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
I use digital or analog camera. But for this ongoing project, I will use only film.
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.
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.
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.
(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
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
Pixdar on the footsteps of the past
“We spend all day in front, often without even lend a look … And yet, if it lingers a few moments, we take the time to look a little closer, these small quaint shops take us back, as the song of Charles Aznavour in “a time that those under 20 years can not know.”
Totally abandoned, awaiting demolition or transformed into housing, these old shops, signs and storefronts are in France as elsewhere, precious witnesses of an era. Faced with these shopping centers without any charm, which are mushrooming, it seems unimaginable to let them disappear without immortalize them. “
Flickr (https: / /www.flickr.com/photos/photimages/).
I have an affinity for Mare Island. I learned how to make a
photograph there. I developed a set of aesthetic values
there. I have tried to tame chaos there. It is an
industrial wilderness. I am alone with my thoughts and
wander aimlessly there. I watch osprey there.
Mare Island is a peninsula alongside the city of Vallejo,
California. For over a century, Mare Island was the U.S. Navy’s
Mare Island Shipyard (1891-1995). The shipyard reached an
employment peak of 40,000 workers during World War II. In 1988
Congress scaled back production and employment dropped to around
10,000 workers. When Congress ordered the base closure, the
shipyard employed 5,800 workers.
Even in the short time I have been frequenting Mare Island, many
changes have taken place, both good and bad. A number of
buildings have been razed or lost to fire. A 6.0 magnitude
earthquake in August 2014 did considerable damage as well. On the
other hand, many buildings are or in the process of being
renovated for commercial use (mainly office space). Industry has
continued and is still growing. There is even a small artist
community taking advantage of cheap studio space to ply their
I’m drawn to the geometry and lines of these industrial
buildings. I’m concerned with time, the effects of friction, and
the unique ‘patina’ they create. I am captivated by the flux of
what accumulates in the environment and the commingling of
organic and synthetic matter.
Ultimately, I would like my photos to allow the viewer to see the
world as it is anew.
I live in Baltimore, Maryland. I stumbled into photography & started taking pictures about 10 years ago. One of my favorite places to photograph is Detroit — it is probably the most visually fascinating city in the U.S.A. It is filled with re-purposed buildings and hand-painted commercial signs, and art and self-expression covers most public spaces (and not just from graffiti artists and taggers.) Any bare wall becomes a place to communicate a message, and apocalyptic quotations from The Bible are commonplace. I was talking with a guy who ran a towing operation, and when he started his business he had a local sign painter add his favorite bible verse to his building (“No Weapon Formed Against Me Shall Prosper, He’s My Lord -N- Conqueror”) along with several superhero cartoon characters. There is a lot of vibrancy and alive-ness in Detroit, and those who never get past the “ruins” miss out on what is truly interesting about the city.
I’m Italian, and I live in Mondolfo, a nice village in the hills by the Adriatic Sea. I live where I photograph and I photograph where I live.
“I just feel like there are no words coming out. I mean I love to dance, so I let my body speak for me. But I’ll always dance alone.”
“People scare me. I’m scared of myself. Nobody should see me. I want to see everybody. I want to be everywhere. I want people to like me. I hate everyone.
I should then set myself here.”
- Anxiety vs Fear
Fear is a normal reaction to a real immediate stimulus, while anxiety is the expectation of a future threat.
The “Anxiety” series is a walkthrough of some places that not only attracted me for their confidence of living their past, present and future all at the same time, but I also felt some sort of relief being there. It shows how I’m not yet able to deal with people.
I’m always questioning myself about my future, my behaviour, which way I should go or who I should talk to. Those places attracted me like if I was pushed towards them. They welcomed me in the gentlest way, Sometimes I stare at them for minutes and back home I stare at pictures for hours. I feel eternity.
To find those places, I had to walk, to ask myself which way to go, to explore, everyday, and always carry a camera. One day you’ll look up at your environment in a totally different way. You’ll know then you’ve grown up.
I got into photography on a whim. A friend told me he wanted to study photography at school, so I followed him without any expectations. By that time I’d never touched a camera and he idea of taking pictures stroked me at the very moment my friend explained his intentions. What surprises me now is that I already had my own conception of photography, a picture of a picture.
You could say it was almost a gift from above, knowing that right now, I dedicated almost all my time to photography