1. Page Seven
    Flatbush, 2005

     
  2. Page Six.

    New York, Upper East Side, 2012

     
  3. Pages Four and Five.

    New York City, September 2013
    San Francisco, 2004

     
  4. Page Three

    San Francisco, Tenderloin, November 2011

     
  5. Page Two

    San Francisco, 2007

     
  6. Page One

    New York City, 2007

     
  7. Two and a Half Men — a band consisting of Billie Joe Armstrong & Jason White from Green Day and Joey Armstrong, Billie Joe’s son — played a secret, unannounced show at 1234 Go! Records in Oakland on 11 June 2014.

     
  8. I picked up one of these this weekend. The Schneider-Kreuznach lens caught my attention. The longish lens is a bit of a turn-off, but it was cheap. I couldn’t help myself.

     
  9. Hi. It’s been a while.

    San Francisco, CA
    May 2013

     
  10. Nothing beats the look of slide film, at least where color is concerned.

    Santa Cruz Boardwalk. An old one.

     
  11. …a little hardcore.

    Ruleta Rusa @ Eli’s Mile High Club
    Oakland, CA
    January 2014

     
  12. I can’t remember what I’ve posted here and what I haven’t. I’ve been buried in editing my street photography…cutting work down from a big (digital) pile of 2,600 images to 1,280 to 240 to about 126, where I am now.

    Photos I’d otherwise dump here and on Flickr now get extra scrutiny, since I’m in that frame of mind. Nothing is good enough. Everything has to fit in a specific context. It’s hard to even take pictures right now. I stop myself, thinking, “Will I ever even use that photo? Is it just going to get edited out?” That’s a bad place to be — editing before you even trip the shutter.

     
  13. I love Lucas Foglia’s work.

    danielshea:

    I wrote about Lucas Foglia’s new book Frontcountry for photo-eye and also did an interview with him. We’re continuing a dialog we’ve been having for a few years now about documentary intention, photography and politics. Congrats to Lucas on a beautiful new monograph.

    DS:     In this book, and definitely in A Natural Order, there is a pervading sense of violence and sexuality, the two often occurring simultaneously (the origin of life, the fate of death, pain and pleasure?). Your subjects are often drenched in deeply psychological offerings for your audience. Is this totally conscious on your part? 

    LF:     The expressions of the people I photograph come from the situations I photograph in, situations that I am a part of. Tom and Donnie, for instance, were looking at each other arguing about who would remove the rope from the cow’s horn. The soccer players are engrossed in a moment waiting for a ball. Stacy was looking at me. I think any expression that is honest is ambiguous, made up of mixed emotions.

    When a forest fire started burning outside of town, George’s daughter asked me to keep him company. George raised cattle for most of his life. In his retirement he enjoys chasing wildfires. We drove on dirt roads with dust coming up through the floor of his truck, and then stopped at the hill with the fire burning on the other side. In the photograph, the fire cloud arcs over both of us. It reminds me of how immense and uncontrollable that landscape is, and of how thrilled and vulnerable I feel in it. 

     
  14. New York
    September 2013

     
  15. Market/Stockton, San Francisco

    2013