William Real: Still Images of an Evolving Pittsburgh Landscape

31 Mar


The ever-changing man-altered urban and industrial landscape fascinates me, both visually and as a metaphor for impermanence and the passage of time. For this subject, Pittsburgh is a photographic paradise. I’m drawn to the remaining industrial architecture in all its decrepit glory, even more so because I know it will soon disappear. The faded and crumbling character of Pittsburgh’s marginal, impoverished neighborhoods also beguiles me. As dilapidated houses are razed or yield to nature, holes open up in the urban fabric, reversing decades of urban densification and creating a landscape of a more rural character. There is a frenetic building boom going on here, structures vanishing and materializing seemingly overnight; brick, rust and aluminum siding replaced by rubble, ditches, scraped earth and piles of dirt, then by scaffolding, construction equipment, steel, insulation, and Tyvek and eventually by uninspired modern architecture, obliterating the memory of what was once there.

In the midst of this upheaval, I also seek out everyday streets, corners and places that are perhaps insignificant and invisible to most of us–so ordinary and seemingly permanent that we overlook and take them for granted, until they start to disappear, and eventually, are forgotten.

While many of my subjects are concerned with inevitable deterioration and loss, I also find that within the camera frame, images of inherent beauty and dignity materialize as if by magic.

Lately my camera is the one I always have with me, a Samsung Galaxy smart phone. This little pocket machine’s images, with post-processing in the digital darkroom, are surprisingly satisfactory for their purpose. The fixed wide-angle lens perfectly suits my usual subjects. I have more fun and less anxiety shooting than I used to with more sophisticated cameras, lenses, and gear.

I’m on Flickr at https://www.flickr.com/photos/real00/

Guillaume R – Paris

Since my youth, I have ever been curious about the tags and the graffiti. Why, When, Who does it ?
Step by step I started to take street pictures like in a playground. I live in the suburbs of Paris  and as soon as possible I go and explore Paris and it’s suburban fringes, It’s an endlessly exciting game.
At first, I started watching graffiti but it opened my eyes to others interesting drawings. I’m in love with the dirty and broken city atmosphere .
   I look at  the « beautiful » in the places where you don’t want to live and I try to make sense. I was inspired by a lot of internet session , by people with whom I took pictures and photographers as Bruce Davidson or Marta Cooper.
I created a magazine “Vu dans la rue” (“View in the street”) you can see some online :

Ariane Coerper

13 Jan
I am a German photographer and discover the past few years the urban environment with the digital camera. Coming out of the painting I give my photos with editing a picturesque and often surreal touch.
Inspired me have the Italian painters of metaphysics as Sironi and De Chirico.
Graphic elements have a great attraction for me what you can see always in my work.
Often I see in banal and ugly buildings and industrial areas a certain beauty and i like to show it in color and sometimes also in black and white.
People can be seen as good as never in my photography, but does not mean that it will always remain so.
Various Canon and since 2015 a Fujifilm X-T1 is my equipement, also Photoshop CC and other software for editing.
My work in photo communities:
And my Homepage:

Empty Streets by Manfred Hofmann

15 Dec Lustadt (4)

Light and shadow impress me very much. I created many images of small villages that often seem deserted, because I’m on the road at midday.

I want to show this rural life, describe how people live in villages that only have a bus every hours or two. The solitude.. yes, that’s my subject, also village life and beyond, you can see this in my landscapes and other styles of photography I practice.

I take pictures with Pentax cameras, initially a K10 and now a K5 and almost always with fixed focal lengths, usually 15mm or 21mm and periodically 70mm. I use Lightroom and Nik software to post process.


I have a website:

I show my work at Flickr:

And I edit a magazine:

Daniele Pilenga – I’m from Caravaggio

6 Dec

Born and grow up in the province forces you to some renunciations
but trains the eye to a slower and ritual observation.
Places don’t seem to change and spaces are layered with silent references
so when everything seems empty you can find the real subject.
Time leaves traces to look for and marks to be registered
because every time you see a place you could remember the past time and all your memories about.

I’m Daniele Pilenga and I’m from Caravaggio.
You can see more of my pictures here:



Cyril Becquart – India

10 Oct

I use digital or analog camera. But for this ongoing project, I will use only film.
I will return in India for the third time to continue it.
It’s hard to describe what I want to do in my pictures, perhaps you can feel it better than me, but i try to make a kind of ‘slow’ street photography, not spectacular, but questioning individual… In fact, that is what I try, not sure that I manage.
Technically, I can see I keep a distance with my subject, and use 50mm (or 80mm in medium format), to have some neutrality, and no effect in picture.
Using film, is for my as interesting for the particularity of the analog result on picture than for the way of making picture. Less pictures, slowly way of making them, not distract by looking the result on the camera, and the doubt of the succeeded picture force me to continue searching.
But the return, discovering negatives can be a hard depressive moment

Cyril Becquart on Flickr

Thomas Willard

23 Sep Los Angeles

Rendered space:

This ongoing series of images is an inquiry into open space.

In the tightly constricted environments of the urban/industrial landscape, open space is almost an afterthought. Trapped between walls and fences, space is a limited commodity, its purpose primarily utilitarian. “Rendered,” as if extracted from the landscape.

In broad daylight the accoutrements of these spaces declare themselves as painted descriptions, delineations and formations, all intended to maintain order.

Two-dimensional surfaces dominate.

Priorities are revealed.


Photographic Formula:

Notice the unnoticed.

It goes beyond place. It’s not about your hardware. It’s about perception and spontaneity in the unfolding moment.

The quality of light, first and foremost.

Space or the lack thereof.

Time, incremental.

Composition, arrangements within the frame. Noticed ambiguities, coordinated resonance.

It all adds up.


A few words about myself:

As an inner-city kid growing up on the edge of a large industrial section near downtown Los Angeles the idea of open space didn’t really enter my mind. Tarmac covered my school playground and concrete sequestered the front lawn (even the adjacent Los Angeles “River” was lined with a thick coat of concrete). As with most of the kids in my neighborhood, this was taken for granted as an environmental fact of life.

It wasn’t until we went on a family camping trip to the eastern part of California that I realized that other, more expansive, realities existed. I have been attempting to come to terms with that early experience ever since, partly through photography.

My immersion into the photographic arts began with the purchase of my first camera, a “Hanimex Praktica, Nova 1b,” in 1970. Later I graduated to a 2.8 Rolleiflex and realized that true quality could be achieved with a medium format negative. In 2004 I took the leap to digital imagery.

A few college classes here, compared notes there. Friends, gallery visits, museum openings, books.

It all adds up.

City Focus: Düsseldorf by Andi Heuser

9 Aug

Bach Strasse

Bach Strasse

I just describe how I photograph – this means not so much the photographic technique but the search for images (which is more a kind of “non-search”) and the moment I decide to take a photo
(I shoot not so many frames because I use a 6×7 film camera).

I don’t very much follow an idea or concept instead I just take my camera with me every time I go out.
I wait until I “see an image”. This is not a result of thinking, I just see an image, that’s all. Then I stop, take my camera out and try to find the point from where I can capture this image.
I prefer a very objective style, so I mostly point the camera head-on to the scene. The rest is simple photographic technique like definining depth of sharpness and correct exposure time.

In some cases I visit special locations like the disused and abandoned factory which I photographed during the last few days. But there it’s the same: I go along and look everywhere until an image catches my eye


20 Jul

My name is Paul Rosenstein, and I got my first camera when I was 13.  I’ve been shooting on and off ever since.  Apparently, that’s over twenty years now.  I started focusing more on street photography about eight years ago, when I began taking rather close shots of interesting surfaces, street art, building siding, and the like.  Over the years, I have found myself retreating from my subjects, favoring longer views, framing more thoughtful compositions, and attempting to capture the emptiness of spaces rather than the noise of the extreme abstraction.  At least in part, I attribute my shifting vision to a possibly-pathological gear-restlessness.  I am currently working with the following cameras: Mamiya RB67 Pro-S, Bronica ETRSi, YaschicaMat 124, and a Nikon F2 and an F3.  I’ve always found that shooting different cameras and refreshing my gear bag occasionally helps drive creativity.  In fact, I enjoy the entire process: acquiring new gear, cleaning it up a bit, installing batteries (if nec), loading the film, developing the film at home, hanging it in the bathroom to dry, scanning it in, and posting online.  For me, this entire process—start to finish—is the making of a photograph, only the smallest part of which is the physical taking of it.  So while making a photograph today tends to begin and end on the internet, and therefore demands a workflow that few of us could have imagined twenty years ago, I love it all the same, just as much as I did when I got that first Nikon two decades ago.

At least to me, the power of urban photography lies in its ability to re-present as aesthetically interesting the utterly familiar and otherwise mundane.  Where many see only utility, the urban photographer sees beauty, and if he is an able photographer, he invites others to bear witness and unveils it for them.  In fact, with his tripod, handheld meter, and cable release, his mere presence outside office buildings, boiler rooms, back alleys, and loading docks is iconoclastic; and this, long before the completion of the photograph.  These are places we are not supposed to be, shooting subjects that are not supposed to be shot, finding the aesthetic where there is supposed to be only the instrumental.  By its very nature, then, urban photography is irreverent.  I find it to be a humble and elegant challenge to common sense.  In fact, I am reminded of its power each time a bystander confronts me to ask What do I think I am doing? and What is it for?  And, as anyone who does this sort of photographic work will surely attest, this means I am reminded constantly.  I seek only to contribute in some small way to the universe of urban photography established already by far better artists than I—many of whom are featured in the posts below.

My personal site is hosted at Cargo Collective

See also my Flickr feed

Some of my stuff is for sale at Crated

Walthamstow by Vibrant

8 Jul
I take rubbish pictures in every sense. My subjects are static, abundant and nearby. I don’t try to find beauty in them, I’m not a professional photographer.
Take a look at the contents and fittings of your home: beds, chairs, sofa, tables, cooker, fridge, toilet bowl, wardrobes, cabinets, carpets, rugs, shopping trolley, suitcases, laundry basket, curtains, blankets, duvets, clothes, television, washing machine, doors, toys, shoes, bric-a-brac, framed pictures and the content of the rubbish bin. They are all in my photos: mostly on pavements and in front gardens, occasionally on the street.
There is an apparent contradiction in rubbish dumping. The poorest the area, the greater the number of objects that are used for only a short stretch and then turfed out onto the pavement. Walthamstow is one of the many suburbs in the tourist-free, grimy belt that surrounds central London. A scruffy, dirty mishmash of traffic choked streets, overcrowded tenements, shabby shops and high deprivation. It has a dense, transient, low-income population that rents privately and tends to buy cheap stuff that doesn’t last or may not be suitable for the next tenant. Environmental degradation and respect for public spaces are not high on the agenda of either landlords or tenants. That said, a small posse of private developers, estate agents and creative-corporate types, are forever telling me that I live in a vibrant, urban paradise. My photos are in part an attempt to reconcile the cognitive dissonance their claims cause me.

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