The Clarity of Marc Riboud

New York, Times Square

What do you do when you realize you haven’t become the person you once hoped to be? What can you do? What should you do?

Age complicates the answers. If you are young and unencumbered with life’s baggage, you can – and should – make the changes that will take you where you want to be. If you are older, or even simply old, your options are fewer. You have obligations, many of them, financial and emotional. You have exchanged innocence and belief for experience and doubt. The road ahead is short, the time for a mid-course correction was long ago.

What can you do? What should you do?

These questions are in my head as I step out of the Rubin Museum onto West 17th Street during a recent visit to New York. A harsh, pre-winter wind fails to penetrate the sobriety of the moment, one focused on the exhibition I had just seen – more than 100 photographs made in post-World War II Asia by the pioneering Magnum photojournalist Marc Riboud.

With a Leica loaded with black-and-white film, Riboud inserted himself into the transition points of China, Japan, India and other countries during periods of often tumultuous political and cultural change. His work is direct, honest and, at times, both intimate and grand – everything good photojournalism should be.

Of course, I’d seen Riboud’s photographs before and even studied them in college, but collected together and filling room after room in the museum, the scale and the scope of his accomplishment was impressive and inspirational.

It also – selfishly – saddened me. This is the photography I yearn for and this remains the photography that eludes me. I am working on it, but I am not focused enough. My effort is scatter-shot, diffused by lack of direction.

A friend, a photographer I love and admire, urges me to find a story and tell it. I had dinner with her in New York and over steaming bowls of chewy udon she repeated her advice. Coincidentally, the next day, at the Riboud exhibition, I come across a letter written by Henri Cartier-Bresson to a 33-year-old Riboud in 1956, when the younger man was struggling with his photography.

“You’re still having trouble, I sense, finding a story,” wrote Cartier-Bresson, who then counseled Riboud to look for the “means” of telling a story, to find the pieces and put them together one by one until the larger narrative is complete. (A larger excerpt is below.)

I have no illusions of becoming Marc Riboud. In fact, at this point of my life I have no illusions of anything. Still, I treasure clarity for it can lead to conviction.

What can I do? What should I do?

(When in New York, I walk – a lot. The photos below are snaps from a couple of Manhattan walkabouts.)

“You’re still having trouble, I sense, finding a story. I’ll quote what Max Jacobs says about literature in a letter to a friend: ‘Look for the “means,” a work of art is a gathering of means to achieve an effect. Artists are not penitents displaying their sins, they are creators working towards a goal, they have a skill and a story gets made like a suit, with cutting and patterns. Whatever of ourselves we put into it, fine, but it’s necessary to learn how it’s made: what a situation is, how to bring it along, how to resolve it.”
– Letter from Henri Cartier-Bresson to Marc Riboud, March 19, 1956.

#43 (en Español)

MissionAyotzinapa_111514_108

43 estudiantes. 43 jóvenes secuestrados en la noche. 43 hijas t hijos asesinados por las manos de la corrupción. 43 cuerpos descartados y quemados como la basura de la casa. 43 oportunidades perdidas por un futuro mejor. 43 más razones para llevar luto por México.

Los 43 alumnos universitarios asesinados murieron debido a que el 26 de septiembre apropiaron unos urbanos y bloquearon una carretera, una forma común de protesta política en México, y al hacerlo se metieron en las planes de la esposa del alcalde de Iguala, una de las más corruptas y violentas ciudades en Guerrero, uno de los más corruptos y violentos estados en México. Ella estaba en rumbo a dar un discurso, encontró la calle bloqueada, hizo una llamada a tu esposo. El Alcalde, José Luis Abarca ordenó a la policía local atacarlos. La policía entregó los alumnos a una pandilla criminal asociada con los narcos que controlan la región. Y los jóvenes desaparecieron.

Todo esto sucedió con la misma impunidad por la parte del alcalde, la policía y los narcos que infecta todo México y literalmente ha permitido asesinos de todos tipos para irse sin miedo de ser castigados por décadas.

Desde el comienzo de lo que ha venido a llamarse la guerra contra el narcotráfico en México, que se emprendió en el 2006 por el entonces presidente Felipe Calderón contra la red de los carteles que generan hasta $500 millones de la venta de drogas ilegales anualmente y controlan 90 por ciento de la cocaína que entra a Estados Unidos, la cifra oficial de la violencia entre los carteles, entre el gobierno y los carteles y entre los carteles y los ciudadanos inocentes de México – como los 43 estudiantes de Ayotzinapa —  ha alcanzado 60,000 muertos. Eso es el numero oficial. Extraoficialmente, observadores de los derechos humanos calculan que el numero es 120,000.

Para poner esa cifra en perspectiva, hay que considerar que 58,220 Americanos murieron en la guerra entre Estados Unidos y Vietnam, un conflicto que incitó a la generación mía a llenar las calles de la capital estadounidense en protesta y eventualmente causó cambios vastos en la sociedad Americana.

Por supuesto, Vietnam era una guerra Americana y existía un reclutamiento que fomentaba más resistencia contra el conflicto, pero todavía se puede imaginarse que una guerra de letalidad similar que esta ocurriendo en un país visitado por 6 millones de Americanos cada año achisparía un poco de rabia aquí.

No es asi.

Hasta ahora, la posición oficial de Estados Unidos ha sido poco más de una tracción de hombros. La administración del Presidente Obama ha descrito el destino de los 43 alumnos y la respuesta insípida del gobierno del Presidente Enrique Peña Nieto como “preocupante.”

Eso puede cambiar. Las manifestaciones callejeras que comenzaron en Iguala después de la desaparición de los estudiantes se han extendido a lo largo del país y se han vuelto violentas en el D.F. Peña Nieto, que ignoró los secuestros por muchos días antes de mencionarlos públicamente y luego salio del país para una conferencia de comercio en China, ha regresado a escuchar a un número cada vez mayor de gritos pidiendo su renuncia (avivados en parte por la revelación que él y su esposa, una estrella de telenovelas, tiene una casa secreta con un valor de $7 millones en un enclave adinerado de la capital.)

Los medios de comunicación estadounidenses están reportando cada vez más el escándalo y las comunidades mexicana-americanas en Estados Unidos están organizándose y marchando con la esperanza de incitar más atención publica. Una de esas marchas ocurrió el sábado pasado en San Francisco, cuando 500 personas se encontraron en la esquina de los calles 24 y Mission, el corazón de la comunidad Hispana en San Francisco, para caminar al centro. Más manifestaciones están planeadas, una en coordinación con una huelga general establecida a ocurrir en México el 20 de noviembre, el aniversario de la revolución Mexicana, y otra en diciembre en 43 ciudades estadounidenses.

¿Que puedes hacer? Muchas cosas. Ya sea poco o mucho.

Escribe o tuitea a tu congresista. Dile que estas enojado, que estas harto, que quieres que el gobierno estadounidense reclame que su segundo mayor socio comercial limpie su casa. (El comercio entre México y Estados Unidos que suma en total a $6,000 millones en 2013.)

Si fumas marihuana o usas cocaína (¿y porque lo haces?), para. Casi toda la cocaína y mucha de la marihuana que los Americanos consumen viene a través de México. Tu diversión apoya los carteles, que a su vez corrompen el gobierno más, que engendra un estado de la impunidad, que permite crímenes de todos tipos – desde la evasión de los impuestos a la matanza en más – para continuar sin ser castigados.

Marcha. Camina en las calles con los Mexicanos que han venido a nuestro país, legalmente e ilegalmente, para escapar la misma corrupción que ha causado la muerte de los 43 estudiantes. Con más de 33 millones de persones que tienen origen Mexicano viviendo en Estados Unidos, esta guerra es tan nuestra come es de México.

#43

Mission, protestor, Ayotzinapa

43 students. 43 young people kidnapped in the night. 43 sons and daughters murdered by the hands of corruption. 43 bodies discarded and burned like household trash. 43 chances for a better future lost. 43 more reasons to mourn for Mexico.

The 43 slain university students of Ayotzinapa died because on Sept. 26 they commandeered several public buses and blocked a highway, a common form or political protest in Mexico, and by doing so interfered with the wife of the mayor of Iguala, one of the most violent and corrupt cities in the Guerrero, one of Mexico’s most violent and corrupt states. She was en route to give a speech, found the road blocked and called her husband to demand he do something about it. The mayor,  José Luis Abarca, ordered the local police to attack them. The cops handed them to a criminal gang associated with the narcos who control the region. And the students disappeared.

All this happened with the same impunity on the part of the mayor, the police and the narcos that infects all of Mexico and has quite literally allowed killers of all political and illegal persuasion to get away with murder for years.

Since the beginning of what has come to be called the Mexican Drug War, launched in 2006 by then-President Felipe Calderón again the web of cartels who generate between up to $50 billion in illegal drug sales annually and control 90 percent of the cocaine entering the United State, the official death toll of the violence between the cartels, between the government and the cartels and between both of them and the innocent citizens of Mexico – like the 43 students of Ayotzinapa – has reached 60,000. That’s the official number. Unofficially, human rights observers put the estimate at 120,000.

For some perspective, consider that 58,220 Americans died in the Vietnam War, a conflict that compelled my generation to fill the streets of the U.S. capital in protest and led to vast changes in American society.

Of course, Vietnam was an American war and a draft existed that pulled those who could not dodge the conflict directly into it, but still one might imagine that a war of similar lethality occurring in a country visited annually by more than 6 million Americans would spark a modicum of outrage here at home.

Not so.

Thus far, the official U.S. response has been little more than a shrug. The Obama administration has described the fate of the 43 students and the insipid response of the government of President Enrique Peña Nieto as “worrisome.”

That may change. The street protests that began in Iguala after the fate of the students was learned have spread throughout the county and turned violent in Mexico City. Peña Nieto, who ignored the kidnapping for 33 days before speaking publicly about and then left the country for a trade conference in China, has returned to hear a growing number of cries for his resignation (fueled in part by the revelation that he and his wife, a soap-opera star, had a secret $7 million house in a wealth enclave above Mexico City).

American news media are increasingly covering the issue and Mexican-American communities in the United are organizing and marching in the hope of galvanizing more public attention. One of those marches happened Saturday in San Francisco, with 500 people walking from 24th and Mission, once of the heart of the city’s Latino community, to Powell and Market streets. More protests are planned, once in conjunction with general strike set to occur in Mexico on Nov. 20, the anniversary of the Mexican revolution, and another in 43 U.S. cities in December.

What can you do? Many things. From a little to a lot.

Write or tweet your congressional representatives. Tell them you’re outraged, that you’ve had enough, that you want the U.S. government to demand that is second-largest trade partner (U.S.-Mexico trade totaled $600 billion in 2013) clean house.

If you smoke dope or do coke (and why do you?), then stop. Nearly all the coke and much of the weed comes through Mexico. Your high supports the cartels, which in turn corrupt the government further, which engenders a state of impunity, which allows crimes of all sorts, from tax evasion to mass murder, to go unpunished.

March. Walk in the streets with the Mexicans who have come to our country, legally and illegally, in order to escape the very corruption that lead to the deaths of the 43 students. With more than 33 million people of Mexican origin living in the United States (and that’s not counting second-, third-, fourth-, etc. generations of Mexican Americans) this is as much our war at it is Mexico’s.

Photo Story: My Iceland Day

Iceland

“You have to come,” she said. “It’s weird. You’ll like it.”

I had been in Reykjavik for more than a week photographing homeless people, alcoholics, Elvis freaks and massive gym rats known as power-lifters. Mary Ellen Mark was leading a workshop and after assurances from her that Iceland offered enough oddities to suit my visual tastes I’d made the trip.

Mary Ellen was right, as usual. Beyond the ubiquitous blondes, behind the unrelenting civility, and underneath the itchy woolen sweaters, there was plenty of weird. I found all I could of it and made some decent photos in the time I had. I was doing what I often do while traveling: looking for interesting people and ignoring the tourist attractions.

That’s all well and good when I am in New York or Paris or Oaxaca, places I have the good fortune to visit regularly, but Iceland might have been an once-in-a-lifetime trip and the people I’d met and photographed could have lived anywhere in the world. After all, an alcoholic who lives in shipping container resembles similarly broken people in the U.S. – even if her name is Sigrun. I had been photographing Icelanders, not Iceland.

The country is a geologic amusement park chock full of glaciers, fjords and fumaroles, none of which I had seen. Nor had I walked on lava, slid on ice or dunked myself in the warm waters of the Blue Lagoon.

And that is how, in an 11th-hour effort to fill that gap two days before my return flight to San Francisco, I found myself on a gray, blustery Sunday riding in a small station-wagon being driven by Ellen Inga, one of the workshop’s photography interns. She was taking me on a fast-forward tour of the volcanic landscape east of Reykjavik.

With Ellen’s young son buckled into the rear seat, a serpentine road carried us out from the city through an uplands studded with dark, magenta-tinted cinder cones. A spongy mat of green lichen covered the lower reaches of the rock. The colors, vibrant in then sun, were muted by a heavy mist. For photography, especially the drive-by variety I was doing, the day didn’t look promising.

We stopped several times so I could click off some frames. Even though I doubted the capacity of my computerized camera to capture the natural complexity before me, I marveled at the rawness and freshness of the landscape. The rocks, in geologic years, were newborns. The water, sitting deep in glacial lakes or running rapidly through basalt-rimmed rivers, was untainted by man. The air, moist and moving, quenched a deep pulmonary thirst.

At Þingvellir National Park, where the great tectonic plates of the mid-Atlantic ridge collide, I walked in the mist and followed a boardwalk through the rift valley to a promontory. I recorded the volcanic hills in the distance and the lake below. The gray swallowed the color, but I wanted the photo anyhow, as a memory and as something that might compel me to come back and devote more time to this landscape.

I can’t say I will return to Iceland. I would like to, though. There are good people there I would like to see again. There are amazing places – such as Þingvellir – I want to revisit and many more I’ve yet to see. But as my years accumulate, my promises become fewer. There is less time ahead to keep them.

This day, then, this Sunday drive through the hills, around the lake, past the waterfalls and home again, may be my Iceland day.

Photo Story: The Curtain

Blonde in a bar with lipstick

The camera is my curtain. I am behind it. On the other side, on the grand stage of the world, the theater of life plays without intermission. I wait, listening to the dialog and watching the players move through the certain. Then comes a moment and I open the curtain, quickly and with such delicacy that the actors and the audience don’t recognize my presence. When the instant is gone, so am I, but I leave with the moment wrapped in my curtain.

Photography teaches me patience, me, someone who is anything but patient. The moment will arrive when it happens and if I am ready, if I am looking and listening, and if I have been able, through stillness or persistence, to remain close even as I become bored or nervous or frightened, then I will have a chance to make a picture.

 Without patience, I have no chance. Without waiting, good pictures don’t happen – at least for me. Without the curtain, I am exposed and cannot wait. You see the circle now. The curtain protects. The protection comforts. The comfort makes me patient. The patience brings the photograph.

Recently, I was in a bar in Bolinas. For a long time I just talked with the others who were there – with the bartender, with a woman who had brought home-made cheesecake, and with a pool-player who had one eye filled with blood, the consequence of a mountain bike mishap.

The bartender invited me behind the bar. I faced a young blond woman, thin, animated and dressed in a spring party dress. She posed for the camera again and again. When she became bored, she stopped and slid a lipstick tube out from her purse. She lifted her gold iPhone and, using it as a mirror, refreshed her face.

 My waiting was over. The curtain opened.

Photo Story: Empty

Stinson Beach, Surfer's Grill

On those days when my glass drops below half-empty and I can’t seem to refill it no matter what, I pick up a camera and leave the house. Often I walk the neighborhood looking for snapshots of life. Other days, times when I need to keep myself away from me (thank you Adam Durwitz), I go farther.

 One such journey a couple of years ago took me to Stinson Beach. It was mid-March, the second day of spring. I arrived late and it was after 5 o’clock as I walked the dark sand under the gray sky.

 The wind and salt stung my eyes. Tears softened my focus. Emptiness was everywhere. I walked south, climbed the dunes and found shelter and stillness inside the small snack shack at the end of the beach.

 Out of the wind, there was warmth. I sat at a table, enjoying the absence of what I had escaped. I thought about when i was a boy and sought and found similar solace alone in the house with my books.

 I have always been this way, I thought. This is me, alone. I looked it my emptiness, photographed it and brought it home.

On the Job: The New Supervisor

Damon Connolly

Damon Connolly, a San Rafael attorney, is  the newest Marin County supervisor. I photographed him recently for Marin Magazine inside the county’s distinctive Frank LLoyd Wright-designed Civic Center.

I’ve photographed several local politicians inside the building (here’s Rep. Jared Huffman) and each time I try to use differently the variety of shapes and shadows it contains. Before Connolly arrived, I’d decided I was going to use only one light and work with the darkness as much as I could.

I also knew the  type of photograph the magazine prefers — something not too dramatic, rich in color and vertical (to fit the page format). I wanted something more stark.

The day was warm and the Civic Center, because of its glass ceiling, holds heat. Connolly was also wearing a dark suit. I worked fast, first making “my” photos, shooting into the afternoon light and keeping Connolly in the shade. Many, such as the horizontal below, I thought would work for the magazine.

Damon Connolly

After a few minutes, I changed directions and asked Connolly to sit on a circular bench in the middle of the corridor and using the same strobe  (this time positioned more full on to soften its effect) made a series of verticals that I thought the magazine would prefer.

I was right.

Here’s the image the magazine chose:

Damon Connolly

And here’s how the art director used it:

Damon Connolly Marin Magazine

My choice — the top image on this page — was one of several I took while Connolly and I were still talking and before he started posing. In post, I converted it to black and white and bumped up the contrast. The picture is a simple one, a man alone in a corridor, and, for me, the gray tones emphasize the simplicity.

On the Job: Filmmakers

Donna LoCicero, Robert Campos, Three Still Standing

Photographers like alleys in the same irrational way that cats like empty boxes. We can’t pass one up. So, of course, I was purring with excitement when San Francisco filmmakers Donna LoCicero and Robert Campos told me they  lived in a South of Market alley.

I was photographing them for Marin Magazine in connection with their film, 3 Still Standing, a documentary about three comedians — Will Durst, Johnny Steele and Larry “Bubbles” Brown — who were contemporaries of Robin Williams and Dana Carvey but never achieved the success the latter two did. The film is opening at the Mill Valley Film Festival.

As I parked down the block from their home (parking in Soma!!!) I was already looking for places to make the picture, but LoCicero and Campos — being both visual pros and busy people — already had scoped their neighborhood. The next alley over, they said, had a couple of options, one dark and one lighter.

We schlepped the gear — one light, a heavy battery and a C-stand — set up by a black corrugated wall, shot for while and then moved up the street in front of the yellow wall you see above. Couldn’t have been easier — pre-selected backgrounds, subjects who schlep and two people with a good sense of humor.

In 30 minutes, we were done.

The magazine used the shot below against the black wall. I like the yellow one above a bit more. The vertical (in the slideshow) is a behind-the-scenes snap for those of you who like to see that thing.

Donna Lo Cicero, Robert Campos, 3 Still Standing

On the Job: Arrested

SimonJames_Arrest

A few months ago, I interviewed and photographed cheery, avuncular, 70-year-old doctor named James Simon (below) who was the flight surgeon at a small airfield in Marin, Gnoss Field in Novato.

Today, Dr. Simon found himself on the front page of the local paper, the Marin Independent Journal, as the lead character in a tale of what police said was road rage gone bad.

Simon was arrested after allegedly shooting a man who had followed him and his wife home in Corte Madera after some sort of altercation on Paradise Drive, a two-lane, tree-lined road that leads to some of Marin’s tonier homes..

The victim, whose name was not released, apparently tried to drive into the Simon’s garage as he was closing the door. According to police, Simon went in his home, returned with a .357 magnum, fired a warning shot into the air and then two bullets into the victim’s abdomen.

The victim survived, Simon was arrested and we await the story behind the story.

Corte Madera Mayor Michael Lappert, a reserve cop and one of the first officers on the scene (and coincidentally a one-time patient of  Simon’s), summed it up:

It’s a bad thing all around. If there’s anything to learn from this, it’s that road rage can only have a bad ending.”

(Here’s the Marin Magazine piece I did on Simon).

SimonJames_022014_023

Mary Ellen Mark, Me & Mexico

Oaxaca, Tlalixtac, charro, rodeo

I returned to Oaxaca this year to take a second photography workshop with Mary Ellen Mark. Here is an account of that trip — and its impact on me — that I wrote for a local magazine. It is an updated version of the story of my first workshop a year ago.

***

No Bull!
Discovering charros and more in Mexico with Mary Ellen Mark

By Tim Porter

The bull had been chased at survival-of-the-fittest speed by a charro on horseback, grabbed by the tail, and then flipped nose first upside down into the dirt, where its rolling bulk created a sideways tornado of dust and grit that hid all but its whirling hooves and horns.

Now, it was coming my way — one ton of off-the-hoof, out-of-control hamburger on a collision course with me and my Nikon. My options were few. A brick wall behind me. A cluster of horses, ridden by wranglers waiting for the bull to come out of the spin cycle, in front. A flimsy metal gate to my left.

I defied the complaints of aging knees, muttered a silent namaste of thanks to my yoga teacher and leapt for the gate.

A second later the bull gained its footing, arose from the ground like a drunken frat boy who had been ejected from a hipster bar, and looked for something two-legged on whom it could exact revenge. Its eyes, angry and aflame, found mine, doe-like and frozen, in my perch three feet above him on the gate. The bull swung his heavy, bony head into the gate, rattling my nerves and my bones. Then the charros, emitting whoops and wielding lassos, chased off the beast.

I checked the camera, noticed bull spittle on my jeans, moved back down along the wall and waited for the next animal.

Just another vacation day in Mexico.

OaxacaCharros_030814_155
« 1 of 19 »

Years ago, I worked at a newspaper in San Francisco with a British reporter who had done several stints with the London tabloids and he liked to say of a hard-to-believe yarn, “Hey, it’s a great story even if it’s true.”

This bull story is no bull. But there are greater truths to be told here.

My nose-to-nose encounter with the bull happened while I was photographing the second day of a charreada, a traditional Mexican rodeo that took place about 10 miles south of the city of Oaxaca in a town called Tlalixtac de Cabrera. There, teams of charros, the iconic Mexican horsemen whose tight-fitting suits and wide-brimmed sombreros remind tourists of mariachi bands but whose history is rooted in the horse culture brought to Mexico by the Spanish conquistadores, competed for the state championship.

I was in the lienzo charro (the arena) because of one woman, Mary Ellen Mark, the iconic photojournalist who has worked for Federico Fellini, and Life  and Vanity Fair, but is best known for her lifelong pursuit of documenting those who inhabit society’s fringes — street kids, circus performers and prostitutes.

She was a hero of my youth, the reason I became a photographer. My two days with the charros were part of a 10-day photography workshop she led in March in Oaxaca.

***

I first learned of Mary Ellen when I was in my 20s. The ’60s had come and gone and I was living in the wake of the period’s wanton indulgences. I’d gotten a low-level job in a swanky Nob Hill hotel and returned to college, but I had no plan. School was merely a way out of a life I could no longer live.

One day I saw two photographs in a magazine, both taken in India. In the first, a boy sat at table in a cafe. His hair was long, his shirt torn. He leaned, dreamy-eyed, toward a glow coming from a nearby window. The second photo showed a hippie couple resting on a beach. They wore white, wispy clothes. The boy’s hands rested on a harmonium, an Indian hand organ. He and the girl gazed languidly toward the sea.

In those lost children, I saw myself. The images embodied the untethered wandering that defined the era and that had led me, unwittingly, down shrouded paths from which many never returned. I’ve never forgotten those two photos.

Mary Ellen Mark was only 31 when she made those pictures, but she was already accomplished — assignments worldwide, a Fulbright, her mind and her camera  focused on the social trends of the day. She has said of those years, “I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence.”

Her desire inspired me, a confused young man who had passed from adolescence into adulthood along those same edges. I bought a camera. I learned to develop film, found a job in a darkroom and began shooting on the street, joined the community college paper, and started shooting news. There was plenty of that in those days — kidnappings, demonstrations, strikes. I used the camera to both open the world to me and to shield me from it. In journalism, I’d found a purpose. I freelanced and hoped for a career in photojournalism .

But it wasn’t to be. My work wasn’t that strong. I was too timid, too distant. More than that, I allowed insecurity to ride roughshod over passion. To stay in journalism, I started writing, which came more easily than photography. Ambition took hold and I followed the opportunities — editor of this, editor of that, editor of whatever came along.

Then it was over. That’s too long a story to tell here. Suffice to say that 30 years after finding myself, I was lost again. Time passed. One day I took out my old Nikon, loaded some film and wandered about the suburban marshes. Just like that, it all came back.

My wife, more perceptive about me than I am, gave me a small digital camera. I learned the software. I bought a bigger camera. I found work with a local magazine that needed someone who could both shoot and write. Over time, more work came. And better cameras. And lights. And a studio. I became, at last, a photographer.

Happy ending, right? Boy wants girl. Gets rejected. Wins over girl years later. Fade to black. Roll credits.

Hold the Hollywood moment.

There was still that itch, unscratched — the edge, the margin, the harder truths. Don’t get me wrong. Living and working in Marin is a good life that many would like to have. But edgy it ain’t.

Then, 18 months ago serendipity struck. I learned of Mary Ellen Mark’s workshop in Oaxaca (where my wife and I had built a house). So tantalizing, so coincidental it seemed impossible — Mary Ellen (my inspiration), photojournalism (my abandoned child) and Oaxaca (my adopted city) all combined.

I joined the workshop last year. I met Mary Ellen (an extraordinary woman of relentless authenticity). I photographed in garbage dumps and garlic fields and the bedrooms of transvestites. I jabbered all day in Spanish. I came home with several good photos and a vow to return — which I did in March.

This year, when I returned home from Oaxaca, a friend asked, What did you learn?

I didn’t have a thoughtful answer at the time and instead something about getting closer with my camera. Since then, I’ve considered the question more and here is what Mary Ellen taught me:

  • That photography soothes me with its seeing and excites me with its engagement.
  • That I am moved by the tenacity and spirit and generosity of those who struggle daily for survival. I wish I were more like them.
  • That I remain, after all these decades, hesitant in the face of challenge, overly self-critical on the verge of success and easily distracted from the pursuit of the long-term by the gratifications of the short.

Good lessons, yes, but truthfully I knew all of those things before I went to Oaxaca in March, so you might say I learned nothing. You would be wrong.

What Mary Ellen Mark taught me most of all was to trust who I am. In that sense, I learned everything.

Texas, the Throw-away State

Other than serving as home to several members of my family, there’s not much I like about north Texas.

One of the state’s more sad characteristics is its emptiness. I don’t mean the vast openness of the Texas landscape — which is alluring — but rather the pockets of  nothingness that mark the cities and their suburbs.

These are spaces that Texas has abandoned its rush to rebuild and rebrand itself as the Dubai of the American southwest.

Once they were strip malls or factories or farms. Now they are vacant storefronts, rusting hulks or fields given way to seed.

Amid the glassy gleam of Dallas and Fort Worth’s new downtown towers lie the discards of yesterdays dreams, tossed aside, left to rot and lacking — ironically in a state so obsessed with religion — a proper burial.

These photos are from Fort Worth, made on Christmas trip to Texas to see my Mom.

Muertos — a Day of Life

Sister Mary Timothy Simplicity
Death is a lot of work. The dead are gone in a minute, but their survivors need hours and days and weeks to prepare a celebration for them.

In Garfield Square yesterday, El Día de los Muertos, the sons and daughters and widows and widowers and friends and colleagues of the dead devoted the afternoon to building shrines of all sizes and complexity to their mothers and fathers and husbands and wives and partners and fellow members of the Sisters of the Perpetual Indulgence who have died, some years ago, some just the other day.

All around them, as they laid out orange marigolds and family photos and precious possessions, and erected boats crewed by skeletons and created fanciful trees of wire festooned with clay creatures crafted by schoolchildren, life went one, life that had nothing to do with the dead.

In the center of the square, on an iridescent carpet of green artificial turf separated from the more muted verdure of the actual grass by a chain-link fence, teams of young girls played soccer. Their voices, exuberant, and those of their coaches, urgent, provided a soundtrack for the day.

Along 25th Street, occupying the concrete lip of park’s northern edge, where a shaft of western sunlight warmed the block, drunken men clustered in boozy amiableness, alternately ignoring and suffering the transgression on their turf by the altar-makers.

In increasing numbers photo-tourists arrived. Their baggy old man jeans marked them immediately, too clean, too blue, and too suburban for the dark grit of the Mission and the bright colors of Muertos. Politely, their pointed their big cameras at small children who face painters had transformed from angels into ghouls.

I confess to interloping myself. I am now a tourist in the city I once called mine.

Decades ago, I lived a few blocks from Garfield Square. Rent was cheap – and for good reason. Drug dealers and gang bangers were much more plentiful than children. There was no outcry over forced evictions in the Mission because there was no line of people waiting to move in. Sadly, I have not walked this neighborhood for many years.

Despite my long absence, I felt at home. The streets around the park were familiar in shape, sight and sound. The long views along Bryant – to faraway downtown and to nearby Bernal – resurrected mental albums of similar images I stored away long ago. The preponderance of concrete, uninterrupted from stoop to stoop, recalled my years of walking those streets – for work, for drugs, for sleep, for lack of anything else to do. On those streets of San Francisco, in the Haight, in the Mission, I died many times and I was reborn just as often, resurrected by luck or coincidence or the helping hands of others.

More than all that, though, I felt at home among the people making the altars.

They were urban, meaning they were accustomed to living among other people, used to being stared at and open to having an instant conversation with a stranger.

They were gay, meaning that at some point they broke from the path their parents hoped they would travel and found themselves, either by intention or instinct, living in a community of others who had done the same.

They were artists, meaning that they created for the sake of creation and they found no lack of sense in devoting an immense of time to build honor a friend or a loved one with a shrine that would last only a few hours. They found meaning in the doing.

I am a tourist among them as well. I left the city, I lost my intentions, I sought reason for creativity.

Saying this another way, on the Day of the Dead in the Mission I found parts of the life I left behind and now hope to recover.

I left Garfield Square at dusk. Dinner with friends – out of the city – waited. But, I was more interested in the people building the altars than those who come in the night to view them. And I had no desire to photograph the after-dark parade through the Mission, which, in addition to the Latinos an of the city and beyond Muertos is a connection to their roots, draws thousands of young anglos who know see the event as just another hormonal opportunity to drink and act out in public. But that’s life, too.

Below are a few snaps from the day.

MuertosMission_110213_016.jpgMuertosMission_110213_085.jpgMuertosMission_110213_110.jpgMuertosMission_110213_101.jpgMuertosMission_110213_037.jpgMuertosMission_110213_082.jpgMuertosMission_110213_117.jpgMuertosMission_110213_079.jpgMuertosMission_110213_043.jpgMuertosMission_110213_064.jpgMuertosMission_110213_051.jpgMuertosMission_110213_014.jpgMuertosMission_110213_052.jpgMuertosMission_110213_074.jpgMuertosMission_110213_107.jpgMuertosMission_110213_103.jpg

The Mission on the March

Anti-gentrification protest in the Mission.

If San Francisco’s Mission District were a wild animal, it would be on the endangered species list.

The neighborhood is hunted by predatory real estate developers who toss out longtime tenants like last week’s garbage, encroached upon by relentless and City Hall-sanctioned gentrification, undernourished by new immigrants (who can no longer afford to move there), and infected with an invasive species of screen-staring clones who seem so culturally unaware that one wonders if they realize a real world exists outside of their digital lives.

Yesterday, those who prefer to keep the Mission ethnically diverse, affordable (for San Francisco) and cross-culturally vibrant gathered at 24th and York streets to march and to protest the attack on their home turf and, hopefully, ignite a broader, citywide effort to preserve working-class San Francisco’s neighborhoods in the face of increasing upscale development and what is essentially the legal deportation of anyone who cannot afford $5 coffees, $200 jeans and $4,000-a-month rents.

What is happening in the Mission saddens and enrages me. I came to San Francisco poor and damaged,  a refugee of the Sixties. San Francisco welcomed me with affordable housing in its then-fringe neighborhoods (Precita Park, Bernal and the Outer Mission), hands-on jobs that paid the rent (delivering newspapers, hotel banquet work) and an opportunity to drop back in via a low-cost city community college that itself now borders on extinction because of neglect and incompetence.

Without any of those things, I would not have been able to have the journalism career I did, to buy the houses I did, to pay the taxes I do, and to contribute, as I can, to the world around me.

Those opportunities will not exist in a San Francisco that eats its own culture, that destroys itself by driving out the very people who make it unique, that chooses development over diversity. The City — as we called San Francisco in my former newspaper — will become just a city.

The 24th Street march, as demonstrations go, was small, but the message was big. Sadly, San Francisco’s last remaining full-size newspaper,  the Chronicle, couldn’t be bothered to cover it (it did find the means to report on a skateboard contest that happened at the same time — shame, shame, shame).

However, Mission Local, the local news project of the UC-Berkeley Graduate School of Journalism, was there and live-reported the event. And, much has been written about the gentrification of the The Mission and increasing use of the state Ellis Act to force evictions citywide —  by Tim Redmond, by El Tecolote and, yes, by the Chronicle.

My pictures are below. In them you see the faces and energy of The Mission — and the soul of San Francisco. Let’s not allow them be wiped out.

MissionProtest_101213_017.jpgMissionProtest_101213_051_1.jpgMissionProtest_101213_056.jpgMissionProtest_101213_068.jpgMissionProtest_101213_073.jpgMissionProtest_101213_079.jpgMissionProtest_101213_081.jpgMissionProtest_101213_093.jpgMissionProtest_101213_104.jpgMissionProtest_101213_109.jpgMissionProtest_101213_111.jpgMissionProtest_101213_123.jpgMissionProtest_101213_128.jpgMissionProtest_101213_146.jpgMissionProtest_101213_151.jpgMissionProtest_101213_162.jpgMissionProtest_101213_165.jpgMissionProtest_101213_176.jpgMissionProtest_101213_182.jpgMissionProtest_101213_189.jpgMissionProtest_101213_252.jpgMissionProtest_101213_259.jpgMissionProtest_101213_262.jpg

 

On the Job: Psychics

Zorica Gojkovic

Not all psychics are alike. But then some of you already knew that, didn’t you? It was a lesson I learned when I recently photographed several psychics and tarot card readers — they prefer the term “intuitives” — for Marin Magazine.

When I got the assignment, I was thinking flowing robes, lots of jewelry, candles, you know, exotic. Except for Jetara Sehart, below, who does tarot readings under the name of Angel Counsel and certainly looks the part (complete with crystal ball), that’s not what I found.

One psychic was selling real estate (“Wouldn’t you want a real estate broker with good instincts?” she told writer Calin Van Paris) and another worked in a bookstore in San Rafael.

Then there was Zorica Gojkovic, above, who has a Ph.D. in English, provides counseling under the name The Time of Light, and loves to read mysteries and Westerns when she’s not gazing into the future. Zorica looked like my Aunt Helen, as “normal” as could be. I did my best to add a bit of mystery to her with the photo (which is not the one the magazine used).

Here’s the story. Take a look.

Jetara Sehart

On the Job: Marin Housing Debate

Aging vet pleads for affordable housing in Marin County

An aging veteran whose lost his home asks the Marin County Board of Supervisors to approve a plan authorizing more affordable housing in the affluent county.

I dropped by the Marin County Board of Supervisors yesterday to photograph the newest board member, Katie Rice, for Marin Magazine. After I made the pictures I needed of her, I hung around to take in some of a contentious hearing on a countywide affordable housing plan.

There’s no need to go into details about the plan here (much ink and many pixels have been devoted to it), but the debate struck me as a common one — a liberal plea for housing for residents and workers who aren’t hedge fund managers or lawyers vs. a NIMBY-esque argument that low-cost, high-density housing would mean more traffic, not enough tax revenue from the news residents to support local services and environmental dangers.

The crowd — on both sides —  didn’t fit the Marin stereotypes. There were no yoga pants, few facelifts and more than several walkers. It was not the haves vs. the have-nots. It was the have-less vs. the have-no-so-much. Those who feared the new housing lived in Marin’s more middle-class neighborhoods — Marinwood, Tam Valley and Strawberry (well, not so middle-class for the latter). Those who argued for it lived in those locales as well, but also in Marin City and Hamilton.

For me, it was a chance to put faces on an abstract argument, which is always a reminder that all these policy debates in the end effect the lives of real people.

The meeting opened on a high note — several of them actually — with an a capella song about “there’s a lot of love in Marin” by local sax player and singer Richard Howell. That was the last sign of love for the afternoon.

There was no vote. That’s scheduled for next week. (More photos here).

On the Job: Gavin Newsom, the Light and the Dark

July 23, 2013 – 365:15:204 – DUI Stories

I recently photographed Gavin Newsom for Marin Magazine and took advantage of the opportunity to make some images for myself after I’d gotten what I thought the magazine needed.

Newsom, the current lieutenant governor of California and a former mayor of San Francisco, was pushing his book, Citizenville. I’ve photographed him before at several public events and he is photogenic and very camera aware so it is difficult to capture him even momentarily out of character.

During the interview with writer Stephanie Martin in a bright corner of Murray Circle, the restaurant at Cavallo Point in Sausalito, I used the strong daylight streaming through a pair of large windows and the rich warmth of the walls. Those are the images the magazine used and you can see them below in the slide show or on the pages of the article. The color was so intense I had to take out quite a bit of the yellow.

NewsomGavin_041513_027.jpgNewsomGavin_041513_049.jpgNewsomGavin_041513_076.jpgNewsomGavin_041513_085.jpg

For myself, though, I wanted something darker, so in the five minutes I had with Newsom between the end of the interview and his departure I photographed him with the harsher light of a single oct0box hung over his head. Later, I converted one of my favorite frames into black and white, which you see above. The other black-and-shot shot (below) was lit with the window light and I think it works better in monotone than in color.

Ever since returning from the Mary Ellen Mark workshop in February, I’ve been working more with black and white conversions and very much liking the effect. As much as I love the excitement color can bring to an image, I feel that it can also distract from the subject.

With Newsom, a man who knows he is working the camera, black-and-white seemed to penetrate his shell a little deeper. What do you think?

An aside: Last year, I photographed Newsom’s wife, Jennifer, in my studio. Here’s a video of me doing the shoot.

Gavin Newson, lieutenant governor of California

On the Job: Farm to Table

State Bird, corn pancakes

I had the opportunity recently to photograph two of my favorite things — farms and food. Writer Mimi Towle put together a feature on San Francisco restaurants that use the organic food of Marin County to create their menus, and I photographed both ends of the food chain. (Here’s the story).

The story featured four farms, four restaurants and four dishes. Today, I’m posting the shots from the restaurants. Later, I’ll follow up with those from the  farms.

The restaurants and their dishes are:

  • State Bird — Sweet corn and chive short stack (above), topped with melted Cowgirl Creamery Mt. Tam cheese. (I ate three of these after the shoot!)
  • Slanted Door — Manila clams with green garlic puree (garlic from Allstar Organics).
  • Michael Mina San Francisco — Early Girl tomatoes and grilled octupus (tomatoes from County Line Harvest).
  • Ristobar — Fresh summer salad (strawberries from Fresh Run Farm).

All the food was photographed on location.  I love shooting in restaurants because they — and their crews — remind me of my newspaper days. Both restaurants and newspapers operate under deadlines, are staffed with idiosyncratic people who are drawn to pressure and shut it all down at the end of day only to start fresh the next.

(Be sure to take a look at my cookbook, Organic Marin, Recipes from Farm to Table, which celebrates the organic growers of Marin.)

MichaelMinna_042413_020.jpgSlantedDoor_042413_056.jpgRistobar_041113_054.jpgStateBird_041113_019.jpg

 

 

Running Free

Golden Gate Bridge

One day not long after 9/11, I fell victim to the fear infecting the country and stayed away from the Golden Gate Bridge after the government warned of a possible attack against the span.

I felt cowardly and ashamed afterward. To erase those feelings, I did a run over the bridge — a small act of personal atonement for giving in to fear. In return, the magnificence of the bridge gave me inspiration and belief in the possibility of mankind when I needed it most.

Here’s a piece I wrote about the experience. It’s long (and over-written), but seems apt today in the wake of the horror on Boston.

***

Nov. 10, 2001 — On a bright, brisk morning, suspended on a hanging roadway 22 stories above high tide, even the winter’s glare cannot mask the glorious view — San Francisco Bay, its deep blue surface eddied by current and interrupted by islands Angel and Alcatraz; the rim of hills near and far, golden in the last days before the rainy season; the urban uprising of San Francisco itself, rolling unbroken from the Financial District westward to the beach; and, out beyond the Gate, the absolute beginning of the Pacific Ocean, stretching into an unfathomable distance.

I am running on the Golden Gate Bridge, running for the beauty of steel, running for the audacious imagination of architects and engineers, running to honor the American belief in the possible. When the California governor said terrorists might bomb the Golden Gate, I betrayed the bridge and abandoned it to whatever destructive fate might come its way. I canceled a dinner with friends in San Francisco. I had had enough of heightened alerts, of armed men in airports, of the barrage of bad news. For at least that one night I wanted no more. Now I am ashamed, and my atonement is to run the bridge.

Continue reading »

Venezuelan Face-off

Venezuelan election at the Venezuelan Consulate in San Francisco

On Sunday, Venezuela held a presidential election, choosing between Nicolás Maduro, the hand-picked heir to Hugo Chávez, the U.S.-taunting strongman who died of cancer in March after 14 years of rule, and Henrique Capriles, a state governor who, under the flag of an united opposition, ran against and lost to Chavez in October.

Maduro won, but not before hundreds of Venezuelans converged on the country’s consulate on Mission Street in San Francisco to vote and to loudly proclaim their allegiance to one side or the other.

Capriles supporters, most clad in some form of red, yellow and blue, the colors of the Venezuelan flag, far outnumbered the chávistas, who used bullhorns to compensate for their lack of mass.  The chávistas, wearing red, included an assortment of other left-leaning demonstrators, whose banners proclaimed support for socialism in Mexico, the Bolivarian revolution  in general and, of course, Che Guevara.

Until recently I would have not devoted part of a sunny, spring Sunday to standing on a San Francisco sidewalk amidst a crowd of vociferous Venezuelan expats, but the small Spanish school  in Marin where I engage in my own revolution against the demands of  the subjunctive is run by a couple from Caracas and the current state of their native country is a frequent topic of conversation.

VenezuelanElection_041413_010.jpgVenezuelanElection_041413_013.jpgVenezuelanElection_041413_071.jpgVenezuelanElection_041413_023.jpgVenezuelanElection_041413_026.jpgVenezuelanElection_041413_055.jpgVenezuelanElection_041413_018.jpg

On the Job: America’s Cup

John Kostecki, America's Cup

John Kostecki is the brains behind the boat. As the tactician for Larry Ellison’s 2013 America’s Cup team, the 48-year-old world champion sailor is the guy who will be plotting the course when the team’s 72-foot catamaran races this summer on San Francisco Bay.

I photographed Kostecki at Oracle Team USA’s headquarters off lower Third Street in San Francisco. When Kostecki told me to meet him at the team “shed,”  I envisioned some shanty-like building sitting dockside along the water. Wrong. The “shed” is massive warehouse on Pier 80 whose size dwarfs the 44-foot hulls of the catamarans team used last summer for preliminary races.

As I usually do, I had little time to make a picture, and went with one light and a wide lens. I wanted to highlight Kostecki, of course, but also show the spaciousness of the shed.

Here’s the interview by Stephanie Martin of Kostecki in Marin Magazine.