Sparrow
Veteran
It's a wonder that I haven't been shot yet. I don't put up with other peoples' B.S. and I tend to be very confrontational if I'm threatened in any way.
You never visited Belfast or Londonderry then?
It's a wonder that I haven't been shot yet. I don't put up with other peoples' B.S. and I tend to be very confrontational if I'm threatened in any way.
My impression is that, if it is a university in a town then there is also a pleasant nightlife. Take Paris. It is a students crowding the small restaurants on the Southern Bank that makes it lively and charming by night.
Any place that isn't New York or LA is Peoria.
The past couple of days I've walked around the downtown area of my hometown (Calgary) and found the lack of life a little frustrating. Don't get me wrong, I have a sentimental attachment to this place, but although the city has over 1 million people, it's still mainly a suburbian (is that a word?) city. The best time to people watch, and take snaps, is around the working hours of the day. As soon as 5pm hits though, everyone flocks back to suburbia....
Many I miss the big apple!
I was living in a dodgy neighborhood called Clinton Hill in Brooklyn. It would have been pretty dicey to do street photography then, as muggings and murders were regular occurences at the time. Even cab drivers in Manhattan would refuse to take me home to that neighborhood, for fear of getting robbed.
I look at Bruce Davidson's photos of New York in the 80s and I am amazed at how daring he was, doing what he did. It was probably akin to being a war photographer.
What a great set... what's the deal with the guy with the gun??
You think you've got problems? try living in a country that only homes 3 million people. my only consolation is that I live very near the capital city.
In the New York subway, the robbery picture you see in the book, that was made on the No. 1 train from 72nd Street to Times Square. That picture was made during the week, and the robber knew he had two or three minutes from the express stop between 72nd and Times Square to commit a crime.
Q. This is the much-talked-about photo, on Page 91, with a man in a red jacket holding a gun up to someone's head . . .
A. New York magazine called me, and they were doing a story on a series of subway undercover detectives, who dressed themselves and behaved in certain ways to entice muggers.
And one detective was dressed as a rabbi with a beard, and he wore a gold chain. Of course, rabbis don't wear chains, but the robber probably didn't know that. I volunteered, since I had been mugged previously when I was alone. . . . I volunteered to be a decoy so, I acted in such a way to get mugged. Now, I always had my camera out around my neck when I took pictures because I can't just hide the camera and then approach people. It has to be out there, in the open. I took a subway map out and pretended I was lost.
The robber came into the car, robbed the sleeping rabbi/detective -- took his chain right off his neck -- and came towards me at the end of the car. He said, "Give me that camera!" And just at that moment, I lifted my camera and photographed him. And as I photographed him, [the detective] Billie moved in with the .38 and arrested him, so it was a simultaneous thing. One frame.
Q. So what we're seeing, the gentleman in red is actually a police officer.
A. Yeah, he's an undercover. And you see, he's sitting there in the middle of the train with a boombox and dark glasses in that kind of hip-hop clothing, and the robber [thinks], "Oh, I got a brother. He's going to help me. He's not going to say anything." And that was his fatal error.
The group was disbanded after awhile because the bait was too good. Sometimes the cops looked so good, I was going to rob them myself.
Q. What happened afterward? Are there other images from the incident?
A. He was arrested, and I felt sorry for him. As soon as he robbed me, they took him out and cuffed him. They took him right off the train at 42nd Street.
once you've seen one abandoned farmhouse, you've seen them all.
I'd like to suggest another way of looking at your 'conundrum'. I face a similar situation in my bit of suburbia. I think of it (street photography in a place with a "lack of life", on the surface at least) as a huge challenge worth taking on. For me, the question is "how can I create a powerful photographic representation of "suburbia" and everything that the word suggests?
I brought it up some time ago and it feels right to bring it up again... we should have some sort of foreign exchange program. Forget about swapping cameras... we should be swapping couches 😀
... 9-5, m-f, the core is bustling with life. After rush hour, it dies. I've been thinking of taking more photos around the suburbs, but my own personal insecurity gets in the way. I, as the photog, don't feel comfortable taking snaps in these conservative neighborhoods. I notice this when I'm downtown "after hours" as well - my photos change as I don't seem to move in as close compared to the busy lunch hour. I think plenty here can relate when I say that it's easy to disappear in a crowd. It definitely is a challenge (one that I'm slowly learning to have fun with)...
I can say with utmost honesty that the town I live in is photographically dead unless you're a DSLR landscape photography reading "amateur photography" and thinking a good picture is one of a dead piece of driftwood on an empty beach at sunset using messed up HDR colors and tones.
Want to move to NYC. Would actually give one of my testicles to do so. One of the best things about the US is that you guys have a plethora of different states that are completely different from each other. In Australia, If I go over the opposite end, it's still pretty much the same.