Commuters

Since most of the world commutes one or another, either to work, family, or holiday, I thought it would be an interesting take if some of us would care to share images of that endeavor.

Matteo Ceschi

The commuters’ dimension, wherever they are and wherever they are directed, is so close to Marc Augé’s non-places. The commuter, in my photographic vision, becomes a sort of ghostly island surrounded by a sea of indifference. He’s protected by an invisible and anonymous armor; he doesn’t care about the world all around him; she goes by the places and people she encounters during her daily travel. Sometimes the commuters appear intangible; other times it seems they could come straight out of an advertisement poster, like flesh and blood survivors. In this way, commuters in turn become a series of non-places.

 

Steve Coleman

So commuters, or commuting… Well personally I drive into work at 4.30am every morning so I hardly see anybody on my commute! But not to be deterred I actually got a bus one day, a strange but rewarding experience.
As ever with my pictures I tend to focus on the isolation of people, emotionally and mentally rather than physically. I don’t often find myself shooting people engaging with each other…I prefer the feeling of people engaged within their own minds for some reason. I think it’s a reflection of myself.

I did find that the bus was a great place to illustrate this however, we shared the same space, we sat next to each other with only inches separating us, but we never talked, we awkwardly avoided contact. We kept our thoughts private and our daydreams secrets. Just the way I like it!

 

Peter Barton

A ticket to ride.

I have no ‘work’ to commute to. But, I regularly travel on public transport filled with commuters and fellow passengers.

There is a sort of vacuity evidenced in the faces of some as they travel. They are still and yet, paradoxically moving. There is a stasis in their bustling world.

I’ve been capturing images of ‘My Fellow Passengers’ for a while now. In my own city, my own country and whilst travelling overseas. We are one species. People are people wherever you are and whatever the surroundings.

People watching is a fascinating, endless occupation. All you need are your eyes, a camera and a ticket to ride.

 

Keith Goldstein

These images are from an ongoing series, “Across the Aisle”. I’ve been working on this series on and off for quite a few years. Images of commuting, especially in New York, have a wonderful history. From Walker Evans, Stanley Kubrik, Bruce Davidson, to many others working contemporary.

For me, the subway becomes a private space once one enters. We shield ourselves from closeness with strangers, as we enter a private space within ourselves. I try to wait until that moment happens. I never ride the subway to just photograph. These images are taken as I commute to and from work, appointments, etc.. I never hide my intention. People look as if they notice, but many don’t see me as I am occupying that same internal space that they just entered.

Advertisements

Horror Noir

Matteo Ceschi

HORRORS MEETS NOIR
The idea of this new f/50 project arises from the curiosity to see horror and noir movies mixed together. Think about the classic George Romero Night of the Living Dead frames overlapping Michael Curtiz’s Casablanca iconic scenes…
BOOOM! My brain goes crazy! Double exposure technique and a hard b&w is my way to illustrate this “surreal universe” where two worlds come together and merge. Zombies take care, Detective is now on your tracks! Suggested soundtrack: “Can It Be All So Simple” by Wu-Tang Clan.
Steve Coleman
I’ll be honest, I don’t know whether to thank my F50 colleague Matteo or not for his suggestion of ‘Horror Noir’! I didn’t find this particularly easy at all, but I do like a challenge so below you’ll find my interpretation of this project.
I won’t say too much, but I tried to take my usual candid street style and find individuals in locations that portrayed a sense of solitude and anxiousness, that seemed ambiguous or even a little lost.
I definitely tried to concentrate on a feeling or emotion above anything else and I think I captured some tension in my shots.
So…Thanks Matteo! Perhaps your next suggestion could be a little easier!! Lol.

 

Keith Goldstein
I’ll have to be honest as well. When Matteo proposed this idea for a post, I was quite hesitant. Instead of making images specifically for this idea, I acted like a somnambulist. I just let things be. Keeping Matteo’s idea in the recesses of my brain.

 

*The idea of combining horror/noir with street, was from our member Matteo Ceschi.

THIS IS NOT AMERICA

America is all around me. America is following me through the streets of Milan and my travels: from Greece to Britain to Sweden. The eyes search for old TV series frames, brands and icons, looking for what now also belongs to me. I look at the photos, I hum David Bowie song and I feel that here I am elsewhere, in America.

 

FLUIDITY

For this new f/50 project Keith and I have investigated the elusive concept of “fluidity”. We started from Webster on-line dictionary definition and we have developed the “interpretation” through three shots each.

FLUIDITY: The quality of being fluid or capable of flowing; a liquid, äeriform, or gaseous; opposed to solidity. “It was this want of organization, this looseness and fluidity of the new movement, that made it penetrate through every class of society” J.R. Green

KEITH’S NOTES: Let’s images talk!

image

MATTEO’S NOTES: Fluidity is all about change and movement. Freezing this change with a camera is a hard challenge but it’s not impossible. Photography usually doesn’t “play” with movement so I’ve tried to recreate motion looking for contrast. In the first shot, sky-clouds (so fluid they look solid)-buildings-humans; in the second one, a light fog “running” over the water deleting shadows; in the last frame, the illusion of a man swimming in an ad I caught throught a futuristic invisible wall. In all three shots human presence — direct or indirect or even marginal — becomes an important element of the change, probably the most significant in contrast to the others.

Land-Sea: Shapes of Continuity

This short  “summer series” – seven shots taken in Agios Prokopios, Naxos Island, Cyclades, during a period of 1 hour with a 50 mm lens – helped me explore the lines/feel of continuity between land and sea. I was probably looking for a personal sense of space where the horizon shapes a continuity across the shots. I was looking for a sense of surprise too – catching the amazing moment when the eyes alight on the water over the dunes. There definitely is a feeling of relief and amusement in each image to the extent that the horizon is “broken” or “interrupted” by humans: their familiar presence dares to leave the beach and embrace the water unconditionally.

image

image

image

image

image

image

image

Shadow Self

When I first picked up a camera, coming from years of painting, sculpture, and printmaking, I always wondered how I could put myself physically within the image. How could I show my “hand”? A question that I always think about, how can a photograph connect the inside – our thoughts and emotions, to the outside – our physical surroundings? Continue reading “Shadow Self”