Tag Archives: transportation

Interview with photographer Carrie Schreck

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Cary Benbow (CB): Why did you become a photographer? How did you get started?

Carrie Schreck (CS): I messed around a bit with film as a kid but the real answer this: when I first lived in San Francisco, my boyfriend and I never locked our car. It’s best just to leave it unlocked with nothing in it; if someone breaks in, at least you don’t have to replace your windows. One night someone must have been ripping off cars, got into ours and fell asleep. The next morning my boyfriend walks in with a Canon AE-1 left in the back seat. That’s how I got in to photography. Seriously. I still have that camera.

CB: Where do you get the ideas for your personal photography?

CS: I’m looking for genuine moments, powerful moments, and I hope to have the right mix of luck and speed to be able to catch them and do them some justice.

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CB: Explain the idea behind your Moped portfolio images  – How do they relate to your other projects?

CS: I’ve been shooting moped riders and moped gangs for 7 years. I shoot it because it’s my life and what’s going on around me, but it’s such a close-knit community, it’s a brotherhood and sisterhood. The story lines around each gang, each ride, each rally are a total challenge to capture. I wanted to save the memories for the people in them, that was always my first priority. Say, if Ashlee ever has kids and they are able to see a photo of her bombing the Coronado bridge after racing hundreds of miles, fixing her bike on the side of the road, doing something silly and dangerous but daring… maybe they’ll be inspired. With a photograph, that inspiration can happen long after I’m gone, after she’s gone.

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CB: Seven years definitely counts as a large, long-term project. What work are you currently shooting?

CS: ‘Larger series’ is about right. I’ve taken about 50,000 photos over the last 7 years. This fall I’ll be showing a slice of them at Haphazard Gallery in Santa Monica opening October 29. I’ve gotten the selects down to about one thousand, so I’m still editing. This coming week I’m traveling to Europe to meet with some moped gangs over there, tour a factory, follow a race, then I’ll be back in the states for the big national rally in San Francisco. That will be 8 years in total shooting bikes, I’m about ready to find a new subject.

CB: What will you be doing while you are in Europe? Where will you be traveling?

CS: I’ll be in Slovenia and Croatia, so I’m very interested in the lives of people displaced passing through from Syria and Jordan. I’m drawn to human ingenuity and how people excel at making the best of their situation. If I can find people willing to be photographed, I might. There are some moments that just don’t need to be photographed, I’m always aware of that, too.

CB: What or who are your personal photography inspirations?

CS: You know, strangely enough I found out a few years ago that my great Aunt was one of the first famous female photographers, Nancy Ford Cones. Like me, she liked documenting life’s moments. In her later years she started to become more experimental, creating scenes, when her husband died she stopped shooting altogether.  Weirdly, I learned all of this way after my own interest in photography began. In a way I feel like I’m continuing to shoot for her, so she’s a big inspiration for me.

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CB: How would you describe your work to someone viewing it for the first time?

CS: If Arthur Pollock had a 5D and hung out with grimey gear-head punks. Something like that.

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To see more work by Carrie Schreck, visit her website at https://radradmopeds.wordpress.com/

(This review was originally published in F-Stop Magazine)

Book review :  Metro: Scenes from an Urban Stage by Stan Raucher

Public transportation can seem a bit like a traveling theater. Periodically the scene changes from one part of the city or country to another, or from day to night as the train cars travel from above-ground to below-ground, and the cast of characters can be varied throughout the play. Doors open and shut like the curtains on stage with each new scene. Tranquility can give rise to energetic vibes in just a few stops when new members of the cast come on board; and while viewing Stan Raucher’s images, one is immediately drawn into these vignettes of life.

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In his project statement for Metro, Stan Raucher speaks to the metaphor of theater. “Whenever I step into a subway station it feels as though I have entered a magnificent theater with a diverse cast of characters performing in an unscripted play on an ever-changing stage. My series Metro documents the behavior of ordinary people in mass transit systems in various countries and cultures. As individuals interact with one another in these tightly-packed public spaces, occasionally extraordinary situations that are unexpected, mysterious, humorous or poignant unfold. A strange or wonderful juxtaposition, a spontaneous gesture, a concealed mood or a hidden emotion may materialize and then vanish in a split-second. Such ephemeral events are often overlooked or quickly forgotten. My intent is to capture these fleeting moments as evocative, richly-layered images that allow each viewer to generate a unique personal narrative, and that these candid photographs will prompt us to pause and reflect on our modern lives.”

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Photographers are generally voyeurs, observers, people-watchers. Metro: Scenes from an Urban Stage allows the reader to catch glimpses of these improvised plays as Raucher saw them. He took the photographs in Metrobetween 2007 and 2014 during numerous trips he made to fifteen cities on four continents. He captured scenes in the metro systems of New York City, Mexico City, San Francisco, Paris, Budapest, Naples, London, Warsaw, Rome, Prague, Vienna, São Paulo, Lima, Delhi, and Shanghai. Raucher’s images are like the work of other masters like Walker Evans, or Robert Frank, who shot clandestine images of people and public places. “Using available light and a bit of serendipity,” Raucher says, ” I endeavor to create compelling photographs that provide a glimpse into aspects of the human condition.”

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The hardbound book contains 50 duotone images on matte paper stock which beautifully gives depth to the scenes. The intimate views of people in their own worlds lead us to guess what they are thinking, where they are going, or deduce what their day has been like. Raucher’s masterful images are rich with details and emotions, which allows the viewer to decipher body language, soak in the details of these fleeting moments in their travels, and mentally craft a script to narrate their lives based on our own sense of the world around us and the people we know. As Marlaine Glicksman sums up the book in her essay, “Raucher’s images explore and magnify a self-contained world. Yet rather than contain ours, they enable us to see farther, both into the metro and into ourselves.”


Stan Raucher is an award-winning photographer who has been documenting aspects of the human condition around the world for over a decade. His photographs have been featured in 20 solo exhibitions and included in over 60 juried group shows. His work has been published in Slate, LensWork,Black & White Magazine, The Daily Mail, The Independent, Lenscratch, F-Stop Magazine, Shots and The Havana Times. He was a 2012, 2013 and 2015 Critical Mass finalist, a 2012 CDS/Honickman First Book Prize in Photography finalist, a 2015 PX3 Bronze Award winner, and he received a 2015 Artists Trust GAP Award. His prints are held by museums, institutions, and private collectors.

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Ed Kashi is an award-winning photojournalist, filmmaker, educator, and member of VII Photo Agency. He has authored numerous books detailing the social and political issues that define our times, and he is known for his complex imagery and its compelling rendering of the human condition.

Marlaine Glicksman is a visual storyteller: an award-winning filmmaker, screenwriter, photographer, and writer who creates dramatic character-driven stories set in multicultural contexts both narrative and documentary and in moving images and stills.


 

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Metro: Scenes from an Urban Stage
Foreword by Ed Kashi and Essay by Marlaine Glicksman

ISBN: 9781942084150
8″ x 10″ inches
88 Pages; 50 Duotone

To order Metro, visit Daylight Books site. For more information about Stan Raucher and his work, visit his website here.


 

This article was originally published in F-Stop Magazine in May 2016

Mile O’Mud by Malcolm Lightner

Mad Max cruises Alligator Alley

At the heart of Mile O’Mud is the thrilling sport of swamp buggy racing. For the uninitiated, swamp buggy racing consists of custom buggies that are part boat and part love-child of NASCAR and high octane drag racing. The buggies and their driver/pilot tear through swampy, muddy terrain that is more like the lake in the center of Daytona International Speedway than the track surrounding it. And much like the famed rowdy crowds who inhabit the infield of NASCAR races, swamp buggy fans do not disappoint.

Fans pile meat in baking pans, cans of Budweiser in boxes, and stack themselves in bleachers, truck beds, and on top of homemade platforms to cheer for the Swamp Buggy Queen and pray for drivers’ quick recoveries when the track proves too treacherous, because the drivers literally risk life and limb.

 

Malcolm Lightner grew up down the street from the original “Mile O’ Mud” swamp buggy track off of Radio Road in Collier County, Florida. His own family has roots in the beginning of swamp buggy racing. Lightner’s great-uncle R.L. Walker was one of the first swamp-buggy drivers back in the late 1940s and 50s. Lightner, after getting college degrees, including his MFA, moved to New York in 1999, and he returned at least once a year to the Florida Sports Park from 2002 to 2013 to document the races — missing only 2005 due to a hurricane forced cancellation.

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Lightner’s images include portraits of the racers, the fans, the vehicles both on and off the track, as well as traditional events of the sport — including the crowning and subsequent dunking of the Swamp Buggy Queen. There is the thrill of speed and danger at the races, and a palpable rush of energy. “On my first visit to the track, I drove into the parking lot, heard the engines of the buggies roar, and witnessed the great plumes of water trailing behind the boat-dragster hybrids,” Lightner says. “I could feel the vibrations from the raw horsepower pound against my chest, and it almost took my breath away. I thought to myself, ‘this is going to be fun!’”

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Lightner’s superb images of this sport and frank depiction of its culture make me feel much the same. I was drawn into the world he has photographed, felt like a voyeur at some southern bacchanalia, and ultimately I wanted to start over at the beginning of the book and view it again. And again.

In addition to the excitement and thrills, Lightner also says “I’ve come to understand Swamp Buggy Racing as a metaphor for life’s daily struggles and the innate drive to overcome obstacles against great odds while trying to maintain a sense of humor and grace. The races demonstrated to me the all-American desire to compete to win, as well as the power of family and community.”

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This book documents the people and the culture Lightner is from, but of course this is more than an immersive documentary project. He has shown us his own clan, and paid homage to his family and community. Many of us yearn to escape the world we grew up in, to prove to ourselves and the world that we are greater than small beginnings. Yet for many people, their roots call them back. ‘Mile O’Mud’ not only called Lightner back, but it brought along a cooler of beer, some good tunes, and the thrill of the sport that helped shape him.


MALCOLM LIGHTNER is a photographer who works and resides in New York. Born in 1969 in Naples, Florida, he is a fourth generation native Floridian. Malcolm has been the recipient of numerous awards and grants and his work has been featured in a range of exhibitions including Art + Commerce Emerging Photographers and NYPH (New York Photo Festival). Malcolm’s photography is included in the permanent photography collections at the Southeast Museum of Photography in Daytona Beach, Florida. His work has appeared in Dear Dave, The Oxford American, VICE, Aint-Bad and Life among other publications. Malcolm is a member of the photography faculty at the School of Visual Arts in New York City since 2002.

All images are from Mile O’ Mud by Malcolm Lightner, published by powerHouse Books., and used by permission.

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Mile O’ Mud: The Culture of Swamp Buggy Racing
By Malcolm Lightner, Introduction by Padgett Powell
Hardcover, 12–1/2 x 11–7/8 inches, 144 pages
ISBN: 978–1–57687–794–4

For more information about Malcolm Lightner, please see his website:http://www.malcolmlightner.com/

To purchase the book, visit powerHouse Books here


Published originally in F-Stop Magazine – http://www.fstopmagazine.com