On the Job: Affordable Housing

Katie Crecilius

Few issues incite people more than the debate over affordable housing. As a term, “affordable housing” not only sounds benign but seems undeniably just. Who, after all, would be in favor of “unaffordable housing”?

But, when such an abstract social concept morphs into physical reality, perhaps in your neighborhood, that’s when cultures clash and fears of crime, color and crashing home values cause many of Marin’s famously liberal communities to put progressive ideals on hold and start arguing the nuances of zoning laws.

In Marin, one of the country’s most affluent counties and one of its most expensive places to live, housing ain’t cheap. Even after the big burst of the real estate bubble, young couples still drop more than a million for a so-so rancher in a good Southern Marin school district and the median price for typical tract home in a Northern Marin community like Novato starts at $500,000.

Most of the teachers, cops, and restaurant workers in Marin don’t have the scratch for that kind of mortgage, so they rent – or they commute. (Marin’s drive time is one of the longest in the region because the everyday working folks can’t afford to live here.)

Marin is also very white – very, very white – which is also a matter of economics since most of the members of California’s emerging minority-majority haven’t yet accumulated the wealth to buy into Marin.

This is where the affordable housing debate comes in.

Housing advocates, who want to comply with state laws by building clusters of subsidized housing in cities around the county, say Marin needs to provide a place to live for those who school our kids, serve our meals and staff our boutiques. Plus, they say, more diversity would be a good thing.

Those on the other side argue that the market should prevail and they welcome anyone who can afford the price of entry into Marin. Providing subsidies, they argue, increases density, attracts people who commit crimes and, thus, lowers the value of nearby homes – theirs. It’s not a matter of race, they say, but one of values.

I photographed people on both sides of the issue for a story writer Nate Seltenrich did for Marin Magazine on Novato, Marin’s northernmost city and the center of the current debate. Novato is not the place most people think of when Marin comes to mind. There’s no Golden Gate Bridge, no Muir Woods and none of the hipster quotient that defines smaller southern towns like Mill Valley and Sausalito. Novato is pure suburb, a collection of developments and shopping centers linked by Highway 101 and extending out from an aging downtown that seems to be undergoing perennial revival.

I made several trips to the Novato for the story, a couple to photograph the people and locations where housing might be built, and another to shoot a community meeting about the issue. I came away from the story with mixed feelings about the matter.

On the one side, there are plenty of examples, not only in Novato but also elsewhere in Marin, of affordable housing that works, meaning it not only provides shelter for people who don’t own a Range Rover, but also fits into the community architecturally and socially.

On the other side, I’m pretty sure I wouldn’t like it if the city council in my leafy town decided to put 100 apartments on my block, but I also hope I’d find away around that concern and get my head in spot where I did the right thing – and I think we all know what that is.

photocrati gallery

 

Grab Shots: Elizabeth Taylor, Before the Camera

Elizabeth Taylor, Philippe HalsmanElizabeth Taylor,who died Wednesday in L.A., was one of the most photographed woman of her generation and became a Hollywood icon in an era when stars were idolized by photographers (instead of chased). The classic lighting and poses are worth a look, no matter if you are a Liz fan or not. Here is a selection of images of Taylor. The ones from the early years are my favorites.

* Magnum Photos has a wonderful slideshow of classic Taylor images, including several by Philppe Halsman (left, for Life Magazine) and Burt Glinn.

* The New York Times, in addition to its lengthy obituary, also has a slideshow that contains still from Taylor’s movies. They’re worth a look for the lighting alone.

* In case you didn’t make it to any of Taylor’s weddings, Life Magazine has pulled together an album of them all.

* Life, again displaying the power of a deep archive, is touting this collection of “unpublished pics.” Click in a few to see Taylor, in full louche, with Montgomery Clift.

* Want to own your own Elizabeth Taylor photo? Click here to see the many for sale on eBay — $3.99 will get you an 8 x 10.

* For a moving (literally) tribute to Taylor by  N.Y. Times critic A.O. Scott, watch this Times video on YouTube.

10 Things: Music

Cheap Therapy, the rock and roll band

Some things I’ve learned about music:

1. Nothing fills my empty spaces better than really loud rock and roll.

2. You know that thing about eating chilies on a hot day to cool you off? The same goes for sad music and depression. The blues beats down the blues every time.

3. Music surprises me more than most people do.

4. I like AC/DC and Puccini – but not together.

5. The enormous amount of amazing musical talent in the world has convinced me that I have none.

6. I play the guitar (badly) despite the above.

7. Music is better than therapy or booze – costs less and there’s no hangover.

8. Dancing is absolutely necessary.

9. A live band beats an iPod.

10. Without music, I’d have to listen to myself think all the time – and thank heavens I don’t.

Photo Notes: Above is Ben Kline, playing trombone the other night at the Presidio Yacht Club with Cheap Therapy, a Marin-Sonoma rock band. Below are a few more shots from the show, made at with Nikon D3s, ISO 12,800 and 50mm 1.4.

photocrati gallery

Crime Scene

Nothing draws a crowd like a crowd.

A standoff between police and a man who entered a Marin County branch of the Bank of with a fake gun and a grudge turned into a spectator sport for me and my neighbors in Corte Madera – where the most exciting thing that usually happens all year is the changing of the flowers on the main drag’s median strip.

It wasn’t quite Dog Day Afternoonthe suspect, who surrendered peacefully late into the evening never made an appearance and I’ll suspect looks nothing like Al Pacino – but it was enough of a scene from to keep hundreds of suburban onlookers entertained for hours.

There were cops, SWAT teams, FBI agents, TV crews doing live stand-ups and more automatic weapons than you might find at an Arizona gun show. There was also all of us – the crowd, well-equipped citizen journalists, Tweeters and Facebookers. We photographed, we recorded, we uploaded.

One guy kept calling the news desk at the ABC affiliate in San Francisco pitching them cellphone photos, which they used. He looked at my big Nikon and said, “That’s a nice lens, but I can email my shots to the TV and you can’t.

He had me on that one.

Here are some shots from the scene.

photocrati gallery

Instapaper: Savior or Enabler?

Instapaper

Will Instapaper save me or ruin me further? I ask because I’m a hoarder. Not one a big enough one to merit a reality show, not one of those disheveled types (does hoarding and dressing poorly always go together?) with dozens of feral cats and other critters living amid trash-packed rooms. No, I’m different. I’m an information hoarder.

I pile. My desk and my “office” are collections of stacks – things to do, things to read, things to use, things to organize all the other things. Partly, I blame dear old Mom, she who has never tossed a rubber band for fear that it might be useful for something some day, but mostly it’s my fault. I tell myself that all this information, all these good ideas, will come in handy when the day comes that I do something useful with my life. (Snide comments go here.)

The clutter continues inside my computer(s). The files and folders related to my professional pursuits are pretty buttoned up (money is always a good motivator), but the rest of my digital world operates on chaos theory. And nothing is messier than the hundreds of bookmarks that run downward and downward on the left side of my browser. Each is something I find interesting, compelling or entertaining, and something that some day I will read, perhaps again, perhaps for the first time, and cogitate upon.

You bookmarkers out there know that compiling these links is laborious (two clicks at least) and organizing them even more so. Who uses the Organize Bookmarks page anyhow? The result is an endless list of links, which as it grows and grows becomes a better source of guilt about ideas unfulfilled than of knowledge gleaned.

So, I’ve switched. Good-bye bookmarks, hello Instapaper. So long Command D, welcome Read Later. Now I’ve got a graphically pleasant, easy-to-read page of articles from the Times, Wired, the New Yorker and Salon. True, I subscribe to some of these publications, but they sit in a pile somewhere and it can be so tiresome to actually have to open them in order to find the content amid all that advertising. The nicely ordered list that Instapaper makes just seems so much … smarter.

And that’s why I want to read this stuff in the first place, which I will – some day.

Groupon, Group Off — Enough Already!

Group on, logo, cellphone

Apologies for the headline, but blame David Pogue. Whenever I think about the coupon company Groupon I have a Karate Kid moment (you know, wax on, wax off), and Pogue’s  column today is all about Groupon and the parsimonious groupthink that is compelling millions of Americans to decide, apparently at the whim of an app, that a set of scented candles is just what they’ve always wanted.

Hey, who doesn’t love a deal, right? And the only thing we deficit-spending Americans love more than a bargain is a bandwagon, and Groupon’s is packed to the running boards with me-too start-ups — LivingSocial, BuyWithMe and Woot to name a few (Pogue has a full list).

It seems every media outlet with a browser button is now in the deal-for-a-day business. Daily Candy, the entertainment list, has Swirl, deals on trendy clothes. Marin Magazine (who I do work for) has SFSpree, deals on chic San Francisco things. And, today, my local paper, the anorexic Marin Independent Journal, has a  front page, above-the-fold deal — only $64.50 for a $129 room at the San Anselmo Inn.

I smell something fishy. Is it a shark? Has it been jumped?

Is this what the all the great power and potential of the Internet has become: The opportunity to turn us into a nation of coupon-clippers? Move over, Grandma, the ‘Net’s caught up to you.

I don’t argue that for the early movers like Groupon the math is good — 10 bucks here, 20 there times a few million users  adds up to real money, so much so that the company’s upcoming IPO is valued at $15 billion. Hey Groupon, how about half-off on that?

Maybe Pogue is right and it’s all a psychology thing. As he says, “is saving $10 such a landmark event? The last time you bought a house, a car or even a night at a hotel, did you haggle for another $10 off? You probably could have gotten it. But you didn’t Somehow, though, in the Groupon context, it feels like a steal.”

Hmmm. I’m still not convinced. Half-off on botox injections or cuticle cream may entice some of you, but I’ll start clicking the buy-this-deal button when I open the Groupon app and Today’s Deal is 50% off on a new Nikon.

10 Things: New York in Winter

Upper West Side of New York seen from snowy Central Park

Lessons from a recent trip to Manhattan:

1. Martinis taste better in a crowd.

2. False alarms come in twos.

3. Digging through the closet in California for the winter clothes, including the heavy wool pea coat I’d bought in a vintage shop on Haight Street but never had the chance to use, is more fun than actually wearing them in New York.

4. When it’s 20 and the wind chill is minus God-knows-what, the weather wimp in me wins.

5. Slush sucks.

6. There’s a lot of yellow snow in Central Park.

7. It’s easier to find a table in a coffee shop on the Lower East Side than on the Upper West Side. Discuss.

8. I still love the subway.

9. New York friends make me feel more alive.

10. The best protection against frostbite is a return ticket to San Francisco.

Central Park in New York in the snow

On the Job: Photojournalist for a Day

Dominican gubernatorial debate

I’ve been out of the newsroom for 10 years now, and even when a collision of events produces a yearning for the stain of ink and the wretch of deadline, I don’t miss newspapering. And even though I spent 22 years as a working journalist and another three dissecting the dysfunctionality of newsrooms, I’m not sure I really miss journalism either — but the jury’s still out on that one.

What I do miss, though, is covering breaking news (which is not necessarily the same as doing journalism).

Even before 24-hour cable, the infinite news hole of the Internet, and the insta-twitterness of today’s reporting, news was all about the now. It was a story told in a language dominated by Five W’s and a Big D (for deadline). It happened fast, was reported faster, written quicker still, and often forgotten in the next news cycle. If you could focus on the now and forget the later, you could thrive in the world of breaking news — as I did.

I’ve long thought that the character traits needed to do deadline news are in conflict with those that make us better human beings — impatience, aggressiveness, competitiveness, and a relentless search to find the negative in almost any situation, to name a few of the former. That’s why journalism is so complicated: On the one hand it attracts many people whose moral compass guides them toward deep, insightful stories that can right society’s wrongs, but on the other it rewards more frequently people who can feed the daily beast — now the minute-by-minute beast — with headlines designed to grab attention today without regard for the impact they may have tomorrow.

Still, I confess to occasionally missing the rush of big news events. They are, despite the blase facade adopted by the reporters and photographers who cover them, exciting. There is tension, there is conflict, there is urgency and there is a hierarchy of importance of the players involved — at the center the newsmakers, on the rim the audience, and in the middle the media.

I got to return to that space one evening in October at Dominican University in San Rafael, which was hosting the third of three debates between California gubernatorial candidates Meg Whitman and Jerry Brown (who won the election three weeks later). For a few hours I was inside the ropes, shooting the crowd, the candidates and the debate. My deadline for Marin Magazine was the next morning, so I wasn’t filing as the story unfolded like most of those in the pressroom, but it was enough of a crunch to get the adrenaline pumping.

I’m not confusing the fun I had that night with the value of that type of reporting, which is mostly worthless to the average person. Inches upon inches of words and video upon video of yadda-yadda from each candidate and from reporters and pundits keeping score. Some call it horse-race journalism, and that’s apt. I’m not defending the practice; I’m just saying it’s a thrill to ride the horse now and then.

* Slideshow of my pictures.

* Marin Magazine story.

Tom Brokaw

On the Job: Covering the Waterfront

Sausalito waterfront

Sometimes a photo is like the last bus home — you know it’s coming, but you just don’t know when, and, if you’re late you miss it.

This dawn view of San Francisco from the Sausalito shore is one of those images. The picture is always there. The city doesn’t move, the old pilings remain stuck in the bay mud — all you have to do is show up at the right time, be patient and then put your trust in your eye and your technology.

Simple, eh? Yep, but still not so easy. I visited this popular vantage point on the Marin shore a half dozen times before I made this shot last year right about this time. The scene is best in fall and winter, when the chances of morning fog are lowest and the incoming rains clear the skies overnight.

A few lessons I learned during those outings:

  • Shaky piers, tripods, and passing runners don’t mix.
  • Gloves are better than coffee to warm the hands.
  • A $10 flashlight makes it easier to operate a $5,000 camera.
  • The sun never oversleeps. I often do.

One other thing (something from my journalism days):

  • Always take the picture. Even if you’re not sure what’s going to happen with it, someone else may have an idea about it some other day — in this case Marin Magazine for its November cover.

Want to have this photo on your wall? Of course you do. Visit my gallery on The Marin Store.

Me and My Moon

Moonrise over East Bay hills from Tiburon

I don’t ever want to get to a place again where I spend so much energy working at what I love that I stop loving the work. That road I’ve traveled, and it doesn’t lead to a good place.

Lately, I have been working a lot. In recent weeks,  I’ve photographed restaurants, jewelry, a country inn, a florist, several restored homes, several winemakers, many bottles of wine, a yoga studio (and its owners), lots of dogs, people ranging from a homeless woman living in a shelter to an Elvis impersonator to the founder of Twitter, some politicians, a university campus and more. No complaints about any of this. It’s really more than imagined I could do when a few years ago I made a U-turn from displaced newspaper editor to resurrected photographer.

What I haven’t been doing, though, is taking pictures for myself, images that have no client other than me — and that’s what got me into photography in the first place — so last night I put some effort into rebalancing the scale. Just before sunset, I loaded up the big Domke, slung it and the 300 over one shoulder and strapped the Gitzo over the other, and trudged up to the Tiburon highlands, thanking my yoga legs for the power on the uphills while cursing my ropers for their lack of grip on the downhills. (Boots? Gear? Steep gravelly trail? What was I thinking?)

The southernmost knob of the highlands provides a front-row vantage point for a moonrise over the East Bay hills, and is well worth the walk. I had the place to myself except for a group of graybeard hikers, who used a grassy spot down the slope for me as a place to break out the bread, cheese and port (!) while they took in the lunar show.

As much as I love the personal connection of photographing people, I think I love these moments of solitude more — just me, the camera and no other purpose than to make a picture of what’s before me.

On the Job: Elvis the Cop

Bill Palmini, Elvis the cop

When Bill Palmini breaks out the bejeweled jumpsuit, the badge-studded belt and the fistfuls of gaudy rings to dress up as Elvis the Cop, he’s only half acting. The cop part is real, but Palmini has been impersonating the King for so long (20 years)  that the transformation from chief of public safety at Hastings Law School in San Francisco to the “King of Traffic Safety” that the transformation seems seamless.

I photographed Palmini in my studio for Marin Magazine interview with him. He arrived dressed as understated as a plain-clothes cop — blue T-shirt, dark sweat pants and black walk-the-beat shoes. He carried a wardrobe bag and a steamer trunk. The former held the jumpsuit; the latter the paraphernalia — the rings, necklaces and belts Palmini called the Mr. T starter kit.

The studio “dressing room” is a space set off by a curtain. Countless numbers of people have changed clothes in that studio, and some opt to go behind the curtain and others don’t. Palmini, somewhat modestly, I thought, chose the curtain. The makeover took about 20 minutes, and, I have to say, was astonishing. Not only did the clothes change Palmini, they changed my relationship with him — a large man in a glittering, white jumpsuit commands a different form of attention than just some guy in sweats.

Making the pictures was easy. Palmini struck poses, and I shot. No singing was involved. We finished in less time than it took Palmini to pack up his gear and before I could say I ain’t nothing but a hound dog Elvis had left the building.

On the Job: The Prom Queen

Old joke: How do you live to be 100? Make it to 99 and then be very, very careful.

Being, as my wife says, a cornball at heart, I told that joke, which I heard many times from my father, to Jean Murphy when I met her at the Redwoods retirement community in Mill Valley, where I was photographing her for a feature for Marin Magazine.

Jean, 99, smiled mildly at my attempt at witticism, a  smile she had no doubt developed during her many years of teaching and had reserved for those  student she considered beyond salvation. Reaching 100 is no joke for Jean, and she is hardly sitting around waiting for her odometer to hit three digits, which it will do on Dec. 2.

In the hour we spent together in her crowded, but comfortable first-floor studio, Jean told me of outings to S.F. Symphony or Berkeley Rep or a community drumming session or protesting with The Mill Valley Seniors for Peace.

A busy lady, Jean was also this year’s prom queen at The Redwoods, an honor awarded to the oldest attendee at the event. Here’s hoping Jean wears the crown again next year.

Grab Shots: Eyes on the Prize

I saw ad this morning on the op-ed page of the New York Times touting the winners of the Hillman Foundation’s annual journalism awards for social justice journalism, so I jumped to the site to see the photojournalism winners. Sadly — and oddly — the page names the winners but doesn’t link to the work itself. Allow me:

* Childhood Poverty in Colorado — The Denver Post’s owner may be recovering from bankruptcy, but the photography (and reporting) staff is hard at work. Wonderfully intimate and ultimately saddening images from variety of families. The splash page is above.

* Ian Fisher: American Soldier — Photographer Craig Walker of the The Denver Post (again) follows the enlistment, war and homecoming of one soldier. Walker’s work also the Pulitzer this year for feature photography.

* The other photojournalism Pulitzer winner this year was Mary Chind, who shot the dramatic photo below of a construction hanging for a crain in order to rescue a drowning woman. Here’s the story behind the shot.

The Real Mexico? ¿Y cuál es ése?

Last night while at a reception at a local art gallery I was talking with Edgar Sóberon, a talented painter whose work was chosen for the next cover of Marin Magazine. Sóberon, a native of Cuba who now lives in San Miguel de Allende, the central Mexico city known for its large community of both artists and North American expats.

I mentioned to Sóberon that my wife and I have a house in Oaxaca in Southern Mexico. Hearing that, a woman in our conversation pocket said she planned to visit Oaxaca this summer and wanted to know what it was like. “Ah,” said Sóberon, “Oaxaca is what’s left of the real Mexico.”

As soon as I heard those words, I thought: The real Mexico? Which one is that?

Is the real Mexico in San Miguel, where thousands of older Americans, some wealthy, others living on Social Security, enjoy the tranquility, historical ambiance and mild weather the strong dollar buys them in this prosperous hillside city?

Is the real Mexico the terrorized border cities like Ciudad Juarez or Nuevo Laredo, where narco militias kill at will to protect their trafficking empires?

Is the real Mexico the one this art gallery guest hopes to visit in Oaxaca, where vendors sell colorful balloons in the zócalo, where the streets are lined with shops of artesania and where the cafés are crowded with language students having soulful discussions with their teachers?

Or is the the real Mexico the other Oaxaca — where government at all levels is marked by corruption, cronyism and crass disregard for the welfare of its citizens, where the average level of education is six years,  where three quarters of the population lives in “extreme poverty,” and where rural Indian communities continue to engage in tribal turf battles reaching back to pre-colonial times?

Real Mexico? These are all real Mexicos. And there are many others as well — the modern avenidas of Monterrey, the cosmopolitan chic of Mexico City and, the one known by most Americans, the self-contained resorts of the Pacific and Caribbean coasts.

Sadly, the Mexico most Mexicans must endure is a dysfunctional one, where government cannot — and often chooses not — to provide basic services, where narco-violence is on the rise and where the rule of law is something read about in textbooks not practiced in real life.

This is the Mexico that Laura Carlsen, director of the Americas Program at the Center For International Policy, labels on the Huffington Post as living in a state of impunity. Carlsen write in response to the April 27 murder of two human rights workers in a remote indigenous Oaxacan village, she frames the attack in the broader context of the state government’s history of not only siding with the powerful against the powerless but of actively repressing dissent.

Layers of impunity and injustice have covered crimes in Oaxaca for years,” writes Carlsen. Her list of examples is long — the shooting death of U.S. journalist Brad Will during the bloody 2006 teachers strike for which no one was ever convicted even the though shooters were video-taped; the continued iron-fisted arrogance of Oaxacan Gov. Ulises Ruiz Ortiz despite a ruling by the Mexican Supreme Court that he had committed human rights violations during that strike; and, now, the belief by human rights activists that paramilitary members sponsored by the government were behind the April 27 ambush outside San Juan Copala.

When the leaders of a society operate with corruption, arrogance and impunity, they create an atmosphere in which law has no meaning. As Carlsen puts it:

“Impunity is not merely a lack of justice and due punishment; it’s an incubator of violence and crime. When impunity becomes state policy, the rule of law crumbles. “

Although Carlsen is addressing Mexico’s most serious issues, her observation also applies to the quotidian illegal floutings of many Mexicans, who routinely run red lights, cheat on taxes, steal supplies from government contract jobs and see bureaucratic nepotism as a money-making opportunity.

I say these things even though I love so much about Mexico — its rich, blended culture; its amazingly diverse geography; its family centered communities; and, of course, its food (especially in Oaxaca). But I also love Mexico in the way I’d love a friend or relative with a substance-abuse problem — with sadness over his state, with anger his your self-destruction, and with hope that someone, some how, stages an intervention soon.

There is a Mexican saying, a dicho, that my first Spanish teacher taught me. It is apt here and goes like this: No hay mal que por bien no venga — “there is no bad that comes without a good.”

The real Mexico? That’s the one still waiting for the good to come.

On the Job: Good Work is Still Work

Toward the end of my newspaper career, I became intrigued by the concept of “good work,” effort that not only benefits society and meets certain standards of professional excellence but makes its practitioners feel personally fulfilled. Good work, as Bill Damon describes it in “Good Work, When Excellence and Ethics Meet,” is something “that allows full expression of what is best in us, something we experience as rewarding and enjoyable.”

It didn’t surprise me that the industry cited by Damon as antithetical to good work was newspapering. I, as ink-stained and wretched as anyone who ever chased a story, had been inside the news factory for 25 years and knew first-hand how the demands of deadline, the burdens of tradition and the rigidity of newsroom hierarchy stifled creativity, personal expression and, ultimately, the ability to consistently do the social good that newspapers in particular heralded as one of their primary reasons for existence.

After I left the industry a decade of transition defined alternately by periods of purposeful self-reinvention and intermissions of questioning self-doubt brought me to a fortunate point in my life: An opportunity to find “good work” as a photographer.

By many standards, I have successfully taken advantage of that opportunity. I shoot regularly for a local magazine, have published a much-praised book on organic farms and have managed to learn — through much trial and much more error — the basics of several types of photography.

But, as satisfying as these  achievements are, I would like more. I want to be a better photographer, by which I mean one who is more creative and less constrained by the ideas of others. I want to be a better technician so I can make happen images I see in my head but elude me in camera. And I want to build my photography as a business so I have more financial freedom.

Lately I have found that pursuit of the last goal can impinge accomplishment of the first two. In other words, the more business I get the less time I have for purely creative endeavors, which are often the pathways to leaning new techniques.

I am having a decent year as a photography business (compared to the doldrums of last year), so I am not complaining (or am I?), but I am a bit tired. I am doing a lot of events and corporate work, which involve long hours on the job, a lot of gear schlepping and then longer days processing on the computer. My youthful ambition is colliding with my not-so-youthful body.

In other words, even “good work” is still work. It fulfills mentally and emotionally — and I am thankful beyond expression for that — but it’s taking a toll physically.

In the ideal world (where is that place?), I’d grow my business with more advertising and product photography.  I’ve found I like working in the studio. I enjoy both the control I have over the lighting, and also the challenge of making the simple seem more exciting. The studio is also less stressful — the gear is there, I don’t have to produce 75 or 100 pictures form a shoot and clients are often looking at the photos on the computer while I shoot, meaning they aren’t suggesting afterward that I should have shot something else.

Until then, I’ll take almost any work that comes my way. At this point of my career, it’s all “good.”

+++

Photo notes: Flatbread by Rustic Bakery of Larkspur; shot for The Marin Store.

On the Job: “Mine” vs. “Theirs”

I am not sure what came first in my life, photography or journalism, but both influenced me greatly as a young man.

While I was in college, I worked in the darkroom at UC Extension in San Francisco, where my fellow lab rats were mostly students at the San Francisco Art Institute. In our spare time, and there was plenty of that after the day’s  chemicals were mixed, they taught me to print deep blacks and luminous whites on rich, expensive sheets of Agfa paper and instilled in me the belief that each of us can see the world in an unique manner if we only look long and hard enough.

After work, I studied photojournalism, which had its own, and very different, definitions of photography. It focused on people, it told stories, it exposed injustice, it was active and, my favorite teacher, Fran Ortiz, used to say, it was done best close in. If your pictures aren’t good enough, he’d preach, get closer.

I took all those messages to heart and, as most students do, made photographs that imitated the best photographers of both worlds. The artist in me photographed empty beds, their white sheets lit by sunlight from open windows, and then spent hours making one print in the darkroom. The photojournalist in me chased news — the trial of kidnapped newspaper heiress Patty Hearst — then rushed to UPI where I developed and dried the film (with a hair dryer!) in two minutes, made a one-minute print and put it on the wire, all for glory and $15 a shot.

Eventually, the journalism won out and by the time I was ready to leave college more than anything I wanted to be a newspaper photographer. That was not to be, though, for several reasons. I had talent, but I lacked confidence in my work and doubted my instincts, a bad combination in an industry that rewards drive and ambition (as well as talent), so when the photo editor of a big San Francisco paper suggested I try another field I was crushed.

I moved on to a job as a reporter (who did some photography) and then into a long period of editing. I did well, ran a couple of newsrooms and got to be waist deep in  some of the biggest local news of my generation. Fast forward a few years past the Internet boom and there I was successful and skilled in many things except that which I always wanted to do — photography.

About that time, when I was finishing a book on newspapers and facing an intersection on the road ahead, my wife gave me a little digital camera. That gift changed my life. I began shooting and shooting, amazed at the possibilities of digital but also frustrated by the camera’s shortcomings, so I bought my first DSLR, a Nikon D70s. Quite serendipitously, a friend co-founded Marin Magazine about the same time and asked me to be involved.

Suddenly, I became a photographer (who does some writing). The learning curve was steep. I knew the basics, I had a decent eye, I could think on my feet and I could navigate a story like a journalist, but I knew little about lighting, Photoshop and the demands of magazine photography, which are more about editorial style than the raw truth-telling of photojournalism.

But I’ve learned. I’m better. I can light just about anything, can make the software do pretty much what I want, can walk into most any situation and come out with something to publish, and can make almost anyone look good.

I consider those the basics — the things any photographer needs to make “their” photos, “their” meaning the clients, whether a magazine, a baker or a university, all of which I’ve shot for this month.

What I want now is a vision — the thing I need to make “my” photos.

Yesterday, I posted a some links to art photographers I like (see Grab Shots: Get Out of the Rut). When I see this sort of work, I see photographers shooting for and creating images for themselves, not for others. Don’t misunderstand, I am thrilled by the opportunity to make “their” photos — few people get the sort of second chance I’ve been given — but as much as I wanted to be a newspaper shooter when I was younger I now, much older, want to find photography that is “mine.”

Do I know what “mine” is? No, not yet, but there is a kernel of it in this picture, which I made for Marin Magazine to illustrate a story on school costs. The magazine used a different frame, one a bit more flattering to the girl, the child of a local parent. That was theirs.

This one is mine.

Grab Shots: Get Out of the Rut

Erica AllenWhen I’m feeling less than creative (too often) or think I’ve fallen into a rut (taking the same shot over and over), I look to other photographers for inspiration, especially those whose images are very different than mine. Here are a few I admire for their eye and creativity:

* Erica Allen — The image at right is from her series Untitled Gentlemen, which she calls “fictional portraits created using discarded studio photographs and anonymous faces from contemporary barbershop hairstyle posters.”

 * Ross Sawyers — Like me, he’s intrigued by empty rooms. Unlike me, he photographs them and makes rich, emphatic images.

* Bill Mattick — I can see him wandering the fringes of L.A., pausing before empty lots, dirt roads and billboards, and seeing among the detritus an honest, but lonely beauty. See it for yourself in the Gardens of Los Angeles.

* Phil Toledano — This London photographer says “photographs should be like unfinished sentences. There should always be space for questions.” His series on plastic surgery, A New Kind of Beauty, raises plenty of questions. (See Conscientious for more on Toledano and the project.)

Grab Shots: Get Some Perspective

Planet War

Here in the United States, with politicians and pundits of all stripes yammering ad nauseum about each other’s shortcomings, and with our insatiable obsessions with media and celebrity, it’s easy to lose perspective about what’s important in the world. Despite the tolls taken by the recession, we Americans still live in a comfortable bubble marked by the personal freedoms of expression, consumption and, most fundamentally, democratic standards — liberties denied to millions of other people on the planet by oppressive governments, megalomaniac dictators and hard-fisted clerics.

Photojournalism provides us with a window into that crueler world. Here’s a sampling:

* Planet War:  Foreign Policy editors put together a powerful photo essay on the 33 conflicts “raging around the world today,” reminding us that “it’s often innocent civilians who suffer the most.” Above, an Iranian dissident in December 2009.

* 2nd Tour Hope I Don’t Die: A narrated presentation of still and video images made by Magnum photographer Peter van Agtmael reflecting on his coverage of Iraq  from January 2006 to December 2008. He describes it this way: “I tried to make pictures that reflected my complex and often contradictory experiences, where the line was continuously blurred between perpetrator and victim, between hero and villain.  In time, the labels that had heretofore defined my perceptions of the world became meaningless.”

* Hell on a Small Island: Dirck Halstead writes about two photographers, Damon Winter of the New York Times and Shaul Schwarz of Reportage/Getty Images, who covered the horrific human disaster that followed the January 12 earthquake in Haiti. For them, says Halstead, “the camera becomes a shield, a protective layer between terrible death and the photographer.” Here is Winter’s gallery, and her is Schwarz’s gallery.

On the Job: Marin Magazine Cover

Marin Magazine February 2010 cover

Marin Magazine gave me a wonderful opportunity in the February issue — eight pages of photographs to illustrate the beauty of Marin County. To my surprise, the editor also chose one of the images for the cover — a grove of oak trees on a Novato hillside.

I made this photo quite by accident a year ago. I was looking for an elevated vantage point to photograph the Buck Institute’s distinctive I.M. Pei building as part of a story on Buck’s scientists.  As I climbed this little hillside with my gear, the sun suddenly came out from behind some storm clouds and lit up the grass and the trees. I shot about 10 frames before the cloud cover returned. Another shot from that moment is in the photo layout.

The text I wrote to accompany the pictures is below.

See all the photos in a slideshow. And, of course, they are available for purchase as fine art prints through the Marin Store.

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Marin Views (text from magazine)

Much of my career, in photography and in journalism, has focused on people and their peccadilloes. They were rogues and rascals mostly, types you wouldn’t readily invite home for family dinner. Such was the business of news.

That changed when I began making pictures for Marin Magazine. Even though we have our share of local rapscallions, what captivated me as I ventured deeper into Marin than ever before were its various scapes—landscapes, seascapes, and, yes, bridgescapes. I was often out and about at first light or early evening, when nature presents its very best.

The beauty of this marvelous place filled me with wonder—the forested wilds of Tam, the windswept solitude of the beaches, the verdant promise of spring farmland, all of it connected, majestically, by a golden span to San Francisco.

–Tim Porter

On the Job: Jewelry

Jewelry by Alix and Co.

Today and tomorrow I am shooting jewelry in the studio for the magazine. Even though I am happy to have the work–especially after the advertising disaster that was 2009–photographing jewelry is one of my least favorite things to do.

I do a pretty decent job with it– the above shot is of  bracelets from Alix and Co., Mill Valley jewelers–but there is still plenty for me to learn. There are nuances to the  lighting, especially to minimize unwanted reflections, I haven’t mastered, and I’d love to have a camera with perspective control into order to control depth of field more, but I’m not planning on buying a 4×5 any time soon.

I spent several hours in the studio yesterday working on new lighting set-ups, and even woke up last night about 3 a.m. thinking of another. This time, I am using more diffusers (including scrimming the whole shooting table) and more fill, and shooting on white plastic, which bounces the light very evenly. The quality of the light is the best I’ve made so far. Still, I have not figured out how to keep the camera from appearing in a reflection and continue to have difficulty controlling highlights while shooting on white.

Since I returned to photography five years ago–after a 20-year detour into newspapering–I have learned a great deal about the technical aspects of the craft, but acquiring the knowledge about shooting jewelry – or other tabletop products for that matter – is difficult for me because I don’t learn in a linear fashion. I am a sporadic learner, taking bits of know-how from here and there until I’ve put together a workable toolkit. Jewelry techniques, however, require certain amounts of exactitude and understanding of math and are best learned in a step-by-step manner, a method I have always found elusive.

At times like these, I wish I’d had the opportunity to apprentice with a commercial photographer and acquire some tricks of the trade from a master instead of picking them up piecemeal from books, the Internet and, of course, the lessons of past mistakes. But that is not the route my life took, and my photographic journey continues, one day at a time, one shot at a time.

I’ll let you know how it turns out.