of details with this image, and it doesn’t matter who is the most accurate. What is important here is the fact this person spent 25 years doing a job and is walking away with a basic plaque. Does this plaque really sum up her career? It lends the viewer to reflect on their own career and the real impact it is having on themself, on others, and society. This image allows the viewer to run with it. For me when I saw this, I reflected back on my law enforcement career and how it didn’t end on my terms because of an injury. The sudden change was not easy and luckily for me I had my family and my photography career to fill some of the void.

Between the two version I think the black and white image works best because I find the colors in the frame don’t add anything to the image and the monochrome version seems to be more appropriate for my interpretation of the mood. I just wanted to share both versions here so every viewer could have their own experience with the image.

This image is also a great example of how sharp the Nikkor 24-120mm Z lens is and how well it works with a Nikon Z6ii camera body; the autofocus capability is outstanding. UPDATE!!! Nikon Z6iii is out, and Preorders are being accepted at Samys Camera, with expected June 25th availability.

CHI DSC_6274_ 03-26-2024 - Black and White version

Photographing with Ave Pildas - September 22, 2023

October 8, 2023

On Friday September 22nd I spent the afternoon photographing and hanging out with legendary Los Angeles street photographer Ave Pildas.

I discovered Ave’s work, when I found a copy of his book Street People at Arcana Books in Culver City five years ago. I liked his work so much I bought a copy of the book. I authored a blog post about Street People and how his photograph “Cop Salute” really stood out to me. I loved the fact Ave was apparently self-publishing small edition books, promoting his work, making his own opportunities. Los Angeles is a hard town to photograph in and it was obvious Ave has been out there documenting Los Angeles for a long time. I followed Ave on social media and when Deadbeat Club Press released Ave’s Star Struck book last year, I went back over to Arcana for the signing to meet him; I also authored a blog post about that. We had a great talk and I suggested going out photographing on the street together.

Ave and I had talked a few times this year trying coordinate our schedules to go out and photograph. When we figured out September would be good for both of us, Ave specifically told me he wanted to find new areas in LA to photograph. The light in September is also usually better than the summer months which I thought would be a plus, but of course the day we went out it was oddly overcast for September here. Ave lives in Santa Monica and is probably best-known for his Hollywood street photography. When we were planning the day Ave told me he was interested in exploring two Los Angeles neighborhoods: Liemert Park and York Boulevard in Highland Park. Because I knew I would be coming from a morning meeting with Photography Curator Linde Lehtinen at the Huntington Library I chose York Boulevard which was closer. I also liked how he described York Boulevard as a gentrified neighborhood with plenty of foot traffic and people out and about to photograph. I love an image rich environment.

We met at Avenue 50 and York which was perfect. There is also a bench there which allowed us to talk for half an hour before we started walking and photographing. I also got a good feel for the area watching the people pass us.

Ave and I are very different in a lot of ways, first and foremost I am 6’5”, Ave is not. I was born in the 1960’s, Ave was “living life” in the 1960’s and 70’s; and he still attacks life today. But I quickly discovered we are very similar when it comes to photography even though we work in different styles. We both constantly look for images in our travels, framing things in our mind when we don’t have a camera in hand, and we both have a strong desire to document our world. We also both feel the pressure of fleeting time and its impact on our efforts to preserve our work, so our images live on long after we are gone. We also have a similar geek side, like where we both got excited with the visit to Galco’s Soda Pop Stop. I bought some PEZ and Ave asked for a handful of eclectic bottle caps. I also loved listening to Ave and Ernestine at Leaf & Spine talk about succulents for ten minutes. We discovered her shop while adventuring around York Boulevard.

Street Photography Styles:

When it comes to photographing people on the street, Ave talks to people more, and likes to engage with his subjects. I like to move anonymously through crowds while photographing. I don’t want people to be aware that I am photographing them because I want to document the world as it is, without interfering with it; but I always do get incredibly powerful images when I get suspicious stares directly into my lens. We talked about our different approaches and during the conversation I referenced Bruce Gilden who photographs in a very confrontational style, on the street of NYC with a wide-angle lens and a flash. There is never a doubt when Bruce has taken your picture, he’s in your face. The confrontation Bruce creates is an important part of the image. Ave and I both like Bruce’s photographs but agreed we would never want to work in that style; we also agreed that style would not go over well in Los Angeles.

I think Ave photographs in a more methodical manner. Granted he is 84 years old, but he is in great shape still and could move along the street faster. He just really likes to examine everything around him and often photographs details from multiple angels to get exactly what he wants. I like to do that as well with static subjects but when I am photographing on the street I am usually moving and reacting to the people I see. I often “Shoot from the hip” literally, with a Sony RX100 vii with the rear screen tiled up so I can glance down and see it. I miss some things in the frame with this approach but with it I can move about better, and people are more natural. Missing an image is just part of the process, some things aren’t meant to be. When I see something that is amazing I will frame it regardless of whether people will notice. Often I have a Nikon D850 around my neck and will transition to that for those images. I also use the DSLR camera for all the static subjects. A DSLR camera body around the neck often helps me photograph surreptitiously with my Sony RX 100 vii. Suspicious people focus on the DSLR body, and they don’t even look at my hands. Good Life Lesson from my Law Enforcement days, always look to see what’s in people’s hands.

William Karl Valentine - York Boulevard Portfolio

The Experience of Photographing with Ave

The afternoon photographing with Ave was one of the coolest times I have had in a while. I almost always photograph alone or if I am with other people I am the only photographer. After leaving ASU I have never really had a mentor photographer. I have had outstanding advisors like Mary Virginia Swanson but no one I went out photographing with. Ave and I photographed well together, each discovering different things to photograph and moving at a pace that didn’t hinder either of us. The pace was also good because it gave us the opportunity to discuss so many different things. We meshed well, I did not set the day up looking for a mentor, I was looking to exchange ideas with an experienced peer, and I got that. I know we both got something out of the day and developed a good friendship. Ave even called me last week to tell me about photographing Liemert Park the weekend after we were on York Boulevard.

We discussed so many things there is no way to list everything here, and some things were just between us. Ave life has been an adventure. He was a successful designer in Cincinnati and when he wanted to get to the next level he followed the advice of his mentors and went to study design in Switzerland. He met his first wife in Switzerland and has two granddaughters who are Swiss. He taught in Philadelphia and ended up in Los Angeles because one of his former students worked at Capitol Records and introduced him to management when he had been in town on a road trip. He had to fly back to Philadelphia to get a portfolio to show them and was hired. We talked about some of the legendary photographers of our time, and it was interesting learning how Ave had met Danny Lyon in Milwaukee once and had seen Garry Winogrand photographing around Los Angeles on several occasions.

I look forward to getting back on the street again soon with Ave and could see somehow collaborating with him one day. His schedule is crazy, with pending trips to New York and Morocco coming up soon, but that also means I get to see more new images from him. I encourage everyone who reads this post to check out Ave’s website and follow him on Instagram, you won’t be disappointed. There is also a recently completed documentary film about Ave called Ave’s America that I am looking forward to watching once the release is complete.

William Kart Valentine on York Blvd – photograph © 2023 Ave Pildas

Ave’s Bio from his website:

Born and raised in Cincinnati, Ohio, Ave Pildas worked early in his career as a photo stringer for Downbeat Magazine in the Ohio Valley and Pennsylvania in the 1960's.

In 1971 Pildas began working as the Art Director at Capitol Records in Hollywood and designed and photographed album covers for the label's recording artists. He launched a career as a freelance photographer and designer soon after, specializing in architectural and corporate photography. His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, Cannon Gallery, Amsterdam, Gallerie 38, Zurich and numerous group shows. His photographs are in the permanent collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design.

“Manos Arriba” CA DSC - 08450 9-22-23 Ave Pildas

Ave Pildas “Star Struck” and Ian Bates “Meadowlark” signing at Arcana Books

Ave Pildas "Star Struck" Book Signing at Arcana - 10/8/22

November 14, 2022

I have been a fan of Ave Pildas’s photography since I discovered his work in 2018 during another trip to Arcana Books. I even authored a blog post at the time reviewing his book Street / People which I had purchased.

Ave is 83 years old now and I am completely jealous of how much he gets out and photographs still, especially since he is also still constantly editing and promoting his older work. “Star Struck” is Ave’s 10th book and his 8th book since 2015. Ave is from Cincinnati and moved to Los Angeles in 1971 to work for Capitol Records in Art Direction. He started teaching at OTIS in 1985 and retired from there in 2008 to concentrate on his own photography. He has work in the permanent collections of LACMA and MoMA and has traveled the world photographing.

Photographing in Los Angeles is hard, I have written about that fact often here in my blog. The greater Los Angeles region is massive, thousands of miles, and a population of well over 15 million people. It is also eclectic demographically; Hollywood, Boyle Heights, South Central, Venice, The Valley, Pasadena, the OC, HB, Newport, Santa Ana, and the IE are all unique in their own rights even though they get lumped into “LA” from any perspective outside of California. It is not like photographing on Michigan Avenue in Chicago or on the street in New York City where it is easy to get out and walk amongst the people. I totally respect how much Ave has documented because I have traveled those same areas and what it takes to get to all those places.

This was the first time I have met Ave and I was so impressed with his incredible energy; he attacks life. During the time it has taken me to get to writing this post Ave has traveled to New York and Paris for the book fairs and has posted more updates of new work. We are planning of going out and photographing together sometime soon and I will share posts from that later.

But now, back to primary topic of this post and Ave’s new book. “Start Stuck” which showcases Ave’s photographs from the “The Hollywood Walk of Fame” section of Hollywood Boulevard taken between 1972 and 1975. The concise location helps make this book a great documentation of the people in the area during that era. It was published by Deadbeat Club and printed in China. This book is Deadbeat’s 78th book and the first edition was limited to 750 copies. The design, print quality, and image selection is very good, I highly recommend this book for anyone who loves documentary photography, street photography, or who is interested in Los Angeles’s past.

Ave was signing books with Ian Bates, whose new book “Meadowlark” was also published by Deadbeat Club (their 79th book). This was the first time I had seen Ian’s work. The only explanation text in the book is a short 2009 poem by Jim Harrison titled "I believe” and even with that text the viewer is pretty much left on their own to navigate the images. The quality and design of the book are good, and I liked most of Ian’s images on their own individual merit. Many of his photographs have a feeling of solitude, loss, and despair for me. There is a dark quality to them, but within most images there is also beauty and hope. Ian came across as a quiet person and I think I can see why he made these types of photographs and this book. You have to bring your own past experiences with you to appreciate this book, but I actually love that. I have seen enough photography in my life I don’t need someone stating obvious facts to me. This book is also one that you could come away with different feelings on different days from it, depending on where you were in life that day. It is a very good book to return to occasionally. I love that Ian is putting his work out there and I am happy to have added his book to my library.

Booooooom’s Review of Ian’s Book - Great examples of the images.

Atlanta Photography Group - 2022 Street Photography Exhibition Announcement

September 5, 2022

Selected image: Los Angeles, California 06-17-2018 (CA DSC 5594)

I am very honored to have had one of my photographs chosen by renowned photographer Henry Horenstein to be in the Tell Me A Story: Documentary and Street Photography 2022 exhibition at the Atlanta Photography Group’s Gallery opening later this month.

This 2018 image is from the intersection of Maple and Olympic in Los Angeles and is titled “Los Angeles Olympian”. The image is part of my Los Angeles and general Street Photography portfolios. This is the first exhibition for this photograph.

The Atlanta Photography Group formed in 1987 and moved into its current space at Tula Art Center in 2002. The staff, especially Director & Curator Donna Garcia, at APG are so professional and the list of jurors they have been bringing in for their exhibition calls the last couple years is the best in the country. Donna is also an accomplished photographer in her own right, and I encourage you to follow the link to her work, it’s worth seeing. This is the first showing of my work in their gallery space.

As I stated to start off this post, it truly is an honor to have a photograph chosen by Henry Horenstein for this exhibition. Knowing his work, and the fact we have photographed similar topics, the selection means a lot to me. We have never met but I know we have photographed in the same places around the same time. Henry photographed at the Santa Anita Racetrack just before I started work on my Santa Anita portfolio and I think we may have crossed paths on the streets of Boston a couple years ago.

If you are in the Atlanta area during this exhibition time, I encourage you to stop by and see it. I will update this post later with installation views and other links as they become available.

Glasgow Gallery of Photography - "Nowhere Far" Exhibition Announcement

September 4, 2022

July 4th, 2019 - Newport Beach California (CA DSC 03329)

I am pleased to announce that the above image was selected for the Nowhere Far Photography Exhibition opening this Tuesday at the Glasgow Gallery of Photography in Glasgow Scotland.

This is the first exhibition for this photograph, and it will be accompanied by another one of my photographs in a separate exhibition in the Upper Gallery at the Glasgow Gallery of Photography during the same time. These exhibitions are my first in Scotland which is now the fourth country I have exhibited prints in.

The Nowhere Far Exhibition was an international call with a theme of photographers showcasing their hometowns or current locations where they are working.

The Glasgow Gallery of Photography is a relatively new space that is quickly establishing itself and one of Glasgow’s top photography spaces. I am pleased to be part of this show and the process of working with their staff have been very good. Here is the link to the exhibition.

Glasgow Gallery of Photography - "Pandemic" Exhibition Announcement

September 4, 2022

May 12th, 2020 - Manhattan Beach, California - (CA DSC 0391)

I am pleased to announce that the above image was selected for the Pandemic Photography Exhibition which opened this weekend at the Glasgow Gallery of Photography in Glasgow Scotland.

This is the first exhibition for this photograph, and it will be accompanied by another one of my photographs in a separate exhibition in the Lower Gallery at the Glasgow Gallery of Photography during the same time. These exhibitions are my first in Scotland which is now the fourth country I have exhibited prints in.

The Pandemic Exhibition was an international call with a theme of photographers documenting their experiences during the Covid-19 Pandemic. I was excited to see this call, especially while we are still in the tail end (hopefully) of the Pandemic. I have photographed extensively during the Pandemic, making an effort to document as many experiences during it as I possibly could. I am so pleased to be part of an exhibition focusing on the events and hope it is the first of many for pandemic portfolio in the years to come.

Brianna Kupfer was stabbed to death inside her work on 1-13-22, the suspect was arrested on 1-19-22 in Pasadena several hours before I photographed this memorial at the murder scene.

Brianna Kupfer Murder Scene - 326 N. La Brea, Los Angeles

January 22, 2022

I remember standing over a guy once who had just been shot in his apartment. There was a drive-by on the street out front and instead of taking cover he went to the bedroom window to look and caught what appeared to be a stray round meant for someone else. He was a “Veterano” so I was somewhat surprised he did that, I expected he would know better. We had arrived on scene right after it happened, and paramedics were close behind us. Medically there wasn’t anything I could do for him beside encourage him to keep fighting to stay alive. His breathing was shallow, and he was not saying anything. His color started to fade and by the time the paramedics transported him his skin was turning grey, I knew he was going to die, and he did soon after reaching the hospital. I have seen a few murder victims die; most I guess were in shock because they were not saying much. I have also seen someone who was shot and made it, he was scared and calling out for his mother as he was laying there on the ground. Watching someone in the process of dying an unnatural death is surreal. I’ve sensed some people giving in to their wounds and death’s call, while seeing others fighting with all they had to survive. I have sensed fight, fear, regret, loneliness, and calm witnessing the dying process.

I went to the Croft House to photograph Brianna Kupfer’s memorial because I saw it as opportunity to document an incident which represents our society today, raging crime and the deterioration of safety in our communities.

What happened to Brianna showcases everything that has and is going wrong with the new approach to the American criminal justice system in a supposed “woke” society. It is beyond unacceptable that Shawn Laval Smith, the murder suspect, was still roaming the streets after at least 11 previous arrests and his obvious mental health issues. At a minimum he should have been in a mental health facility years ago, instead, somehow, he was most likely shipped to California from South Carolina so they could get rid of their problem quickly. Based on all his criminal history Law Enforcement did their job, they arrested him and brought him before the courts. The system from there obviously did not do their part by putting Mr. Smith in some type of custody where he could not harm others. Every day there are incidents of violent attacks on innocent people by unstable persons living on our streets. This past week the victims included a nurse at a Los Angeles bus stop and an accounting consultant on a New York subway platform, plus who knows how many others.

I feel my images from the Croft House accurately convey my feelings about Brianna’s murder and allow for thought and interpretation by other viewers. I see them as powerful documents of what happened, even though they do not actually document the criminal act or crime scene. I hope these photographs allow some viewers the ability to consider the reality of such a horrific loss and contemplate society’s approach to public safety moving forward. I think there are many layers for the viewers to deal with in these images.

When I photograph, I try and be respectful of the people within my frames and not exploitative. With an incident like this, I was looking for images with deeper meaning, not just a press image where I was looking for dramatic shot to illustrate a story before moving on.

Here are some of my thoughts on specific images:

The wide-angle view of the entire store worked well. The lead image in this blog captured how intimate this furniture store is by documenting its scale. I used a 14-24mm Nikon Aspherical lens for this since the sidewalk is so narrow and news vans were parked all in front of Croft House. For me I see the outside of the building with all the big windows as a location I would never expect a violent crime to occur. The wide-angle lens also captured the volume of flowers well. In the image above the young man walking past the wanted poster of Smith symbolizes much of society for me. Something horrific happened here, I want everyone to take notice and be enraged about it, but this man appears to be walking by as if he is oblivious to that fact. I imagine him saying to himself: “Oh well something bad happened here, thankfully it wasn’t me, bad things happen all the time, just accept it, I have things to do, it’s nothing I have to deal with.”. Obviously, I don’t know this young man’s thoughts, nor do I know if he has already walked by here multiple times and has already stopped to experience the moment. His presence in the frame, although a documented fact, is really only symbolic of life going on and people passing by. I also think his attire helps with the documentation of the area and the people who live here.

This image is intense for me. The arrangement is so beautiful, as was Brianna Kupfer, the flowers are representative of her. The interior of the store is organized and clean. There is order in the display and the designs of the pieces are awesome, the space looks cool, normally I would love to check out. But then there is the reality that order was shattered by the blade of the murderer’s knife. The reflection of the news van and the wanted poster in the window tell the horrific truth. Having seen the coverage of the murder on television I know the suspect had walked right where I was now standing to make this photograph. Perhaps he peered into this same window before he entered Croft House. He interacted with Brianna in such a way that she became so scared of him she texted a friend about him, he then savagely murdered Brianna, before comely walking out the back door of the store and North up the ally. The most chilling part is the rear door of the store is so clearly visible in this image and positioned just to the left of the wanted flyer for the suspect. This image brings to my mind the terror Brianna must have endured at the end of her life, how alone she must have felt.

I assume this image above is pretty obvious for most viewers. Televised news is so influential today. Here I have the production crew for the live shot, masks documenting the period, and mobile equipment which reminds the viewer that the crew is only on scene temporarily before moving on to the next story. Society’s focus on this event will quickly fade, and then I think of her family who will carry the scars of this loss forever. I am angered with the thought that victims, and their families are not the focus today. The slight view of the memorial in the background wanted poster giving context to their story. The reporters practiced speaking their copy while the crews checked their lighting and camera angles. They were doing their jobs, they were not being disrespectful, but the reality was obvious this wasn’t personal for them, it was just another tough story, it probably has to be that way in their business. Maybe this image also represents public desensitization to crime.

A few more images of the news crews, I specifically liked the woman casually walking by NBC’s Angie Crouch as she prepared for her segment, again symbolic of the acceptance of the reality of our society today.

I personally have no respect for District Attorney Gascon so when I found this sign here when I arrived, I was happy someone else had made this statement. It is good that there is an element of anger along with celebrating the Brianna’s life and mourning her loss. The old metal security gate is also an important element in all these images, adds to the layers.

The powerful element in this image is subtle but strong. Just before I photographed it someone came up and asked a couple questions about the murder. He seemed like he didn’t want to believe such a violent act could have happened there, I assume he lived in that Hancock Park neighborhood. He read the wanted poster, then put his hands up to the glass so he could get a better view of the store’s interior. It was obvious he was trying to comprehend what had happened, I assume he felt compassion for the victim and quite possibly fear for his own well-being. It would have been a great photograph of him peering in the window, but I didn’t take it. I guess I wanted to let him have his moment to himself. The smudges on the window are a good representation of everyone who had stopped and peered inside. I am sure many were fearful they would see a bloody crime scene but at the same time they were too curious to not look. From that point I can imagine people thinking thank God that wasn’t me or my daughter.

I liked the image of the vigil flyer; it is a simple document that gains value with the Christian candles. The note in the right-side image stood out to me. It isn’t the typical card you write on when you send flowers. It’s a page ripped from a small personal notebook. I don’t know any facts about who wrote this, but I can envision someone who stopped to view the memorial feeling the emotion of the loss and having a need to do something to share with others how they felt. For me the note is so genuine and personal, I love it, especially with the shapes and forms of the image, the beautiful, delicate flowers, and their contrast to the iron security gate. More layers of interpretation with this image than are initially obvious.

This may be the most powerful of my images that day, even though it was such an obvious image. I was lucky to be there when the sunlight was at a perfect angle to illuminate Brianna’s portrait and the wanted flyers taped to the window. The light also gave me interesting hard shadows in the store with an interesting element of a reflection of a security fence in the top of the frame; for me those elements allude to the darkness of the crime. Again, the staging of the portrait reminds me how unexpected it was to have a homicide occur at a location like Croft House. I don’t know who photographed the actual portrait, it is a solid portrait which I assumed captured Brianna’s personality. I felt a little weird photographing someone else’s photograph but with all the other elements in my frame I knew it was totally appropriate.

Hopefully I will find fewer things like this to photograph in the future and that I will never have to fully comprehend the pain Brianna Kupfer’s family is experiencing now. I will keep documenting my world because that is how I experience life and I trust these images will also have an impact on everyone who views them.

New York Photographs - January 2019

November 13, 2021

I just uploaded over 30 photographs from January 17th 2019 to my New York portfolio on my website. This blog post is to announce that and mention a few of the images which are standing out to me.

I was in Connecticut for a week and took the train in to New York City photograph that day. The light was good that day with no clouds. The windchill had the temperature down to about 18 degrees which did not feel that cold to me. My Nikon D500 though didn’t like the cold and shut down, luckily, I usually carry multiple cameras on trips like this do I was fine.

I am hopeful this blog post and update to my New York Portfolio with give view some insights to how I photograph. So often when I am in New York I will pick a few museums or galleries (Howard Greenburg in the Fuller Building is a favorite) I want to see that day and map out a straight-line route to start from. From there I walk and usually only stop to make camera adjustments or review images. Back in the day I would stop to change film and make notations on the canister but even with a Leica if needed I could walk and change film at the same time. Walking five miles in a day happens often, depends on the stops and what I come across. It is rare I stay in one location too long; the city moves and so I to as well. I also try and blend into the scene as I photograph so moving with the flow helps accomplish that. Moving also reduces becoming a victim since I am usually alone when I photograph. I am mindful of the sun when choosing my routes and which side of the street I am on. Back in the day T-Max 400 film at f/8 and 1/500th was probably my most common setting and I used a Sekonic hand meter. Today I am often on shutter priority at 1/800th. I appreciate the ability digital images give me to proof instantly, especially in tough lighting conditions.

I am drawn to these images above because there is a perceived sense of tension between the people in the images. Our world today is full of tension, and the weight of those tensions have been relentless on us for years. Relationships between people, and individuals to society are not as good as they should be today.

This grouping of Warhol paintings at the Whitney is probably the most epic grouping of art pieces I have ever seen in a museum. The grouping sums up so much about our world and life for me. Senior Curator Donna De Salvo, Senior Curatorial Assistant Christie Mitchell, and Curatorial Research Associate Mark Loiacono organized the exhibition, so I assume one or all of them deserve credit for it. When I saw the person with the support dog and the other man facing the cross in front of Warhol’s work, I had my image. I know I have written about it before but I will say it again, the Warhol retrospective was amazing, incredible how much work they gathered for it and the presentation in the space was perfect.

I know some people might think it is odd for me to photograph in galleries and museums where other art is on the walls. I often find myself with the desire to photograph as a means to experience something. I like to document moments and retain memories; the camera allows me to do that. Over time I have often found the juxtaposition viewers have with the artwork on the walls cab create new images of value. Plus, I am always aware of potential images, it is just how I see the world.

When I first went to photograph in New York in 1988 one of the things I was drawn to were the banks of payphones throughout the city and how many people congregated there. Over the years we have seen pay phones fade away as cell phones have made them obsolete. That transition changed the images I was finding in the city. Before many people I photographed walked with their heads up, looking straight ahead to avoid interaction. Now people seem to use their cell phones for this. Their phones give them a false sense of protection and a means to distance themselves from others. I now look for images specifically with people and their cellphones when I photograph, I think those images can make strong statements about the world we live in today.

I like the graphic element of this image above and the style of these two women who I assume are mother and daughter. This image can be unpacked so many ways depending on the viewer. Some may see it as a statement about wealth and privilege in the world today. I see it as a documentation of the mother daughter relationship and how it evolves while also staying the same in many ways. I envision the daughter loving ice cream and getting excited every time her mom took her for some when she was young. They probably have a special bond with all the times they have gotten ice cream over the years. I imagine this is an especially strong bond considering the day I photographed them it was well below freezing outside and that they are sharing the same scoop. In comparing the fashion and style of both I can also imagine that the mom has groomed her daughter to be a mirror image of her. Obviously, I am presenting a fair amount of speculation and interpretation of the image but don’t we all do some amount with every image we see. The girl being on her phone adds to the image as does the fact she apparently has seen me photographing them and my blurred reflection is visible on the granite wall. Those last two facts bring some self-portrait elements into the image. The Rolex store background is another important component of the image too obviously.

New York is Mecca for Street Photographers. I know Winogrand hated the term “Street Photography”, adamantly pointing out he was photographing people not the streets. I also know many images I see today which are described to be “Street Photography” are not. I think there are quite a few photographers out there that are enamored by the title of being a Street Photographer so they call any of their contrasty and saturated images street photography because it makes them hip. I have recently seen drone photographs and ocean photographs listed as Street Photography…No

I identify as a documentary photographer, it is the most accurate description of my work because I have so many varied portfolios, documentation is the prominent element in all my work. Stylistically when I photograph in cities, my work is Street Photography. I am moving amongst people looking to capture split second moments of interaction which can have deeper meaning when examined as an image. Street Photography is a process. My movement through the people walking in the opposite direction while I try to blend into the crowd. There is interaction in being there but usually I do not want that to influence my images.

When I am in New York photographing I look for my own images, I am not trying to mimic the work of icons. But I do feel a unique energy from the city and knowing the legendary photographers who have also walked those streets with a camera. Some of my favorite photographers are: Garry Winogrand, Bruce Davidson, Tod Papageorge, Helen Levitt, Joel Meyerowitz, Jill Freedman, Lee Friedlander, Danny Lyon, and Wee Gee. I also like Bruce Gilden’s work but I could never photograph in his style too much confrontation for me but that is what sets his images apart.

Lensculture Street 2021

September 30, 2021

One of the images I submitted to the 2021 Lensculture Street Photography Awards was recently selected by the editors to be featured in the Street Photography Awards 2021 Competition Gallery. This on-line gallery is visible to everyone who visits the Lensculture’s website. Lensculture describes their Competition Gallery as a highly curated group of images selected by their editors to showcase some of the best submissions in the competition.

I am thankful that the above image was featured in this on-line gallery and would encourage you to visit the link above to see all the other great images that the editors have chosen to showcase. This image is standing out as one of my top images from last year. Sarah Kennel, Curator of Photography at the High Museum, also selected the photograph for a group exhibition in Alabama which just concluded this week.

Memorial for Kobe and GiGi Bryant at LA Live - Los Angeles, California 2/1/20

The loss of Kobe Bryant

March 3, 2020

The day Kobe Bryant died it was overcast here in Newport Beach, and I wasn’t surprised to find out later weather was the most likely reason he and eight others were killed that Sunday.

I first learned of the helicopter crash from a text my son sent from the East Coast. He saw the news on TMZ and initially could not confirm it on other news sites. I was initially skeptical but then it was soon confirmed.

Kobe’s family lives in the Newport Coast part of the city which is about five miles away but people still ran in to him all around town. I saw him one night late at the my CVS after he had played at Staples, and know they frequented shops all over town. His family was a part of the town and lots of people know them.

The atmosphere in Newport Beach, Los Angeles, and Southern California after the helicopter crash was something I had never seen before here. In the Newport area so many people had some connection to one of the nine killed. In a smaller community the shock is understandable. But the atmosphere which gripped all Southern California, and most of the world, was incredible. Kobe was obviously larger than life, vibrant, and successful at everything. For him to be gone, and at that point in his life, shocked the world. I think it brought everyone’s own mortality in to view which is never fun.

With this event I knew I was present at an important moment in history and I wanted to find an appropriate way to photograph it. I had no interest to intrude on grieving family members, or capture images from private services, but I wanted to try and document the impact on the community, the atmosphere I was feeling.

What I decided to do was photograph the pop-up memorial at LA Live across the street from Staples Center. It was the most obvious subject and I was going up there to Kings games anyway so I had good access to the area.

These photographs are from LA Live. It was incredible to move through such an eclectic and diverse crowd where everyone was so reverent in unison. No one shoved or pushed, no one argued, it was quiet with the exception of the occasional “Kobe” chant, and everyone was basically one. Guaranteed there were folks in the crowd who normally would not be cordial with one another who stood side by side without an issue.

With a loss like this there are lots of lessons, I was thankful to have the opportunity to document it because I think these images can speak to that, but obviously I wish there wouldn’t have been a memorial to photograph.

Street Photography - 2018 PDN Article

October 23, 2019

So when I was looking up articles about Jill Freedman to share in my previous post I came across a really good article on PDN.com about What Street Photography means to several notable Photographers.

In the article Joel Meyerowitz nailed it when he said “You see tons of [imagery] on the internet labeled street photography, but when I look at it, it looks mostly like portraits of people on the street, usually in the center of the frame, and a lot of that work doesn’t seem to have much invention or intelligence or spirit or spontaneity.” I could not agree more with his statement. I see way too many images today that claim to be “Street Photography” which aren’t. I have seen images that would fit closer to the style of “New Topographics” profess to be street photography. I think with some of the self taught photographers out there the term “Street Photography” is romantic, or hip, so they call all their images street photography when most aren’t. I also think its somewhat humorous because Garry Winogrand, arguably the best “Street Photographer” to date, hated the term “Street Photographer / Photography”.

Martha Cooper & Alex Webb both had great insight for the PDN article too, please refer to the link above to see their comments.

For anyone wanting to learn about Street Photography look to some of the Masters.

Below are some Instagram examples which support my argument that many images “Street Photography” are not. Street Photography Magazine has some images which are Street Photography but there is a mix of others which are obviously not. Street Photography International has some dynamic images, but for me I would say most images there are not “Street Photography”. The images found on the page hash-tagged Street Photography are usually a quagmire of non-Street images.

Street Photographer Magazine

Street Photography International

Street Photography

Garry Winogrand - PBS American Masters

April 22, 2019

I got lucky and saw Fraenkel Gallery’s Instagram post about the PBS American Masters documentary on Garry Winogrand which aired last Thursday night.

Winogrand is my favorite photographer, I saw his 1988 retrospective at MoMA curated by Szarkowski, I saw SFMoMA’s 2015 retrospective, I saw the exhibition at Pier 24 gallery where they displayed prints of every image from his Women are Beautiful book on one massive wall, and I even attended Geoff Dyers's lecture last year at Getty for the release of his book on Winogrand.

I have seen several videos of interviews of Winogrand, have numerous books on his work, but I always want to learn more about him and his process. This PBS documentary is amazing. It has old interviews of Gary, lecture audio from Szarkowski speaking about Winogrand’s work, video shot by Winogrand, interviews of scholars, as well as interviews of his family and friends. Great insight in to the man. If you like Winogrand’s work, documentary photography, or just great images, you will enjoy this film.

http://www.pbs.org/wnet/americanmasters/garry-winogrand-all-things-are-photographable-full-film/11339/

Also, as a documentary photographer who photographs on the street, I particularly loved these following three quotes from the film about Street Photography :

“If we applied standard definitions of propriety and niceness to photographers working in the street we’d be left without a lot of the great pictures in the history of photography.”

Jeffrey Fraenkel – Gallerist

“I find it kind of intriguing because we allow the State to photograph us so relentlessly and yet people don’t seem as bothered by that as they do by someone who is clearly an artist.”

Michael Ernest Sweet – Photographer

“It’s an artistic process, you live within this process. So the questions of surveillance, political correctness, all of that stuff, it’s just totally irrelevant. Now perhaps that makes the few of us who even understand what I’m talking about right now are dinosaurs or insensitive ghouls or whatever…but who cares about that?”

Tod Papageorge – Photographer

Street / People by Ave Pildas

August 11, 2018

A quick review of Ave Pildas’s short run book “Street / People”

The Process ...

May 26, 2018

My thoughts about the process of seeing and photographing.

Street Photography

May 4, 2017

I follow Street Photography International on Instagram, I follow numerous photography related accounts. Today they posted a posed portrait, I think it was a self portrait, of a woman's reflection in a rain drop covered window. It was a fine image, it got tons of "Likes" and emoji's, but it was not "Street Photography". I commented on the image, questioning if it was "Street Photography" and the photographer replied that it was because there was a street in the reflection... I chose not to continue my point there because I did not want a reply war on Instagram, opting to share my opinions here on my blog instead.

Doing a quick on line search this is one of the first definitions of Street Photography that I found: Street photography is a type of documentary photography that features subjects in candid situations within public places such as streets, parks, beaches, malls, political conventions and other settings. The basic concepts are the images are candid ( usually not posed ) and they document something. Yes I know every photograph documents something by the nature of the medium , but in this case I think good "Street Photography" documents the moment and has layers with deeper meaning created by the interaction of the different elements within the image. I am a Documentary Photographer, some of my images are "Street Photography" other images are just documentary in nature. Image quality is more important than a label.

I have seen a fair number of other images lately that people try to label as "Street Photography" and the images just are not, they are not candid nor documentary, and often they are not good. I think some people like the concept of Street Photography and adopt the label without knowing what is and what isn't Street Photography.

Above is one of my images from Chicago a couple weeks ago. I think this is a decent example of "Street Photography". I made the photograph while actually walking down the street, it's candid, it documents how these people looked on this date, plus the way the little girl is looking at the man begging while her mother is looking away adds that deeper layer of value for the viewer.

For those wanting a better understanding of Street Photography look for "Streetwise" published by Modernbook in 2010 which accompanied a MOPA exhibition on Street Photography curated by Deborah Klochko, its is a good definition of Street Photography. Garry Winogrand, Robert Frank, Danny Lyon, Bruce Davidson, and Lee Friedlander are Street Photography legends, look up their images. I do think is worth noting though, that I have seen a video interview of Winogrand where he ripped the term "Street Photography" and wanted nothing to do with it. That's why I will stick with the label "Documentary Photographer" and leave it at that.

Street Photography Styles:

William Karl Valentine - York Boulevard Portfolio

The Experience of Photographing with Ave

Ave’s Bio from his website:

© 2017 WILLIAM KARL VALENTINE "Untitled" CHI-DSC 58974-20-17

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