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William Karl Valentine

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LENSCRATCH - Valentine's Day 2025

March 7, 2025

Valentine’s Day is one of my favorite days of the year, obviously, and this year I received something extremely cool on February 14th when Aline Smithson posted “The I Love L.A. Exhibition” on Lenscratch and used the image I submitted as the lead image for the on-line exhibition.

Documenting the Eaton Fire, and the devastation it has caused in Altadena and Pasadena is one of the hardest portfolios I have ever done. The photographs actually have come really easy, it is an image rich environment, but the process is draining. Now that we are past the night of the fires I am having to photograph in a different style. It is a slow methodical pace where I look for details, it is almost forensic. I am very aware I am documenting other people’s loss and pain plus since Pasadena is my hometown I share that loss even though all our properties were okay. It is emotionally draining and motivational work at the same time.

The image above is one of my most powerful images from this portfolio. I was photographing burned homes in the Jane’s Village area of Altadena when I saw this family walking around this property surveying the damage. The dad called me over and asked me to use his phone to take their photograph in front of their house. I immediately agreed to do that and asked if I could also photograph them. We had a good conversation about their situation which happens a lot when I am photographing up there. I have found people like the fact I am documenting the event, and they really want to tell someone what they experienced and how they feel. I really appreciate those experiences although there is some load to bear from them.

LENSCRATCH is an online platform dedicated to supporting and celebrating the photographic arts and photographic artists through exposure, discussion, community collaboration, and education. Aline founded LENSCRATCH in 2007, and it has grown into an amazing forum for Photography. I met Aline in 2012 at the first Medium Festival of Photography and in March of 2013 she featured my Santa Anita book on LENSCRATCH. Aline is a good photographer in her own right and I have had the honor of having our photographs exhibited together before. I encourage you to check out LENSCRATCH if you are not familiar with it and I am confident you will return to it again and again: it is an amazing resource for photographers and people who love the medium of photography.

In Photography, Photography Exhibitions Tags Aline Smithson, Lenscratch, Los Angeles
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Me and Ave on York Boulevard

Photographing with Ave Pildas - September 22, 2023

October 8, 2023

On Friday September 22nd I spent the afternoon photographing and hanging out with legendary Los Angeles street photographer Ave Pildas. 

I discovered Ave’s work, when I found a copy of his book Street People at Arcana Books in Culver City five years ago.  I liked his work so much I bought a copy of the book. I authored a blog post about Street People and how his photograph “Cop Salute” really stood out to me.  I loved the fact Ave was apparently self-publishing small edition books, promoting his work, making his own opportunities.  Los Angeles is a hard town to photograph in and it was obvious Ave has been out there documenting Los Angeles for a long time.  I followed Ave on social media and when Deadbeat Club Press released Ave’s Star Struck book last year, I went back over to Arcana for the signing to meet him; I also authored a blog post about that.  We had a great talk and I suggested going out photographing on the street together.

Ave and I had talked a few times this year trying coordinate our schedules to go out and photograph.  When we figured out September would be good for both of us, Ave specifically told me he wanted to find new areas in LA to photograph.  The light in September is also usually better than the summer months which I thought would be a plus, but of course the day we went out it was oddly overcast for September here. Ave lives in Santa Monica and is probably best-known for his Hollywood street photography.  When we were planning the day Ave told me he was interested in exploring two Los Angeles neighborhoods: Liemert Park and York Boulevard in Highland Park.  Because I knew I would be coming from a morning meeting with Photography Curator Linde Lehtinen at the Huntington Library I chose York Boulevard which was closer. I also liked how he described York Boulevard as a gentrified neighborhood with plenty of foot traffic and people out and about to photograph.  I love an image rich environment.

We met at Avenue 50 and York which was perfect.  There is also a bench there which allowed us to talk for half an hour before we started walking and photographing. I also got a good feel for the area watching the people pass us.

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Ave and I are very different in a lot of ways, first and foremost I am 6’5”, Ave is not.  I was born in the 1960’s, Ave was “living life” in the 1960’s and 70’s; and he still attacks life today.  But I quickly discovered we are very similar when it comes to photography even though we work in different styles.  We both constantly look for images in our travels, framing things in our mind when we don’t have a camera in hand, and we both have a strong desire to document our world.  We also both feel the pressure of fleeting time and its impact on our efforts to preserve our work, so our images live on long after we are gone.  We also have a similar geek side, like where we both got excited with the visit to Galco’s Soda Pop Stop.  I bought some PEZ and Ave asked for a handful of eclectic bottle caps.  I also loved listening to Ave and Ernestine at Leaf & Spine talk about succulents for ten minutes. We discovered her shop while adventuring around York Boulevard. 

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Street Photography Styles:

When it comes to photographing people on the street, Ave talks to people more, and likes to engage with his subjects.  I like to move anonymously through crowds while photographing.  I don’t want people to be aware that I am photographing them because I want to document the world as it is, without interfering with it; but I always do get incredibly powerful images when I get suspicious stares directly into my lens.  We talked about our different approaches and during the conversation I referenced Bruce Gilden who photographs in a very confrontational style, on the street of NYC with a wide-angle lens and a flash.  There is never a doubt when Bruce has taken your picture, he’s in your face.  The confrontation Bruce creates is an important part of the image.  Ave and I both like Bruce’s photographs but agreed we would never want to work in that style; we also agreed that style would not go over well in Los Angeles.

I think Ave photographs in a more methodical manner.  Granted he is 84 years old, but he is in great shape still and could move along the street faster.  He just really likes to examine everything around him and often photographs details from multiple angels to get exactly what he wants.  I like to do that as well with static subjects but when I am photographing on the street I am usually moving and reacting to the people I see.  I often “Shoot from the hip” literally, with a Sony RX100 vii with the rear screen tiled up so I can glance down and see it.  I miss some things in the frame with this approach but with it I can move about better, and people are more natural.  Missing an image is just part of the process, some things aren’t meant to be.  When I see something that is amazing I will frame it regardless of whether people will notice.  Often I have a Nikon D850 around my neck and will transition to that for those images.  I also use the DSLR camera for all the static subjects.  A DSLR camera body around the neck often helps me photograph surreptitiously with my Sony RX 100 vii.  Suspicious people focus on the DSLR body, and they don’t even look at my hands.  Good Life Lesson from my Law Enforcement days, always look to see what’s in people’s hands.

William Karl Valentine - York Boulevard Portfolio

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The Experience of Photographing with Ave

The afternoon photographing with Ave was one of the coolest times I have had in a while.  I almost always photograph alone or if I am with other people I am the only photographer.  After leaving ASU I have never really had a mentor photographer.  I have had outstanding advisors like Mary Virginia Swanson but no one I went out photographing with.  Ave and I photographed well together, each discovering different things to photograph and moving at a pace that didn’t hinder either of us.  The pace was also good because it gave us the opportunity to discuss so many different things.  We meshed well, I did not set the day up looking for a mentor, I was looking to exchange ideas with an experienced peer, and I got that.  I know we both got something out of the day and developed a good friendship.  Ave even called me last week to tell me about photographing Liemert Park the weekend after we were on York Boulevard.

We discussed so many things there is no way to list everything here, and some things were just between us.  Ave life has been an adventure.  He was a successful designer in Cincinnati and when he wanted to get to the next level he followed the advice of his mentors and went to study design in Switzerland.  He met his first wife in Switzerland and has two granddaughters who are Swiss.  He taught in Philadelphia and ended up in Los Angeles because one of his former students worked at Capitol Records and introduced him to management when he had been in town on a road trip.  He had to fly back to Philadelphia to get a portfolio to show them and was hired.  We talked about some of the legendary photographers of our time, and it was interesting learning how Ave had met Danny Lyon in Milwaukee once and had seen Garry Winogrand photographing around Los Angeles on several occasions. 

I look forward to getting back on the street again soon with Ave and could see somehow collaborating with him one day.  His schedule is crazy, with pending trips to New York and Morocco coming up soon, but that also means I get to see more new images from him.  I encourage everyone who reads this post to check out Ave’s website and follow him on Instagram, you won’t be disappointed. There is also a recently completed documentary film about Ave called Ave’s America that I am looking forward to watching once the release is complete.

View fullsize CA DSC - 08728  9-22-23  Me & Ave
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View fullsize CA DSC - 4534  9-22-23  (Ave waving me over for the photograph below)
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William Kart Valentine on York Blvd – photograph © 2023 Ave Pildas

Ave Pildas at York and Avenue 50

Ave’s Bio from his website:

Born and raised in Cincinnati, Ohio, Ave Pildas worked early in his career as a photo stringer for Downbeat Magazine in the Ohio Valley and Pennsylvania in the 1960's.

In 1971 Pildas began working as the Art Director at Capitol Records in Hollywood and designed and photographed album covers for the label's recording artists. He launched a career as a freelance photographer and designer soon after, specializing in architectural and corporate photography. His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, Cannon Gallery, Amsterdam, Gallerie 38, Zurich and numerous group shows.  His photographs are in the permanent collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design. 

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In Artist, Photographer, Photography, Street Photography Tags Ave Pildas, William Karl Valentine, Garry Winogrand, Danny Lyon, Bruce Gilden, Los Angeles, Street Photography, @avepildas, Nikon, Sony RX 100 VII, Ave's America, Mary Virginia Swanson, Nikon D850
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Clint Woodside, Taylor Galloway, and William Karl Valentine - LAABF 2023 at The Geffen Contemporary at MoCA

"I Can Feel You Dreaming" - Taylor Galloway

September 9, 2023

The Deadbeat Club publishers have been crushing it lately with some amazing titles. I have a few of their books in my collection so when I went to Printed Matter’s Los Angeles Art Book Fair one of my top priorities was to find their booth, introduce myself to Clint Woodside - the founder, and see what new titles they had out.

Once I got to their booth, I was immediately drawn to Taylor Galloway’s book “I Can Feel You Dreaming” (Deadbeat Club publication #85). The book looks simple at first, but it so well printed and has a handcrafted feel to it. The images are wonderful, they allow the viewer to have their own interpretations of them, and they allow for unique experiences every time you revisit the book. The copy on display was a special edition with a small print from one of the images in the book which I loved. I like trains to begin with but the way the image is framed is absolutely perfect, I dig it. Taylor’s book gave me the opportunity to introduce myself to Clint.

Clint made a solid first impression, he knows his craft and is passionate about it. I told him how much I enjoyed owning a copy of Ave Pildas’s book Star Struck and I told him how I met Ave and Ian Bates at their book signing at Arcana Books. We started talking about Taylor’s book and how the Special Edition version was editioned to only 30 copies. Clint was showing me an artist proof and the other person in their booth said that AP copy was all they had left, that the edition had sold out. I guess I made a good impression on Clint because when I said I would still buy an AP copy because I liked it that much, he turned around and pulled out #30 of 30 which he had apparently set aside. I like to think Clint wanted to find a good home for the last copy of the special edition. If that’s the case, I am thankful I struck up that conversation. I am still pumped up about adding this book to my collection.

I have had a number of conversations with publishers over the last few years, Clint definitely stands out. I know I will be adding more of Deadbeat’s titles to my collection over time and I understand why Ave decided to publish one of his most important books with Clint.

The Archival Pigment Print included with the Limited Edition book.

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In Artist, Museums, Photographer, Photography, Photography Books, Photography Collector Tags Deadbeat Club, Clint Woodside, Taylor Galloway, Ave Pildas, I Can Feel You Dreaming, Geffen Contemporary, MOCA, Los Angeles Angels, Los Angeles, #deadbeatclub, @clintwoodside, #deadbeatclubpress, #independentpublishing, #photobooks
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Deanna Dikeman - "Leaving and Waving" - Chose Commune Publishing

September 9, 2023

I discovered Deanna Dikeman’s Leaving and Waving at the LA Art Book Fair last month. I was looking over publisher Chose Common’s booth when I saw Leaving and Waving. The book is a collection of photographs over a 27-year period documenting Dikeman saying goodbye to her parents in Sioux City, Iowa. The images have a vernacular quality and look as if anyone could have made them. They are simple, snapshots of Dikeman’s parents as they waved goodbye to her after visits home. Some are photographed through car windshields, seeming like a last second remembrance to document the goodbye. The first photograph in the series is from July 1991 and the last image is from October 2017 when there is no one at the house to wave goodbye anymore. For most images both parents are waving goodbye, we seem them age over the years, then in 2010 we only see Dikeman’s mom after her father died. Her mom is last seen at home in March 2017, in May we see her mom in a care facility, then in October her mom passed away. It didn’t take me long to decide to add the book to my library.

When I got home, I looked into Dikeman’s work. I was not surprised to find that Aline Smithson had already authored a Lenscratch article about the book two years ago, as soon as Leaving and Waving was released. Aline’s article is a perfect review of the book and Dikeman’s approach to the project, please follow the previous link to read her review.

Chose Commune described themselves as this in the 2023 LAABF directory: “Founded in 2014, Chose Commune is a French independent publishing house primarily focusing on photography. Chose Commune curates, edits, and produces book-objects, with a strong interest in unpublished material.”

As simple as this book is, it is also so powerful. I read reviews of the book saying it documented “the sadness of saying goodbye”, and I completely understand that, especially for Dikeman that lived so far away from her Parents’s home. For me I get the feeling these images are Dikeman’s attempt to hold on to the present because it is about to become the past. Why do I feel this, it’s because that is how I am with most all the subjects I photograph. A few years ago, I found myself photographing my parents almost every time I left their house. I realized then what I was doing, I was trying to hold on to time. I knew that each visit realistically could be the last time I saw my mom or dad and I wanted to hang on to them. I even live relatively close to my parents’ house too and saw them often. My father died in early 2020 and my mom is now 97, I’m more than blessed to have had them in my life for such a long time. I still take photographs of my mom on occasion just in case. I think retaining memories is a big part of why I am a photographer, probably the biggest reason for anyone who takes a photo..

Other people must have also been moved by this book because it is in its third printing of the first edition. The book is well crafted and designed. The printing quality is good, and the dimensions of the book are appropriate for the subject. Leaving and Waving would be a good addition to any photography book collection.

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In Photography Exhibitions, Photography Collector, Photography Books, Galleries Tags Deanna Dikeman, Leaving and Waving, Chose Commune Publishing, LA Art Book Fair, LAABF, Los Angeles, Geffen Contemporary, MOCA
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Printed Matter's LA Art Book Fair - Geffen Contemporary at MoCA

September 8, 2023

I was able to make it out to Printed Matter's 2023 LA Art Book Fair on August 13th at the Geffen Contemporary at MOCA which did not disappoint. This was the first LAABF since 2019, which was fantastic, so I wanted to get up there for it. Ticket demand was high, so I ended up going up on Sunday during the masked-up visitor time which actually worked out great because there were less people there and I was even able to find a parking spot after driving around for half an hour.

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The organizers did a fantastic job bringing the fair back to life after the pandemic. I saw lots of great material, things that were innovative ways for sharing art, and lot of well-crafted print on demand or self-produced works. I saw work I thought was amazing and had strong artistic value and there were things that saw which I thought were weak. A lot of the sexually explicit works seemed to fail as art in my opinion. Solid erotica for some folks I guess, I just didn’t see much more value in a lot of it. One of the most beautiful aspects of art is every visitor brings their own background to the viewing experience so everyone’s take on something can be different. I will also say that most all the booths were professional and tasteful about the display of their work so most people could enjoy LAABF without being offended.

The organizers remembered their past layouts in this epic facility and once again it was outstanding how the exhibit was set up. Photo books in their own area, and the traffic flow throughout the show worked well. I roamed around the entire exhibit a couple of times.

Below is a gallery of images from my visit, I am also authoring a couple other blog post about two books I bought there and my visit with Clint Woodside founder of Deadbeat Club publishing. If you are in Los Angeles, the next time LAABF is up you need to check it out.

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View fullsize Clint Woodside, Taylor Galloway, and me being photobombed at Deadbeat Club table.
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In Artist, Photography Tags Printed Matter, LAABF, Los Angeles Art Book Fair, Geffen Contemporary, MOCA, Los Angles, Los Angeles, Clint Woodside, Deadbeat Club
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Photographer Julian Wasser passes away at 89 →

February 16, 2023

One of my closest photography friends, and former classmate, sent me the New York Times article about the Los Angelea based photographer Julian Wasser who passed away on February 8th. It is an outstanding read about a photographer who had incredible access to document an epic period of Hollywood and Los Angeles history.

Penelope Green wrote the New York Times article on Wasser and its one of the best photographer obituaries I have read in a while. I didn’t know as much about Julian Wasser as I should have, especially since we have photographed similar topics in Los Angeles, although during different time periods. I found it interesting to learn that Wasser accompanied Weegee when he photographed crime scenes in Washington DC but what I loved most was the quote from a 2019 TV interview that Green found. Wasser told this story about his childhood: “Every night I would climb out my bedroom window and steal my father’s car when I was 12 and take pictures, and they’d be on the front page of The Washington Post, my father would say, ‘Look, there’s another Julian Wasser in Washington.’ I said, ‘Yeah, Dad.’” This is beyond epic and something I can’t ever see happening again, those days are gone.

I really focused on how much access Wasser had back then and how much things have changed even though almost everyone carries a cell phone with the capability to capture amazing images and video in almost any lighting condition. Even when I started photographing seriously in the 1980’s I was able to get places with my cameras that I would have a hard time getting permission to photograph today, especially if I was starting out. I recognized a lot of Wasser’s photographs once I started researching for this post, sorry I did not get a chance to meet him, would love to see my prints on a gallery wall with his work one day (Along with a few of my other favorite LA Photographers).

The links below are a few other resources to learn more about Wasser’s work:

Julian Wasser’s Website

Los Angeles Times Obituary article

Alexi Celine Wasser’s Instagram - Julian’s daughter made a wonderful post about her dad after he passed away. A great read.

Craig Krull Gallery - Santa Monica

Hilton - Asmus Contemporary - Chicago

ABC TV Chicago 2019 Coverage of Opening

In Photographer Tags Julian Wasser, Los Angeles, Hollywood Photographer, Watts Riots Photographer, New York Times, Penelope Green, Alexi Celine Wasser, Craig Krull Gallery, Hilton-Asmus Contemporary
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LACMA’s Wallis Annenberg Photography Department Curator Rebecca Morse by Robert Heineken’s images.

"Objects of Desire" - curated by Rebecca Morse - LACMA through December 18th 2022

November 16, 2022

On October 7th I had the incredible opportunity to spend two hours talking one on one with Rebecca Morse at the Los Angeles County Museum of Art viewing the exhibition “Objects of Desire”.

Rebecca Morse is coming up on her 10-year anniversary as a Curator in the Wallis Annenberg Photography Department at LACMA. Prior to LACMA she spent 15 years as a curator at MOCA in Los Angeles. Originally from upstate New York, Rebecca worked for a commercial photographer in New York City and earned her Master’s degree at the University of Arizona before moving to Los Angeles. Rebecca curated the “Objects of Desire” exhibition and authored the accompanying catalogue for the exhibition.

Here is LACMA’s Statement for the exhibition:

“Objects of Desire: Photography and the Language of Advertising traces the artistic manipulation of advertising, the most powerful, mainstream visual language. Since the 1970s, creative innovations led to dramatic shifts in the possibilities for photography as artistic expression, as photo-based artists reworked advertising strategies to challenge the increased commodification of daily life, and later to appropriate the command these images have over the viewer/consumer. By exploiting advertising’s visual vocabulary and adopting its sites and formats, and through re-photography, appropriation, and simulation, artists create a shared photographic language that puts the onus on the viewer to determine what exactly these pictures are asking of us.”

I appreciate diversity in photographic styles although I always gravitate toward documentary images because that is my style. I think it is important that all genres of photography are showcased, and I try to view as many different types of photographs as I can to keep up my knowledge of the medium.  Viewing other images and talking about photography always helps me refocus on my own work.  My expectation in viewing Objects of Desire was that I would learn something new and hopefully see a couple images I could connect with.

The Objects of Desire exhibition exceeded my expectations. It is truly amazing, one of the tightest exhibitions I have seen.  It has some images I was familiar with, some work by photographers I had never heard of, and some totally unique pieces like Urs Fishcer’s “Mirror Box” series.  What made this exhibition so outstanding is how Rebecca Morse curated and designed the installation such that seemingly eclectic works when put together are in fact totally congruent with the goal of the exhibition.  The pairings make perfect sense when you follow the chronology and sequence of the installation.

Obviously, there is nothing like viewing an exhibition with the curator who is sharing insights on how they constructed the exhibition. That was a huge advantage for me.  But if the average viewer follows the wall signage the story is laid out in a clear, concise and easy way to understand manner.  I don’t think Rebecca missed a single detail; the show accomplishes exactly what the statement says.

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I had never met Rebecca before, and I earned this private tour by winning a fundraising bid for the Los Angeles Center of Photography, so I didn’t fully know what to expect.  What I discovered is an amazing photography professional. 

I gained a ton of insight into the curator’s mind with this visit, which was one of my goals.  Rebecca talked about how the concept for the exhibition formulated over many years, and as I expected her interests and experience were the foundation.  There was one specific image (Ericka Beckman’s 1987 image “Spoonful”) I had never seen before.  Rebecca explained that she had seen the photograph years ago, how the image stayed in the back of her mind, and when she had the right exhibition for it, she remembered it.  We also talked a lot about presentation and design of the space. I loved hearing about the many details and fine adjustments, and I could see how each thing she mentioned made the exhibition better.  We ended up talking about every piece.  I knew that Rebecca had worked with Robert Heineken when she was at the University of Arizona and the Center for Creative Photography was adding Heineken’s archive to their collection.  I enjoyed the opportunity to talk to Rebecca about his work given her firsthand connection to it and that’s why I made a point to photograph Rebecca by Heineken’s work. 

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Sarah Charlesworth: Figures, 1983-84, Cibachrome with lacquered wood frame, 2 panels, 42 by 32 inches each
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Vikky Alexander’s “St. Sebastian”
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Urs Fishcer’s “Mirror Box” series
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Asha Schechter’s 2020 print “Junk Drawer”

I found it particularly interesting when Rebecca pointed out the reflective qualities of Sarah Charlesworth’s Cibachrome “Figures” and Vikky Alexander’s “St. Sebastian” and how the viewer’s reflection on the surface of the prints was such an important element of the viewer’s experience.  The importance of the reflective quality of Urs Fishcer’s “Mirror Box” series was more apparent, but in talking with Rebecca I learned the placement of each box had been carefully considered.  If a box was moved one way or another the reflected background would be completely different.  Asha Schechter’s 2020 print “Junk Drawer” is unlike any other exhibition photograph I have ever seen. It is an inkjet print on adhesive vinyl and it was made specifically for this exhibition and the precise location in the gallery where the print hangs. The drawer which was photographed to create the image has reflective surfaces although the print itself does not have reflective qualities. But when you look at the print it appears those reflective surfaces are mirroring the lights and other objects in the room because Schechter actually photographed the room during installation and added those elements to his print to appear as if they are reflections. The perspective of the drawer also seems off with the back of the drawer appearing to be bigger than the front of the drawer which is closest to the viewer. In the catalogue Rebecca describes this print as being based on reality but feeling “off kilter”, she’s right, I found it to be subtly bothersome and I respect that.

I also enjoyed listening to her thoughts on the scale of certain pieces and the overall design element regarding placement of work.  I know how much effort I put in to editing my own work, it takes a lot of time and focus, but to hear Rebecca talk about her curatorial process for an exhibition of this scale is a completely different level.

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One other thing I enjoyed on my visit was watching other patrons view the exhibition.  Rebecca also liked being in the gallery when no one realized she was the exhibition curator so she could stand back and see what people were drawn to and how they experienced the exhibition.

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Rebecca also authored the accompanying catalogue for the exhibition which is one of the best exhibition catalogues I have ever seen.  It explains the overall exhibition nicely and showcases many details about individual works.  If you get the book and read the Acknowledgements you also get insight in to how many people are involved in producing an exhibition of this scale too, it definitely takes a good team. David Karwan designed the catalogue and he did a fantastic job capturing the magazine / advertising spirit in a beautifully published book.  LACMA co-published the book with DelMonico  Books.

The Exhibition runs until December 18th, and I highly recommend a visit.

 
In Museums, Photography Books, Photography Exhibitions Tags William Karl Valentine, Rebecca Morse, Robert Heineken, Sarah Charlesworth, Vikky Alexander, Urs Fishcer, Ericka Beckman, Center for Creative Photography, LACMA, Los Angeles, Los Angeles County Museum of Art, MOCA, David Karwan, Los Angeles Center of Photography, DelMonico Books, Photography, Objects of Desire, Asha Schechter
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Ave Pildas “Star Struck” and Ian Bates “Meadowlark” signing at Arcana Books

Ave Pildas "Star Struck" Book Signing at Arcana - 10/8/22

November 14, 2022

I have been a fan of Ave Pildas’s photography since I discovered his work in 2018 during another trip to Arcana Books. I even authored a blog post at the time reviewing his book Street / People which I had purchased.

Ave is 83 years old now and I am completely jealous of how much he gets out and photographs still, especially since he is also still constantly editing and promoting his older work.  “Star Struck” is Ave’s 10th book and his 8th book since 2015.   Ave is from Cincinnati and moved to Los Angeles in 1971 to work for Capitol Records in Art Direction.  He started teaching at OTIS in 1985 and retired from there in 2008 to concentrate on his own photography.  He has work in the permanent collections of LACMA and MoMA and has traveled the world photographing.

Photographing in Los Angeles is hard, I have written about that fact often here in my blog.  The greater Los Angeles region is massive, thousands of miles, and a population of well over 15 million people.  It is also eclectic demographically; Hollywood, Boyle Heights, South Central, Venice, The Valley, Pasadena, the OC, HB, Newport, Santa Ana, and the IE are all unique in their own rights even though they get lumped into “LA” from any perspective outside of California.  It is not like photographing on Michigan Avenue in Chicago or on the street in New York City where it is easy to get out and walk amongst the people. I totally respect how much Ave has documented because I have traveled those same areas and what it takes to get to all those places.

This was the first time I have met Ave and I was so impressed with his incredible energy; he attacks life.  During the time it has taken me to get to writing this post Ave has traveled to New York and Paris for the book fairs and has posted more updates of new work.  We are planning of going out and photographing together sometime soon and I will share posts from that later.

But now, back to primary topic of this post and Ave’s new book.  “Start Stuck” which showcases Ave’s photographs from the “The Hollywood Walk of Fame” section of Hollywood Boulevard taken between 1972 and 1975.  The concise location helps make this book a great documentation of the people in the area during that era.  It was published by Deadbeat Club and printed in China.  This book is Deadbeat’s 78th book and the first edition was limited to 750 copies.  The design, print quality, and image selection is very good, I highly recommend this book for anyone who loves documentary photography, street photography, or who is interested in Los Angeles’s past. 

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Ave was signing books with Ian Bates, whose new book “Meadowlark” was also published by Deadbeat Club (their 79th book).  This was the first time I had seen Ian’s work.  The only explanation text in the book is a short 2009 poem by Jim Harrison titled "I believe” and even with that text the viewer is pretty much left on their own to navigate the images.  The quality and design of the book are good, and I liked most of Ian’s images on their own individual merit.  Many of his photographs have a feeling of solitude, loss, and despair for me.  There is a dark quality to them, but within most images there is also beauty and hope.  Ian came across as a quiet person and I think I can see why he made these types of photographs and this book.  You have to bring your own past experiences with you to appreciate this book, but I actually love that.  I have seen enough photography in my life I don’t need someone stating obvious facts to me.  This book is also one that you could come away with different feelings on different days from it, depending on where you were in life that day.  It is a very good book to return to occasionally. I love that Ian is putting his work out there and I am happy to have added his book to my library.

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Booooooom’s Review of Ian’s Book - Great examples of the images.

In Photography Books Tags Ave Pildas, Arcana: Books on the Arts, Documentary Photography, Street Photography, Los Angeles, Ian Bates, Meadowlark, Deadbeat Club
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Chrisopher Makos signing “Andy Modeling Portfolio”: at Fahey/Klein Gallery

Christopher Makos at Fahey Klein Gallery - Los Angeles

November 14, 2022

Fahey/Klein has long been one of the West Coast’s most influential photography galleries.  Founded in 1986 by David Fahey and Randee Klein Devlin their 3,800 sq ft gallery houses an incredible 8,000 print inventory and has consistently showcased a diverse group of photographers throughout the years.

I had not been inside Fahey/Klein since before the pandemic so when I was up at Gallery 825 in September, I made a point to stop by and see what was showing.

As it turns out I caught the last day of an exhibition of Steve Arnold’s “Theophanies”.  The prints were exquisite and the exhibition well curated, but the subject matter did not interest me.  Still, it is always a good experience to see diverse works to keep you own saw sharpened.

The gallery traffic was light because it was near the end of the day, and this gave me the opportunity to speak at length with Nicole Boyle who is an Archiving Intern at the gallery.  Nicole took the time to go through their collection room with me to answer some of my questions and just chat some about photography.  I always love meeting gallery staff like Nicole who are passionate about the medium.  There are few things worse for me than visiting a gallery which isn’t busy and has disinterested staff.  At the end of the chat Nicole told me about their upcoming Steven Makos exhibition and book signing the following Saturday and invited me to attend.  So, this blog post is because Nicole was engaging and motivated me to come back up to buy a book and see the exhibition.

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As a documentary photographer, and a fan of Andy Warhol, I really liked this exhibition – Christopher Makos “Fringe” which runs through this coming Saturday. A couple images I saw seemed familiar, but I saw many images for the first time. Makos was in Andy’s circle, so he had great access to an incredible period in the art world. The prints in the exhibition are very nice and some are editions of 1 which made this viewing even that much more special. If you are in Los Angeles now, and a Warhol fan, I strongly suggest you get over to La Brea before this show comes down.

I find the book, “Andy Modeling Portfolio”, to be rather interesting. The book is basically a collection of studio portraits of Andy Warhol. If Warhol wasn’t the subject, then this book would never have been made, seeing multiple portraits of the same individual usually ends up telling us more about the photographer and their “eye” than the individual being photographed. But Warhol knew he was a brand and was always conscious of that when he was interacting with the world. I have no doubt that Warhol played a big part in the majority of these poses because so many have his signature look. For sure Christopher was staging the images but Warhol probably often took it from there. So that makes the book interesting for me, especially after having seen the Warhol exhibition at the Whitney Museum on two separate occasions (one of the best art exhibitions I've ever seen). The printing quality of the book is perfect for the subject matter since this portfolio is like a collection of test prints and proof sheets. If it was a grand higher-end printing on a larger scale the book wouldn’t have worked as well, as it is I think they nailed it.

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One thing I discovered with researching information for this post is how interesting David Fahey’s own portfolio of work is.  David studied photography and was photographing well before he got into the gallery business.  David was insightful enough early on to realize there would be value in photographing the photographers he worked with.  I found his photographs online and they immediately remind me very much of photo historian Bill Jay’s photographs.  I studied under Bill Jay at Arizona State University, and I even remember being in the darkroom with him once while he was printing some of those images.  It then hit me what an awesome experience I had in the gallery that day while someone like David was photographing Christopher Makos.  I also realized, and found it interesting, that David had also photographed Warhol.

The story of the photograph below:

I was one of the last people there to get a book signed so I had time to talk with Cristopher.  I had already walked around and viewed the exhibition before getting in line to have him sign my bool plus I had read up some about the exhibition online before heading up there.  I knew there was a print of Andy Warhol wearing a red clown’s nose that was a single edition vintage print and I really liked it.  But I noticed there was an oddity (a small circular shape like something had blocked the exposure of the paper) in the lower right corner of the image so I asked Christopher about that, I wanted to know why that was there.  He wasn’t sure what I was asking about so I suggested we all walk over to it, and I would point it out.  Christopher agreed and three or four of us, including David, walked over to the print with him.  He was surprised I had noticed the detail and said it had no meaning and hypothesized he had used something to hold the paper flat during printing, but it had moved up and covered that corner of the easel during the exposure.  I took the opportunity to photograph Christopher as he was talking about the print and at the same time, I could hear David was behind me also photographing him.  My photograph below is from that moment.  At the time I knew I had captured a good image, but after learning more about David Fahey’s photography my image now has a deeper personal meaning. 

Christopher with a single edition print of Andy

One last fantastic thing I discovered while authoring this post is that Fahey/Klein has been creating video interviews of their artists and their projects recently. These videos are an outstanding resource and I appreciate that David had the vision and resources to document these photographers and events.

Click her to see the Christopher Makos video.

Other interesting links about David Fahey:

Anthony Friedkin’s 2014 interview of David Fahey for Samy’s Camera

The Eye of Photography article on David Fahey.

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In Galleries, Artist Tags David Fahey, Fahey Klein Gallery, Christopher Makos, Andy Warhol, Los Angeles, Photography, Art Books, Andy Modeling Portfoio, Nicole Boyle, Bill Jay
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Atlanta Photography Group - 2022 Street Photography Exhibition Announcement

September 5, 2022

Selected image: Los Angeles, California 06-17-2018 (CA DSC 5594)

I am very honored to have had one of my photographs chosen by renowned photographer Henry Horenstein to be in the Tell Me A Story: Documentary and Street Photography 2022 exhibition at the Atlanta Photography Group’s Gallery opening later this month.

This 2018 image is from the intersection of Maple and Olympic in Los Angeles and is titled “Los Angeles Olympian”. The image is part of my Los Angeles and general Street Photography portfolios. This is the first exhibition for this photograph.

The Atlanta Photography Group formed in 1987 and moved into its current space at Tula Art Center in 2002. The staff, especially Director & Curator Donna Garcia, at APG are so professional and the list of jurors they have been bringing in for their exhibition calls the last couple years is the best in the country. Donna is also an accomplished photographer in her own right, and I encourage you to follow the link to her work, it’s worth seeing. This is the first showing of my work in their gallery space.

As I stated to start off this post, it truly is an honor to have a photograph chosen by Henry Horenstein for this exhibition. Knowing his work, and the fact we have photographed similar topics, the selection means a lot to me. We have never met but I know we have photographed in the same places around the same time. Henry photographed at the Santa Anita Racetrack just before I started work on my Santa Anita portfolio and I think we may have crossed paths on the streets of Boston a couple years ago.

If you are in the Atlanta area during this exhibition time, I encourage you to stop by and see it. I will update this post later with installation views and other links as they become available.

In Galleries Tags William Karl Valentine, Documentary Photography, Street Photography, Los Angeles, Atlanta Photography Group, Henry Horenstein, Atlanta, Donna Garcia, Santa Anita Racetrack, Tell Me A Story: Documentary and Street Photography 2022
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PD-029 #33 5-02-92 Bill in front of his laundromat - Los Angeles, California

30 years ago today, I was at the LA Riots

May 2, 2022

As a documentary photographer, the fact that I was unable to photograph some of the most surreal things I ever witnessed will always bother me.

I was a Police Officer for the City of Chino in 1992 and at work when the LA Riots erupted.  Chino is forty miles East of downtown Los Angeles, just outside of Los Angeles County in San Bernardino County.  I remember watching Reginald Denny getting dragged from his truck and beaten on the TV in the watch commander’s office as our dispatchers took 911 calls from our citizens pleading for our officers to nbe sent to help stop the things they were witnessing on.  I was expecting that there would soon be a mutual aid request soon from LAPD and I started lobbying to go when that call came.  I knew Los Angeles better than most my peers and I wanted to get into this fray.  The rioting grew that night, but the mutual aid request never came.

I lived in Pasadena then and when I got home, I could smell the smoke from the fires in Los Angeles.  One buddy I grew up with was a Pasadena cop and he let me know Northwest Pasadena was rioting too and their department was on tactical alert.  It immediately reminded me of my father’s stories from the Pasadena Gambling House riot which occurred during the Watt’s Riots in 1965, just after he had joined Pasadena PD. 

I watched a lot of news before my next shift as rioting spread on April 30th.  I knew I wanted to get to Los Angeles but was torn because part of me wanted to go photograph it and the other part wanted to go as a police officer to deal with the looting and rioting.  I knew to go photograph on my own would be dangerous and logistically nearly impossible. 

Finally on May 1st Los Angeles sent out a mutual aid request to San Bernardino and Riverside Counties.  I was one of nine officers sent from Chino PD, we took three older police cars.  We were to the Los Alamitos National Guard base where we staged and waited for our assignment.  I remember we left in the afternoon and traffic on the 57 freeway was so heavy we had to drive down the center shoulder to get there.  Looking at the people we were passing most of them looked serious or nervous.  I remember people were worried the rioting would spread throughout Southern California.  I was focused on what awaited us in Los Angeles, we were not saying much, mostly listening to the Am news radio.  I was expecting to get into a lot of conflict, so I had the pregame type of focus.  I was thinking of what I had seen on the news, and I was trying to run as many of those scenarios through my mind as possible to prepare. 

We sat at Los Alamitos for over an hour then they told us they were cooking steak dinners for us before we went it.  The last thing I wanted was a military grade steak dinner, I just wanted to get to Los Angeles while things were still going on.  After dinner we were sent to the City of Inglewood in a task force of mostly officers and deputies from San Bernardino County agencies.  The only agency from our county that didn’t go with us was Ontario PD because they had been assigned to escort a shipment of ammunition to Compton PD shortly after they arrived at Los Alamitos.

It was evening when we finally started our drive up the 405 Freeway.  Our convoy of over 30 police cars, every unit with 3 to 4 cops wearing helmets, and support vehicles was pretty impressive looking, a strong show of force.  The San Bernadino Sheriff even sent his mobile communications center semi truck so our radios would still work outside of our normal range. As we got near the 110 Freeway, I could see plumes of smoke all around South-Central Los Angeles.  The columns had orange tints from the late afternoon sun, and the scene was almost apocalyptic.  I knew a full curfew was set to go into effect at sunset, or 8pm, and I was hoping to get deployed before that.  We got to Inglewood and staged in the parking lot of an eight-story hotel on Century Boulevard just off the freeway, today it is a Motel 6.  Once again, we all stood around and waited, now as the sun was setting and the curfew was going in to affect.  The Inglewood officials didn’t seem to know what to do with us.  By that point rioting in their city had calmed down.  Los Angeles and Compton were still rioting but Inglewood officials didn’t want to send us over to those areas in case Inglewood had more problems.  I also think a lot of people saw us come into the city and officials just liked our presence as a deterrent.

We were eventually sent to guard a gas station on the north side of Inglewood, I think it was on La Brea near Centinela.  The small mini mart portion of the Chevron had already been partially looted but I was able to find a map inside so we could figure out where we were (pre-cellphone era when gas stations sold maps).  With the curfew in place we hardly saw anyone out and about.  I could still hear gunshots occasionally, but everything sounded a couple blocks away, and no one was shooting at us.  A couple of us eventually talked our Sergeant into letting us scout the surrounding area.  Inglewood residents still had electricity so except for the looted businesses it looked normal. But once we went a few blocks East into Los Angeles where there was no power, so everything was pitch black. In Los Angeles we came across a market that was still burning, LA City Fire engines were on scene working it with CHP officers providing them security.  On one block we found a corner market that had burned to the ground, a pilot light for some appliance was still burning and that little two-inch flame was the only light we could see on the entire block.  We saw a few people moving around in the darkness but for the most part the streets were deserted in that area.

It was well after midnight when we returned to the hotel at the end of our shift.  Things were still disorganized.  The San Bernadino County Sheriff’s Department had allocated all the rooms at the hotel for their people, and no one had any idea where to put us.  We waited for a long while and I finally got fed up. I told my sergeant if he’d let me drive to a pay phone I would find us a hotel. He asked how and I said I would just come up with something, he agreed since there wasn’t another option.  The first hotel I could think of was the Bonaventure Hotel in downtown Los Angeles.  I knew they would be empty and assumed they would be happy to have Officers on site given everything that was happening.  I made the call, spoke with the manager, and he invited us come on over.  They comped us on everything and their only request was that we park our units up front so anyone coming to cause problems would see them. 

We decided to drive across Manchester Boulevard to the hotel in downtown LA.  I knew Manchester very well, having driven it hundreds of times going to Kings games at the Forum.  It was so surreal to see the area pitch black with so much damage and seemingly being the only ones out and about.  So many businesses were gone, and it seemed there was a burned-out car in the road every couple blocks.  We passed a couple armored vehicles parked on side streets then soon saw a pair of heads approaching from behind us.  We couldn’t tell who it was, so we moved to the right lane and were starting to prepare for trouble when we saw it was a convoy of 30 Los Angeles County Sheriff’s units with four deputies in each car.  Only the lead unit had headlights on every other unit behind was blacked out, we assumed they might have been out hunting for problems trying to appear as if there was just a solo vehicle. The sight of that LASD convoy passing us was so incredible, put the gravity of the situation in to perspective.

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The next couple days we were assigned to guard the general area of Manchester and Crenshaw in Inglewood, it was mostly to show a presence and deter further unrest.  We were able to assist Inglewood PD with a few calls, a shots fired and a looting in progress, but those calls were uneventful.  It did allow us a chance to talk with the Inglewood officers about the first part of the rioting which was insane, I remember talking with Sergeant John Bell after clearing a Nix Check Cashing store which someone had reported being “re-looted”.  I knew who Bell was, he was somewhat of a legend, having survived some intense situations.  Bell told us that he was in three pursuits and two shootings on the first night of the riots.  He described driving up to the front of a liquor store he thought was just being looted only to discover it was an armed robbery in progress and having to engage the suspects.  Later that night I spoke with a couple more Inglewood officers in an unmarked unit on another call.  They said their primary assignment that night was to go to “shots fired” and “man with a gun” calls before other officers in marked units arrived.  Both officers had been in so many shootings the first two days of the riots the extra magazines on their belts were empty.  The department had apparently run out of duty ammo because officers had been in so many shootings.  They described the agency being in a “no hits no paper” mode because of how overwhelming things had been.  They said if someone shot at them, they would try to return fire and get out of the area as fast as possible then come back later with numbers and check to see if they had hit anyone.  I could tell how much stress they had been through with the looks on their faces.  One side note about Nix Check Cashing, which is a chain of check cashing storefronts still around today, while we were there a couple guys drove up and asked us if Nix was open.  We said they were closed because it had been looted.  The guys lamented that they needed to cash their welfare checks but couldn’t find anyplace open because they had all been looted or burned.  We suggested they drive out of the area, and they said they didn’t have enough gas because all the gas stations had also been looted and shut down.  This interaction highlighted the lack of thought with the rioting.  One other incredible thing I saw during the riots was the massive line of 3000 people at the main post office for South Central LA when people had to go down in person to get their welfare checks because all letter carrier service had been suspended because the area was too dangerous.

We patrolled around the neighborhoods some and interacted with people the best we could.  I consider a lot of Inglewood as middle class, definitely nicer than South Central LA, and most the residents are good people.  The neighborhoods were very well cared for, lots of older well-kept single-family homes.  The homes were in good repair, lawns were mowed, hedges trimmed, most with a decent car in the driveway, and almost everyone with security bars on the windows.  But it also seemed like every block had one house that was the local gang or crack house.  Trash in the yard, broken down car out front, and bullet holes in the stucco.  It still pisses me off to think of how many decent people were living behind bars because of the gangsters on their block, and how many more people today are subjected to crime.  It was blatant who was involved in the looting and rioting.  We stopped in front of one of those gangster houses and chatted with a guy putting a new car stereo in his ride.  The guy said he had just bought it but we all knew where it came from but there was no way to prove it.  All the stores had been closed for several days and he didn’t have a receipt.  We then drove the alley behind the house and found a pile of old furniture and an old TV, they were not even trying to hide the fact they had been out looting.  Most the people I spoke to were happy we were there and supported us.  About a quarter of the people were just pissed off.  Pissed off at how LAPD treated people they contacted but at the same time pissed off at the gangsters that committed the crime which created the law enforcement response.  They were also livid with the people who destroyed their neighborhood. The rest of the people, mostly the ones involved in crime and causing problems, just hated us and didn’t mind letting us know about it.

I was able to photograph some while I was there although I was limited in how much time I could spend doing it.  Somehow I lost one of my rolls of film, one that had images of the burned-out cars in the street, If I remember correctly from the area of Florence and Normandie, but I still have the images in my mind.  My portrait of “Bill”, who owned a laundromat, in front of burned-out business is one of my favorites.  He was such a gentleman, in talking to him I knew how much effort he put in to building his business and it made me mad they destroyed his business for something he had absolutely no responsibility for.  His faith was impressive and I assume he rebounded well. I have other photographs which document the devastation of the fires and looting.  I remember photographing a bank where the giant main steel support beam for the roof bent from the intensity of the fire being left to burn out, the only thing left inside the walls was the vault, it was insane to think how hot that fire must have been.

I knew at the time that I pretty much missed out things with the riots.  I had so many friends at other agencies who were in the middle of the fight as were a lot of press photographers at the time.  I was able to witness and document the aftermath still and have a good understanding of the atmosphere, but that was about it.

With the 30th Anniversary of the Los Angeles Riots this weekend I wanted to take a moment to share these photographs and the story of my experience.  I am fearful how history is being rewritten lately, and it is important we remember things as accurately as possible to prevent repeating previous mistakes or creating new problems.

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In Photography, Civil Unrest Tags William Karl Valentine, Documentary Photography, LA Riots 1992, Los Angeles, LAPD, Riots
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Brianna Kupfer was stabbed to death inside her work on 1-13-22, the suspect was arrested on 1-19-22 in Pasadena several hours before I photographed this memorial at the murder scene.

Brianna Kupfer Murder Scene - 326 N. La Brea, Los Angeles

January 22, 2022

I remember standing over a guy once who had just been shot in his apartment.  There was a drive-by on the street out front and instead of taking cover he went to the bedroom window to look and caught what appeared to be a stray round meant for someone else.  He was a “Veterano” so I was somewhat surprised he did that, I expected he would know better.   We had arrived on scene right after it happened, and paramedics were close behind us. Medically there wasn’t anything I could do for him beside encourage him to keep fighting to stay alive.  His breathing was shallow, and he was not saying anything.  His color started to fade and by the time the paramedics transported him his skin was turning grey, I knew he was going to die, and he did soon after reaching the hospital.  I have seen a few murder victims die; most I guess were in shock because they were not saying much.  I have also seen someone who was shot and made it, he was scared and calling out for his mother as he was laying there on the ground.  Watching someone in the process of dying an unnatural death is surreal.  I’ve sensed some people giving in to their wounds and death’s call, while seeing others fighting with all they had to survive.  I have sensed fight, fear, regret, loneliness, and calm witnessing the dying process.

I went to the Croft House to photograph Brianna Kupfer’s memorial because I saw it as opportunity to document an incident which represents our society today, raging crime and the deterioration of safety in our communities.

What happened to Brianna showcases everything that has and is going wrong with the new approach to the American criminal justice system in a supposed “woke” society.  It is beyond unacceptable that Shawn Laval Smith, the murder suspect, was still roaming the streets after at least 11 previous arrests and his obvious mental health issues.  At a minimum he should have been in a mental health facility years ago, instead, somehow, he was most likely shipped to California from South Carolina so they could get rid of their problem quickly.  Based on all his criminal history Law Enforcement did their job, they arrested him and brought him before the courts. The system from there obviously did not do their part by putting Mr. Smith in some type of custody where he could not harm others.  Every day there are incidents of violent attacks on innocent people by unstable persons living on our streets.  This past week the victims included a nurse at a Los Angeles bus stop and an accounting consultant on a New York subway platform, plus who knows how many others. 

I feel my images from the Croft House accurately convey my feelings about Brianna’s murder and allow for thought and interpretation by other viewers.  I see them as powerful documents of what happened, even though they do not actually document the criminal act or crime scene. I hope these photographs allow some viewers the ability to consider the reality of such a horrific loss and contemplate society’s approach to public safety moving forward. I think there are many layers for the viewers to deal with in these images. 

When I photograph, I try and be respectful of the people within my frames and not exploitative. With an incident like this, I was looking for images with deeper meaning, not just a press image where I was looking for dramatic shot to illustrate a story before moving on. 

Here are some of my thoughts on specific images:

The wide-angle view of the entire store worked well. The lead image in this blog captured how intimate this furniture store is by documenting its scale. I used a 14-24mm Nikon Aspherical lens for this since the sidewalk is so narrow and news vans were parked all in front of Croft House. For me I see the outside of the building with all the big windows as a location I would never expect a violent crime to occur. The wide-angle lens also captured the volume of flowers well. In the image above the young man walking past the wanted poster of Smith symbolizes much of society for me. Something horrific happened here, I want everyone to take notice and be enraged about it, but this man appears to be walking by as if he is oblivious to that fact. I imagine him saying to himself: “Oh well something bad happened here, thankfully it wasn’t me, bad things happen all the time, just accept it, I have things to do, it’s nothing I have to deal with.”. Obviously, I don’t know this young man’s thoughts, nor do I know if he has already walked by here multiple times and has already stopped to experience the moment. His presence in the frame, although a documented fact, is really only symbolic of life going on and people passing by. I also think his attire helps with the documentation of the area and the people who live here.

This image is intense for me. The arrangement is so beautiful, as was Brianna Kupfer, the flowers are representative of her. The interior of the store is organized and clean. There is order in the display and the designs of the pieces are awesome, the space looks cool, normally I would love to check out. But then there is the reality that order was shattered by the blade of the murderer’s knife. The reflection of the news van and the wanted poster in the window tell the horrific truth. Having seen the coverage of the murder on television I know the suspect had walked right where I was now standing to make this photograph. Perhaps he peered into this same window before he entered Croft House. He interacted with Brianna in such a way that she became so scared of him she texted a friend about him, he then savagely murdered Brianna, before comely walking out the back door of the store and North up the ally. The most chilling part is the rear door of the store is so clearly visible in this image and positioned just to the left of the wanted flyer for the suspect. This image brings to my mind the terror Brianna must have endured at the end of her life, how alone she must have felt.

I assume this image above is pretty obvious for most viewers. Televised news is so influential today. Here I have the production crew for the live shot, masks documenting the period, and mobile equipment which reminds the viewer that the crew is only on scene temporarily before moving on to the next story. Society’s focus on this event will quickly fade, and then I think of her family who will carry the scars of this loss forever. I am angered with the thought that victims, and their families are not the focus today. The slight view of the memorial in the background wanted poster giving context to their story. The reporters practiced speaking their copy while the crews checked their lighting and camera angles. They were doing their jobs, they were not being disrespectful, but the reality was obvious this wasn’t personal for them, it was just another tough story, it probably has to be that way in their business. Maybe this image also represents public desensitization to crime.

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A few more images of the news crews, I specifically liked the woman casually walking by NBC’s Angie Crouch as she prepared for her segment, again symbolic of the acceptance of the reality of our society today.

I personally have no respect for District Attorney Gascon so when I found this sign here when I arrived, I was happy someone else had made this statement. It is good that there is an element of anger along with celebrating the Brianna’s life and mourning her loss. The old metal security gate is also an important element in all these images, adds to the layers.

The powerful element in this image is subtle but strong. Just before I photographed it someone came up and asked a couple questions about the murder. He seemed like he didn’t want to believe such a violent act could have happened there, I assume he lived in that Hancock Park neighborhood. He read the wanted poster, then put his hands up to the glass so he could get a better view of the store’s interior. It was obvious he was trying to comprehend what had happened, I assume he felt compassion for the victim and quite possibly fear for his own well-being. It would have been a great photograph of him peering in the window, but I didn’t take it. I guess I wanted to let him have his moment to himself. The smudges on the window are a good representation of everyone who had stopped and peered inside. I am sure many were fearful they would see a bloody crime scene but at the same time they were too curious to not look. From that point I can imagine people thinking thank God that wasn’t me or my daughter.

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I liked the image of the vigil flyer; it is a simple document that gains value with the Christian candles. The note in the right-side image stood out to me. It isn’t the typical card you write on when you send flowers. It’s a page ripped from a small personal notebook. I don’t know any facts about who wrote this, but I can envision someone who stopped to view the memorial feeling the emotion of the loss and having a need to do something to share with others how they felt. For me the note is so genuine and personal, I love it, especially with the shapes and forms of the image, the beautiful, delicate flowers, and their contrast to the iron security gate. More layers of interpretation with this image than are initially obvious.

This may be the most powerful of my images that day, even though it was such an obvious image. I was lucky to be there when the sunlight was at a perfect angle to illuminate Brianna’s portrait and the wanted flyers taped to the window. The light also gave me interesting hard shadows in the store with an interesting element of a reflection of a security fence in the top of the frame; for me those elements allude to the darkness of the crime. Again, the staging of the portrait reminds me how unexpected it was to have a homicide occur at a location like Croft House. I don’t know who photographed the actual portrait, it is a solid portrait which I assumed captured Brianna’s personality. I felt a little weird photographing someone else’s photograph but with all the other elements in my frame I knew it was totally appropriate.

Hopefully I will find fewer things like this to photograph in the future and that I will never have to fully comprehend the pain Brianna Kupfer’s family is experiencing now. I will keep documenting my world because that is how I experience life and I trust these images will also have an impact on everyone who views them.

In Photography, Street Photography Tags Croft House, Brianna Kupfer, 326 N. La Brea, Los Angeles, California, 187 PC, Murder, Crime Scene, Gascon, Shawn Laval Smith, Documentary Photography, Photography, Street Photography, Crime Scene Photography
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Father Serra statue - Los Angeles, California 5/29/20

Father Serra statue - Los Angeles, California 5/29/20

Father Serra Statue - Los Angeles

July 12, 2020

I have written posts before about how Garry Winogrand is my favorite photographer. I saw his MoMA retrospective in 1988, his SFMoMA retrospective, the entire Women are Beautiful exhibition at Pier 24 and my library has lots of Winogrand books. One of my favorite books is John Szarkowski’s “Winogrand - Figments from the Real World”, and it was that book which led me to me to photograph the Father Serra statue pictured above.

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I have gone through the book many times over the years, and early on I found something intriguing. That both Winogrand and Robert Frank had photographed the same Father Serra statue in Los Angeles in 1955. Neither of them knew one another but both stumbled on to this same statue, in the same year, while exploring America, and independent of one another. A statue that wasn’t famous and was in an unassuming part of Los Angeles. Below are their images from Szarkowski’s book.

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Back then I decided that I also wanted to photograph the statue, maybe as a right of passage as a photographer, maybe just out of interest to see how my image would compare to their images. Using the two images I had a good idea where the statue was and I decided to photograph it on my mom’s birthday, May 29th, in 1995. I had a feeling it might become an important photograph for me so I chose a memorable date, and there was no rush since the statue wasn’t going anywhere. On the way home from Pasadena, after seeing my mom, I headed to Sunset to photograph the statue. When I got there not only was the statue not there, that part of Sunset Boulevard had been renamed and the streets were reconfigured. I got out my Thomas Brothers map (iPhones and mobile internet access did not exist yet) and began searching. After driving around for a few minutes I located the statue a couple blocks away in what is now called Father Serra Park at N. Alameda and Los Angeles Street, across from Union Station. Having a new location my background options were completely different. I decided on photographing the statue from behind, looking West, with the sun creating a good silhouette of the cross. I included a couple palm trees to frame it and the 110 Freeway on ramp sign because it said “Pasadena” & “Hollywood” on it. I actually liked my image better than theirs, and a print hangs in my house still (CA - 087 #17).

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For whatever reason I started thinking about this image in this past May and wondered how long ago I had photographed it. I checked, it was in 1995, and I then realized 2020 was the 25th Anniversary. I decided to photograph the statue again on my mom’s birthday. On May 29th my son and I headed to Los Angeles on the way to Pasadena. We parked at Union Station, masked up, and headed over to photograph Father Serra.

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The palm trees were gone and the tree behind it had grown so much it engulfed the statue. The freeway sign had been moved and there was now a fence around the statue area, I assume to keep the homeless from camping under it. I tried all the angles above and I think the image with Los Angeles City Hall in the background was the best image now.

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As I was finishing up we heard sirens, lots of them, and saw several news helicopters South of us. We began walking towards City Hall and saw multiple LAPD patrol cars headed to City Hall and LAPD’s Headquarters, the George Floyd Protests of Los Angeles were beginning.

I photographed some in the area and found the protesters were much farther South and moving away from us. They were attempting to take over LA Live and Staples Center. Because of the distance and not knowing the situation down there we headed back to the car and went to see my mom.

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As we all know the protests and civil unrest have continued, and have expanded to encompass so many more things. On June 20th , sixty indigenous activists used the current climate to stage a protest at the Father Serra statue, The activists invited the Los Angeles Times to come document the Father Serra statue being toppled and the Times accepted. The activists pulled the statue down in a ceremony, poured red paint on the head, spray painted “ACAB” (All Cops Are Bastards) on the torso, and cut the cross from his hand. They left the statue afterward but kept the cross as symbolic souvenir I assume. I have no idea how they linked the anti police narrative to Father Serra but I guess it made sense to someone with a can of spray paint.

25 Days after had I re-photographed the Father Serra statue (my 25th Anniversary of photographing it) I returned and photographed the empty pedestal.

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This man saw me photographing where the statue had been and came over to start a conversation and take his own photographs. He said as a kid he had gotten in trouble at school for talking about Father Serra’s atrocities against indigenous people instead of talking about how the missions helped to develop California. No idea if that was true but he was polite enough and I have absolutely no problem with his viewpoint. I respect his argument and I was not here in the 1700’s to see first hand what the conditions were like at the Missions.

What I do have a problem with is 60 people deciding to destroy something that belongs to an entire community of millions of Angelinos . We can not accept acts such as this to be considered an exercise of one’s “freedom of speech” if we are to maintain a Democratic society. If the activists wanted to petition for an Indigenous Statue to be placed next to the Father Serra statue to tell the full story, great!, I would support that 100%. If the public display of the likeness of a man who died 236 years ago is hurtful to the majority of the community, and the community decides to have the statue removed to a secluded place where it won’t offend people, then I am fine with that too. I am also not writing about this to defend Father Serra or the Catholic Church, nor to criticize people who exercise their First Amendment Right appropriately. But you can’t destroy history, no one rights any wrongs with toppling a monument. In this case, for me as a photographer, that statue had so much more meaning than the person it depicted because of the people who have photographed it. Its gone now, and what gain did that group get besides a brief moment in the news spotlight which has already faded, especially in today’s world of constant conflict and health worries.

SEE THESE PHOTOS ON MY 2020 WEBSITE




In Photography Tags William Karl Valentine, Father Serra, Walker Evans, Garry Winogrand, Los Angeles, Photography, Photographing Los Angeles, Statue, Protests, California, John Szarkowski
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William Karl Valentine at PHOTO LA 2020 - Barker Hanger, Santa Monica, California 2-2-20

William Karl Valentine at PHOTO LA 2020 - Barker Hanger, Santa Monica, California 2-2-20

PHOTO LA 2020

March 3, 2020

Even though 2020 has been a hectic year, I was still able to make it out to PHOTO LA this year. I definitely saw some great photographs there, and even better still I found lots of images to photograph myself. I have been writing volumes for this blog the last few days so I will keep this post simple, and for the most part let my photographs do the talking with the exception of one image.

William Karl Valentine with Mel Etherton by Danny Lyon print - Photo LA 2020 - Santa Monica CA 2-2-20

William Karl Valentine with Mel Etherton by Danny Lyon print - Photo LA 2020 - Santa Monica CA 2-2-20

I met Mel in Tucson in January when I was out for the Legacies of LIGHT symposium in Tucson. Her Husband, Terry, founded Etherton Gallery and I am featuring the gallery in another post here in my blog. To be specific I actually met Mel in Mary Virginia Swanson’s kitchen at a party after the symposium Sunday afternoon as someone was photographing her hair (true story, cool party). Anyways, at PHOTO LA I see Mel at the Etherton Gallery booth and I start a conversation with her, eventually asking her which print is her favorite. Without hesitation she pointed to this Danny Lyon print behind us in the photo , a photograph which is one of my favorites. After we talked about how great Danny’s work is she explained her connection to this particular image. She said they were at a Paris Photo LA event in 2014 when Brad Pitt came by their gallery space which was featuring Danny Lyon. She said Terry was busy with a client or off somewhere conducting business so she talked to Brad and basically sold him the print. The sale of the print made several news outlets and she got to tease Terry about it after that she was the one who closed the deal with Brad Pitt. Epic story, so happy she shared that with me.

So as for the rest of the PHOTO LA 2020 Experience I am just going to post a gallery and let the reader plow through some images.

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In Photography, Galleries Tags Photo LA, Los Angeles, Santa Monica, Documentary Photography, William Karl Valentine, Etherton Gallery, @photolafair, Brad Pitt
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Memorial for Kobe and GiGi Bryant at LA Live - Los Angeles, California 2/1/20

Memorial for Kobe and GiGi Bryant at LA Live - Los Angeles, California 2/1/20

The loss of Kobe Bryant

March 3, 2020

The day Kobe Bryant died it was overcast here in Newport Beach, and I wasn’t surprised to find out later weather was the most likely reason he and eight others were killed that Sunday.

I first learned of the helicopter crash from a text my son sent from the East Coast.  He saw the news on TMZ and initially could not confirm it on other news sites. I was initially skeptical but then it was soon confirmed.

Kobe’s family lives in the Newport Coast part of the city which is about five miles away but people still ran in to him all around town. I saw him one night late at the my CVS after he had played at Staples, and know they frequented shops all over town.  His family was a part of the town and lots of people know them.

The atmosphere in Newport Beach, Los Angeles, and Southern California after the helicopter crash was something I had never seen before here.  In the Newport area so many people had some connection to one of the nine killed.  In a smaller community the shock is understandable.  But the atmosphere which gripped all Southern California, and most of the world, was incredible.  Kobe was obviously larger than life, vibrant, and successful at everything.  For him to be gone, and at that point in his life, shocked the world.  I think it brought everyone’s own mortality in to view which is never fun.

With this event I knew I was present at an important moment in history and I wanted to find an appropriate way to photograph it.  I had no interest to intrude on grieving family members, or capture images from private services, but I wanted to try and document the impact on the community, the atmosphere I was feeling.

What I decided to do was photograph the pop-up memorial at LA Live across the street from Staples Center.  It was the most obvious subject and I was going up there to Kings games anyway so I had good access to the area. 

These photographs are from LA Live.  It was incredible to move through such an eclectic and diverse crowd where everyone was so reverent in unison.  No one shoved or pushed, no one argued, it was quiet with the exception of the occasional “Kobe” chant, and everyone was basically one.  Guaranteed there were folks in the crowd who normally would not be cordial with one another who stood side by side without an issue.

With a loss like this there are lots of lessons, I was thankful to have the opportunity to document it because I think these images can speak to that, but obviously I wish there wouldn’t have been a memorial to photograph. 

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In Photography Tags Kobe Bryant, GiGi Bryant, Los Angeles, photographing, Photographing Los Angeles, Street Photography, Los Angeles Lakers, LA Live, Grieving, Memorial, Staples Center, William Karl Valentine
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Cant Stop, Wont Stop_October 2, 2019 (1).jpg

California African American Museum - Cross Colours Exhibition

September 27, 2019

Last month I licensed five images from my Pasadena PD and Police Series to be used in the upcoming “Cross Colours Exhibition” at the California African American Museum here in Los Angeles. It is the second time so far the CAAM has shown my work and I trust this exhibition, which opens next week, will be as good as the last one.

Tags California African American Museum, Cross Colours: Black Fashion in the 20th Century, Los Angeles Art Exhibitions, Los Angeles
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Artmoi used my billboard on their feature about the 2016 Billboard Creative in Los Angeles

Artmoi used my billboard on their feature about the 2016 Billboard Creative in Los Angeles

The Billboard Creative 2016 - Los Angeles

September 29, 2017

In December 2016 I had an image included in a very unique exhibition here in Los Angeles, The Billboard Creative.  The exhibition takes unsold billboard spaces and features one artist, and one of their works, on each billboard for a month in December.  My billboard was on Wilshire Boulevard and Dunsmuir Avenue just east of LACMA.  

I am always happy to have my work seen, but I especially happy that Mona Kuhn included this image in the group of 45 selected artworks for the 2016 Billboard Creative.  I love the concept of putting artwork on billboards in a place like Los Angeles which is such a car centered society.  I also felt this was the perfect image for the venue and I get excited to think of the thousands of people who had a chance to see one of my most important photographs.

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I also love the fact this image was displayed over a Thai Massage parlor!

I also love the fact this image was displayed over a Thai Massage parlor!

HAFNY.org also used my image as the lead image to their feature on the project.

HAFNY.org also used my image as the lead image to their feature on the project.

 

http://www.thebillboardcreative.com/gallery-1/#2016-show2

http://hafny.org/blog/2016/12/the-billboard-creative-turns-los-angeles-empty-ad-space-into-public-art

 

 

In Photography Tags William Karl Valentine, Mona Kuhn, The Billboard Creative, Wilshire Boulevard, Los Angeles, Los Angeles Art Exhibitions
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