Baseball Player on the Bowery, NYC
Excerpt from Not About the F-Stop:åÊ
One of the most-asked questions is: ‰ÛÏWhat makes you shoot the picture?‰åÊMy answer is: ‰ÛÏI‰۪m looking for something I‰۪ve never seen before.‰
What can be there that you‰۪ve never seen before? The answer is sometimes theåÊreason for traveling to exotic places. Then, obviously, everything you see is new to you.
To find this kind of stimulus is the most difficult thing of all. What can be in your own neighborhood that turns you on and makes you want to shoot? I‰۪m looking for the rip in the fabric, the thing that looks surrealistic, the juxtaposition of disparate elements, something that is ‰ÛÏwrong.‰
This can be almost anything, but one has to be open to it, to not look past it. You must stay sensitive to what‰۪s literally right in front of you.
From the Jaywalking In NYC collection
Images have been taken from satellites. One can shoot from jet planes, helicopters, and trains, buses, cars, and get great stuff.
But you have to get down on the ground and start walking to get the intimate relationships that occur between the people in your images and you.
I’ve been a New Yorker all my life. I live in Brooklyn now, and I love it. But the moment I hit Manhattan, I feel the difference. The everyday pace, the nuttiness, the density.
New York is obviously only one place that has spawned a great history of street shooters. Every great city - Paris and London for two, also have a history of wonderful street photography.
In my own work, I try not to intrude or change the situation, but I will happily do portraits on confrontation.
I’ve been asked what I’m looking for when I go out to shoot. My answer is, “absolutely nothing.” I’m not looking for anything. I’m just desperately trying to stay open to whatever is in front of me.
Others have then asked, “Then what motivates you to take an image?”
A rip in the fabric.
How the photographer got there is indescribable and mysterious. It stops dead in their tracks those who would explain the whole business for us and make logical and predictable the content of photographs.
- Phil Perkis
Something, (God knows what) that delights me, the unexpected beam of light, the gesture of a hand or face, the surprising juxtaposition of colors, anything that makes me smile or takes my breath away.
I, like most of us, miss most of the shots I try for but I console myself as I console you, by noting that we did see it and that’s, after all, what it’s all about.
Paper & Printing
Epson Legacy Baryta
Baryta paper has a white, smooth satin finish with the look and feel of the revered silver halide F-surface darkroom papers and provides excellent image permanence.
13x19 prints are placed on backing board inside a clear plastic bag. They are then packaged in a custom 15x21x3 corrugated box protected inside 3 inches of charcoal foam. More about shipping...
20x30 prints are shipped flat in MasterPak PrintPak Art Shipping Sleeves. A "container within a container" with multiple layers of protection.
Dye-Sublination onto Aluminum (Metal)
Transferring the print to aluminum produces a vivid, archival quality print that is scratch resistant, doesn’t require glass or framing, and is lightweight and easy to hang. More about the paper...
Metal prints are shipped in a sturdy 44x63x3 wooden crate. More about shipping...