These are some documentary photos taken in New York in 1983. Documentary photography can be defined as style of photography that provides a straightforward and accurate representation of people, places, objects and events, and is often used in reportage. It can be both significant and relevant to history and historical events as well as everyday life.
For me, documentary photos are ones that are taken without manipulation, or staging. My urban photographs from the 1980s, taken in Toronto, New York, Japan, and Asia are largely street photographs, but are also documentary in that they capture life as it is. And the passage of time makes them more interesting, and valuable, as documents of another era. The above photo, for example, shows a man sitting at the entrance to B. Altman and Company on 5th Avenue. It was the flagship store of a luxury department store chain that opened in 1906 and closed for good in 1989. It’s nice to have a record of this iconic store.
A recent article by Authur Lubow in the New York Times titled, Life As It’s Seen, Not Staged makes the point that documentary photography, which fell out of favor with the rise of manipulated images, is making a comeback. An exhibition at the International Centre of Photography highlights young photographers share “a commitment to portray life as they discover it in the world at large, without staging or manipulation; and by so doing, find and express themselves.” Lubow also makes the point that “nothing is weirder than a straight photograph of an uncanny subject.” In short, truth is stranger than fiction.
In my early sixties, I sill find everyday life endlessly fascinating, and continue to capture it with my documentary photos. They help me make sense of the world we live in, and also help me remember the places I’ve been, and people and things I’ve seen.
I have only been to New York City three times in my life, but each visit there holds vivid memories. It’s an interesting experience to walk around Manhattan with a camera–so much human activity and so many interesting buildings and sights. But I must admit that I never felt very comfortable there. From my Canadian perspective, large American cities seem dangerous and in 1983, New York City was a bit run down and dodgy in certain areas.
These photos were taken on a Ryerson school trip in early November, 1983. I used a Rollei 35S with Tri-X film and shot about six rolls of film over two days. I was looking for interesting scenes and bits of human interaction. Decades later when I scanned the negatives, I found information about the photos that I didn’t know at the time. For instance, the busker playing saxophone was an 18 year old Vincent Herring–a noted jazz saxophonist. Also the invasion of Grenada had just taken place–something I wasn’t really aware of at the time.
Looking at these photos makes me want to go back again, to capture new images and form new memories.
This photo was taken on Fifth Avenue in New York City in 1983. Walking around New York City with a camera is something I’ve only done twice in my life. Both times were unique and memorable. There is so much happening on the streets, and so many interesting locations.
The mannequin is in the store window of B. Altman and Company, a luxury department store chain founded in 1865. By 1990, the business was closed. In 1985 this Fifth Avenue building became a New York City landmark. It is now occupied by City University of New York, New York Public Library, and Oxford University Press. The Altman Foundation carries on as one of the largest private philanthropies in New York.
Photographer Victoria Campa loves to photograph people, especially the people she is closest to. She says, “My primary concern, even beyond just photography, is people and their stories. There is nothing more valuable than human connection, and I am fascinated by what occurs when someone is in front of my camera.” Her portraits are youthful and vibrant. Be sure to check out her work on her website and Instagram.
I asked her eight questions about her work and her current projects. Our online conversation has been lightly edited for clarity.
Tell me a little about yourself. Where are you from, and where do you live now?
I was born in New York but my family moved to Spain when I turned 4, so I spent most of my life in Madrid. When I turned 18, I moved back to New York City for university, and I just graduated in May 2017. Right now, I am traveling throughout India and southeast Asia, so I am living in between hostels and trains.
I collaborate very often with my brother and sister, and we made many photos together this summer that I am still putting together. Another project that is very important to me is a collaboration with photographer and my dear friend Victoria Zavala Carvajal where we create double exposures by combining our two perspectives in one frame. It is called Layers of Synergy. And now that I am traveling for a while, I am photographing a lot, so we will see what shall come of that.
You shoot mostly in black and white. What attracts you to monochrome?
The truth is that it goes by phases, and this summer I made a lot of color photographs as well as in black and white. I am attracted to monochrome because sometimes I think that color distracts from a photograph and what it is trying to say. By adding a whole other dimension, it complicates the image in a way that makes a viewer dismiss it more quickly. To me, black and white feels more intimate and more revealing, especially since I mainly photograph people.
You do lots of interesting and lively portraits—young people in their environments. Is portraiture something you specialize in?
Yes. My primary concern, even beyond just photography, is people and their stories. There is nothing more valuable than human connection, and I am fascinated by what occurs when someone is in front of my camera. My favorite thing to do is photograph those closest to me, as if by making something beautiful with and of them I can properly communicate what they mean to me.
You graduated from Barnard College, in New York City, earlier this year. Has your approach changed now that you are out of school?
My photography has changed significantly from the beginning of my studies (four years ago) to now. Probably simply from spending many hours with my camera, I think I have found the subjects I am interested and I have begun to develop a voice of my own. I am sure my work will continue to grow and change over time.
What’s your state of mind when you’re taking good photos? Do you think there’s any connection between your mood or mindset and the results you get?
I definitely think there is a connection, and I think the connection is even deeper when it also involves the subject of my photos. It is important to feel comfortable and for there to be total trust between me and my subject. At the same time, my mindset varies. Sometimes I know exactly what I want before looking through the viewfinder, and other times I am surprised by the resulting frame. At this point, my “camera mind” is always on, and I don’t think I will be able to turn it off anytime soon. I see photos all around me all the time.
In my experience, inspiration can come from anywhere. Whether it’s from the way the light falls on a rock on an afternoon walk, or a conversation with a friend, or even a specific feeling or memory stored deep inside of you that you can’t even recall. I am constantly looking at the work of others, both photographers and other visual artists. I also like to read a lot, and I am very influenced by film. However, I am most inspired by real people and the real happenings that surround me.
One final question: Can you tell me briefly about a couple of photographers I may not be familiar with yet but you would recommend checking out?
Some of the photographers I look to often for inspiration are Quentin de Briey and Hollie Fernando. Lately I have been very into street photography in New York and have fallen in love with the work of Andre Wagner.
Many thanks to Victoria for doing this interview. I’m so appreciative of her thoughtful answers that provide insight into her work. Be sure to check out her work on her website and Instagram.
Aerial photography has been practiced since Gaspard-Félix Tournachon, known as Nadar, photographed Paris from a hot air balloon in 1858. Drones are just the latest method of doing aerial photography. New Canadian regulations make recreational drone photography more difficult, and, in many cities, downright impossible. But taking photographs with a drone is considered commercial, as opposed to recreational, so different rules apply.
Transportation minister Marc Garneau pointed out in a CBC interview that “people who use drones for commercial, academic, or research reasons already have to get a special certificate, and most fly them safely.”
Canadian photographer Edward Burtynsky uses helicopters and small aircraft for breathtaking aerial photographs that call attention to environmental issues. In China, he had a lot of problems with slow-moving bureaucracy and decided to experiment with a drone. In a story in the Telegraph, Burtynsky explained, “The whole process started from the question, ‘How can I stand where I want to stand and shoot from where I want to shoot, in a place where I can’t get up in the air?’”
Drone photography has many potential problems. Lucy Davies, writer of the Telegraph piece, pointed out, “Drone photographers are on the increase, but the number of people who are getting decent results from them remains low. There is a saying in the industry that every production company has a broken drone in the cupboard, which is fairly accurate. It’s not as easy as it looks.”
Additionally, there are all the security and privacy issues. Tiny drones already exist, and they are only likely to get smaller. Every time I read a drone story, I remember Kurt Vonnegut’s novel Slapstick, with miniaturized people zipping around undetectably.
Ultimately, it’s good to keep in mind that art is produced by people, not by machines.
—
Phototip: If don’t have a drone to capture photos, try to find a high rise with a glass enclosed elevator.
