Street Chat
Archives for April 2017
Susan Catherine Weber
Street Chat
Please tell us a little about yourself. Where are you from, where do you live now? Your background with photography, how and when you were drawn to the street genre.
Born and raised in Aurora, Illinois and at the age of 17, my family then moved to Scottsdale, Arizona. College years were spent in Flagstaff. After that I worked and lived in Phoenix for a few years. Lived in Denver for a few summers. That was fun. In 1987 I moved to the Los Angeles area. The South Bay is where I started, then Hollywood, Orange County, back to the city in various neighborhoods; West L.A., Mid-City, Silverlake and Highland Park. Pasadena is my home now.
I took photography classes in college. I was more of a fan of the medium than a participant back then. I came to know the work of Helen Levitt, Mary Ellen Mark, Diane Arbus. All women, interestingly enough, I was obsessed with them. One day I saw a William Eggleston exhibition. That show really resonated with me especially the message plastered on the wall of the gallery, “At war with the obvious.” Maybe it was the graphic designer in me that enjoyed the colors and compositions. I’m not really sure, nor does it really matter. But I’m pretty sure that’s when I began walking around with a camera. I do recall telling someone once back then, I’d like to shoot like Helen Levitt with an Eggleston influence. I still really like that idea.
How do you define “street photography” for yourself?
Well, maybe the old story teller in me wants there to be a story in my photograph. The graphic designer in me wants to accomplish interesting color palettes in a photo and pleasing compositions. The struggle is sometimes to leave that academic behavior behind and shoot photographs by simply reacting. React to what I see, feel, hear and maybe even smell. Try to grab a scene as a story. What’s that story from an unusual angle? What’s the story, that I see but other’s might be missing.
I suppose I don’t really have the definition pinpointed for myself. I’m not sure I am a street photographer or at least, I’m still looking for what that is to me.
I’m visual. I live in a very big city. It’s extremely accessible. I like stories. I like people. I like weird/touching/funny moments. Mostly, I find it crazy challenging.
I don’t really come from the camp that “street photography” means it has to have people in it. Evidence that people were there is “street” enough to me.
Does your local situation affect how you are able to shoot? Is there a political climate, social attitudes (or laws) about photographing people in public, or another local factor?
Los Angeles is a really easy city to shoot in. It just depends on what you want to shoot.
Everyone is on the street with a camera here. It’s not just packs of street photographers either. The entertainment industry is here, so besides paparazzi (which is probably what keeps the laws about photographing on the street in L.A. legal,) there are tourists and artists out on the street.
If you’re a photographer that likes getting a large flow of people to choose from, New York or London is probably a better bet than Los Angeles. A decent amount of people filled scenes can be found in Hollywood and downtown, but cars rule here. We love our cars.
In what ways do you think being a woman has affected your work?
Well, I’ve never shot as a man, so I’m not really sure how to honestly answer that.
I like talking to people and I’m probably more approachable and trusted because I’m a woman. I have more access to families and kids probably. Now that I’m older, I’m sure no one sees me as being much of a threat. In the street photography world, I would imagine that counts for something.
I find it interesting that I answered a previous question about I how I started with photography, I mentioned three women right off the bat. I admire women. I admire many men too, but I recognize the difference in attention men get more so than women in the arts especially. That’s the bigger conversation, isn’t it?
Color or black and white, digital or film?
Color color color. You should see my house. Full of color. I love color. Sometimes I wish I wasn’t so drawn to it. It can disrupt an otherwise lovely composition or moment in a photo. But I do love it. That said, I do, once in awhile, examine the world in black and white. It takes a certain trained eye, I think. I love looking at black and white photographs for sure but I enjoy shooting a colorful world.
Digital is 90% of my photographic world. I’m on the computer all the time anyway with work, downloading and editing on the computer is what I do anyway. I love the way a photo looks when it’s printed from film. I really love it. More than a digital print if I have to choose a print. At this point I’m not shooting for the print though. I’m shooting because it’s fun. One day that might change. Who knows?
Equipment and process and technology doesn’t interest me and certainly doesn’t impress me as much as the end results which is image, or the message or that “zing thing” that moves me.
What photographers can you name who are the most inspirational to you?
Well, I’ve already mentioned Levitt, Marks, Arbus and Eggleston. “Most inspirational” is interesting to think about. I remember seeing a story about Uganda in the L.A. Times. It was photographed by Francine Orr. It’s the only time I’ve ever written to someone to tell them how much their photographs touched me. Those photos are embedded in my head. Are they inspiring me? Maybe. Then, so are Graciela Iturbide’s and Vivian Maier’s. But I don’t think I shoot like them.
I’m like a child. My attention span is short and frantic. Recently, I’ve been pouring over Saul Leiter’s amazing, beautiful, early color photographs. Prior to that was Zoe Strauss, and her photograph’s raw honesty.
He’s more of a fine artist, but I’m a big fan of David Hockney, whose colors and compositions inspire me. Also the fact that he experiments all the time with new mediums, techniques, and always maintains his childlike wonder — it’s creatively contagious.
Is there a special project you are working on? Or recurring themes you are often drawn to?
Recurring themes? Since I don’t always shoot “street,” I’d say my recurring theme is photos of rocks. I’m a desert rat. Getting out to the deserted desert is my greatest pleasure. I chill out while gazing at rocks.
On the street level I don’t have a recurring theme that I’m aware of. I center things. I only just noticed that recently.
I shoot medium format portraits nearly every Day of the Dead holiday.
I enjoy being in a collective. Years ago I was in ZuperQuirk. Those were some of my favorite picture taking days.
I’m working on a collaboration with an artist friend of mine whose photographs are not “street” at all. We’re still figuring out the “whats,” “hows,” and “wheres,” but I’m looking forward to being inspired creatively in whatever I shoot next for that.
Susan Catherine Weber | Website | Flickr |
Going underground with Birka Wiedmaier
#HerSideOfTheRoad speaks to Birka about her intriguing double exposures on the Moscow and Berlin Metros, and photographing on transportation. by Charlene Winfred
Please tell us a little about yourself. How did you come to be a photographer, and when when you were drawn to the street genre?
My name is Birka Wiedmaier, I am from a small town in the Eastern part of Germany, Arnstadt in Thuringia, where I spent my childhood and youth. My family and I lived in different places in Germany, and we spent four years in Israel. Around 14 years ago my husband’s job brought us to Moscow where we live now.
Photography did not really play a big role in my life until I arrived in Moscow. I started taking pictures to keep memories of my walks through the city, though it wasn’t really street photography in the beginning. To get a better understanding of photography (the technical and visual aspect,) I took some online classes, and bought myself lots of books.
I started out with cityscapes, tried architecture, photographed details — whatever drew my attention. But when looking at the pictures on my computer, I always felt that they lacked something. I was not satisfied.
During my city walks, I met many people and photographed them, and this is how street photography became my biggest interest about 3 years ago.
I love the work of Jacob Aue Sobol and Trent Parke, Martin U. Waltz (who gave me some great advice on a photo walk last year), Oliver Krumes, Sergio Larrain, Dorothea Lange, Constantine Manos, Josef Koudelka, Vivian Maier and many, many more. I think all their work has influenced and helped me to get were I am now.
A lot of your work seems to revolve around transport — why are you drawn to transportation?
This is difficult to answer, I did not really choose this theme consciously, it more or less developed itself. I think it has something to do with my love for traveling, and of course using public transport often. Every train station gives this feeling of leaving for another great destination.
What was it about the Moscow and Berlin Metros that made you start your Underground Moscow — Berlin project?
I go several times a week into the city, for walks or for meetings with friends, and always take the Metro. This is the fastest and most convenient way to get around — no traffic jams underground like there are above ground.
The Moscow Metro is one of the biggest in the world, and really beautiful. I started taking pictures, portraits of people, and of the beautiful stations, whenever I was using it. From time to time, I would just go on a Metro tour, especially during the winter — with temperatures around minus 20 degrees Celsius, walking outside is not possible for long. Inside the Metro it is warmer, and it’s interesting to see how people are dressed. You can clearly see who is a tourist or foreigner — tourists usually either open their jackets or take them off, unlike Russians who stay fully dressed and never seem to be bothered by how warm it is on the trains.
The biggest difference between the two Metros is the train frequency. In Moscow a train comes every two minutes, unlike in Berlin where trains are farther between. The stations in Moscow are more impressive as well — a lot of marble was used to build them, along with beautiful ornaments and mosaic tiles; in every station you find different lampshades. The underground in Berlin is simpler and not so extensive.
All of your underground work is in black and white. Why black and white? And how did the idea of double exposures come to you?
I wanted to shoot it differently: convey somehow the sounds of the incoming and outgoing trains, the conversations and footsteps of the passers-by. It was not possible to implement this in the pictures. To try and express a little more of this chaotic, busy atmosphere to my viewers, I started to experiment with double exposures.
For the Berlin double exposures, I had started in color, but found this distracting. With black and white, it was easier to concentrate on the main subject, and show how rough the place can be. For example, the Moscow Metro is used by up to 8 or 9 million people per day, and during rush-hour, it is possible that you have to wait in a big crowd for about 10 minutes to get onto an escalator. And most of the stations are often dimly lit — the black and white conversion emphasizes this too.
A lot of new stations were opened recently, and I am currently enjoying exploring them. They are very different from the older ones, less pompous though equally impressive. For my double exposures this can add a new feel too.
What differences are there between shooting in Moscow and Berlin? Do you find that people react to you differently? Are people more open to being photographed in one city than another?
Most of the time the people on the Metro inspire me — I like to observe them going about their daily routines, and try to capture little gestures.
The difference between the behavior of people in Berlin and Moscow is not too wide, though Russians are quite suspicious about cameras. Often with a nice smile and the right attitude, I get along well, and speaking the language helps me too. In Berlin, I would say it depends on the area where you take pictures, and also on your attitude. The common sense you would use everywhere in the world is the key.
I have one little story from the Moscow Metro: I often use my phone to take pictures, as I was doing on this day. There was an old lady sitting next to me, looking at my phone, and she was noticing that I had just taken a picture of the couple across from us. I was a little nervous, not knowing how she would react. However, after some time she smiled, told me the picture was a very nice one and started asking me questions about myself. When people tell me they don’t like my taking their picture, I delete the images straightaway.
How long did it take to complete both your Moscow and Berlin Metro projects?
This project is still an ongoing one. When I look at my pictures, I notice how much they have changed and developed. In the beginning, it was about Moscow only. But Berlin feels like a second home to me, and I have always wanted to connect those two cities in my photography. I explore Berlin a lot via public transport, so it was somehow natural to experiment with double exposures there. I’ve started experimenting with slower shutter speeds recently too.
Where this project will go, and how much longer I will work on it, I cannot yet tell.
Are you a film or digital photographer? What equipment do you shoot with?
I am a digital photographer. Though I absolutely adore the look of analogue photos, I cannot bring myself to get into it, I like to see the results instantly.
For my double exposures, I use a Fujiflm X-T1 camera — the in-camera function for double exposures makes it a perfect fit. Besides the Fuji camera, I also use the Leica Q and M cameras for street photography.
Birka Wiedmaier | Website | Instagram |
Guest interviewer: Charlene Winfred
Ali Cherkis
Please tell us a little about yourself. Where are you from, where do you live now? Your background with photography, how and when you were drawn to the street genre.
I was born in NYC and grew up in the mountains of Western Massachusetts. I’ve been living in London for the past year and a half now, and before that I was in Manhattan for a few years.
I was drawn to the street genre in NY, while studying and assistant teaching at the International Center of Photography. The city is a beast, a character with its own flesh and bones. It’s a place where peoples’ lives play out in public. I would see make outs and break ups in the subway, sad business men and jaded young women on the street. I’d be going through my own journey and would find myself drawn to these strangers’ lives. I’d see myself in them, in a way.
And then I would see the light bouncing off the buildings, illuminating individuals in a crowd. The yellow or green hue of the subway cars. It’s such a dramatic and comedic and heartbreaking city. It’s beautiful. NYC was my teacher. It became my foundation in street photography and visual storytelling.
How do you define “street photography” for yourself?
I see street photography as a core piece of the big story of who we are as humans. Making a documentation as we are in this moment. Each photographer, though always at a distance as a stranger, will invariably be connected to the subject because they have chosen that person, that moment, that scene. It’s a reflection of the photographer in that way. My favorite work is vulnerable and personal, whether it’s a close up portrait or a street scene.
Does your local situation affect your work?
I think that now, being an American woman in London, I’m very aware of my role as an outsider. I’m very aware that when I open my mouth, some folks might not respond well to my accent. But on the other side of that, the Brexit/Trump connection runs deep. There’s a lot of empathy and love in London between the UK and US because of it. It’s been a weird few months.
But aside from the political climate, I feel that if I am photographing people in public, and I always approach a scene with respect and care, then it’s ok. I personally don’t like to photograph those who are in vulnerable positions — homeless people, drug addicts, etc. Just not my thing.
In what ways do you think being a woman has affected your work?
The other day I was shooting around the market in Whitechapel, and my energy was off. It was my first day out shooting in a while, and I just couldn’t get into the flow — couldn’t make any good images. I started to head home when I felt someone watching me. This dude began to follow me for about 20 minutes, smiling like a creep every time I turned around — until he finally cornered me under a bridge (I refused to NOT walk under the bridge). I sprinted into a cafe a couple minutes down the road and waited there for awhile until I calmed down. The woman working in the cafe helped me chill out and then told me that I shouldn’t be walking around with my camera around my neck.
I was angry. It wasn’t the first time it had happened to me. It makes me jealous of male photographers, who don’t have to think about that kind of stuff — who can just go out and shoot and not worry about anything but the photograph. Each time this kind of shit happens, I carry a little more weight on my shoulders — and the camera strap should be enough.
On another vibe, being a woman brings sensitivity to my images. I find myself connecting more often with female subjects rather than male ones. I see myself in young women falling in love and grandmothers with a full face of make up. It’s sisterhood. It’s a powerful feeling.
What photographers can you name who are the most inspirational to you?
Nan Goldin, Philip-Lorca diCorcia, Alessandra Sanguinetti, and Rineke Dijkstra, to name a few…
Is there a special project you are working on? Or recurring themes you are often drawn to?
I’ve got a few projects in the oven. My themes tend to emerge from my day to day images — my visual diary. I’ll often have dreams or fantasies about scenes or images and keep those in my mind when I’m making photos, then they become part of the whole. I find my paths in that way and they take me on a journey.
