N Beatrice, Nypd, New York discussed on B&H Photography Podcast


Now. It was difficult. What about the woman on fire on the keyboard? Also real does. Where critic those were melting plastic pails burn my fingertips yet. I reach shot that one so many times to it's a process to get it, right? Just torturing myself. Okay. We're going to take a short break for traffic, and weather, and we come back. We're going to be talking more with n Beatrice. Stay tuned. We hope you're enjoying this edition of the b and h photography podcast. Send us a tweet at B H photo video Pash tag h photo podcast. So what's happening in the cross Bronx expressway as we speak. So far two taxis collided into each other. I got hit by three buses other than that. Traffic's flynn. Well, need about one point two million told. So it's going great. The Big Apple maitre weather in the Big Apple today. It is nice. There. You have it. Okay. We are back eight question. Well, it's something I asked a bit earlier, and I hope I can get back to it here, which is do guys. Does it take to put this workout? Do you feel that it's hard? Do you? Are you taking a risk? Yes. Is it hard to put some workout? Yes. I get ideas. Stuck in my head that I feel like I need to expel in a way. Like, I get these ideas that are repeat over and over and over again. And so yeah, it is it is difficult. Sometimes I feel really vulnerable. Sometimes, of course, a lot of them are sort of silly. And some are embarrassing, and it's not it's really not predictable. How people will respond and in that way, it's pretty daunting sometimes, but it's also really rewarding to to throw yourself out there and see how it was received the feeling that you have let's say, you, you are a little not sure that you want to release it. Or are you feel it may be a bit embarrassing or whatever? And it it's out there. And some responses are good some are bad. And they'll flash forward six months. How do you still feel that same? Same sense. Or is it just all now that it's out? It's all done. I'll good is that fair to say sometimes when you get out there. Yeah. Sometimes they go back in at it. Sometimes I will rework something or. Yeah. Moving it in a different context. Kind of changes it and it can morph into something else. Yeah. When I ask to maybe both you the same question though. This is you know, you had the moment of inspiration. You have this feeling that you wanna get out some idea. And then you go back to it comes back and forth. Can you talk about that time period between that moment of inspiration? And when you finally decide, okay, I'm I'm gonna put this out in that that that may involve, you know, many takes going back doing something over again going back and forth. But how do you have to come to terms with that idea or or appreciate that idea before you let it out does that make sense? You know, I mean, if let's say an idea for something what sustains that idea to make a final peace if I can pull it off. Unfortunately, a lot of the ideas that I get are, you know, constrained by the. The laws of the land really very limited space to work with here in in New York. I don't have a studio. And if I did have a studio, I probably wouldn't really want to use it. Anyway, I'd like working on location. And there's unfortunately, a very limited amount is like public space that you can access to create certain things and the the NYPD or very observant people. So they'll they'll track you down. So a lot of the a lot of the things that I do I try to do them as as quickly as possible. Sometimes I've been very fortunate to to stumble upon these very fleeting moments of urban destruction because the bureaucratic nature of the city is to fix everything as soon as possible. So if you see a crack or hole. Or you know, there's construction going on. So there's there's polls or there's wires, you know, on the street, and there's this limited amount of time that you can use that you can use those as a props or tools, and, but is that is that often your moment of inspiration your for walk in you see something on the street that the broken does. I gotta get to that. And I might have cameras always with you. Oh god. No. But these are things that take time with me everywhere. Now, it's like, oh God I can't bring in. It's heavy, but some of the work that we we're familiar with. Yes, it is is any of it been shot on site on that moment. Like, okay. You know, what I need to camera with me, absolutely, armor, speaking to you before we're you're saying, you're on a shirt on it was sort of some of your compositions come out of chance encounters with your, you know, you're walking around with you in that case, you have a model with you. You see something that looks interesting. Make the shot on the spot seems very organic. And that's where it contacts maybe one hundred percent and and going back to the the whole creation process. I'd say like one of my biggest regrets of of like not getting an image was last year. There was this phenomenon where a manhole was overflowing with water, and it was like that for for two weeks. And I waited you know, like a week and a half before I went and purchased a crowbar to to. Get the manhole often then I was going to do an image where I would submerge myself in the in the water. And when I finally, you know, I I had my friend. Come with me to help me pull it off. Because manholes are pretty heavy and is in the middle of the street. It was you know, it's summer day. So there's a lot of people walking around. You know, I pulled the I got the manhole off and the water just. If started flooding the entire street like it was just an insane amount of war. Like it literally like almost a geyser and someone like walked by like, you know, you carefully get electrocuted in there. And like a media. It's like I don't want to die for this. I want this photo. But I really don't want to die right now. Like, maybe another time. So I put the manhole though, there is a limits. You commitment is what you're saying. Okay. Part is that I thought about it for a week. And I mean, not two days later, they fix it. And it was gone completely gone. They just and that's the nature of the city is thought about recreating some of these things if I see it again, I will I will do it. But how about just recreating it like building it yourself trying to figure something like that out? Is it is it is that part of the process? I mean would that make your work? You know, I I always thought about that. Like, I've talked to people about, you know, getting budgets for for creating a set, you know, one of I don't want once again, I don't wanna go ahead of myself. But like an artist that I'm very fond of Alex Prager. She makes these very huge sets. And she works with you know, almost hundreds and hundreds of extras to create these these tab- Tableau tabloids those, and I think about doing that stuff. And then it just decree ativity there or rather just the there's no limits if you have a budget, and you can just make whatever you want. There's no limits and to me that's boring. The excitement is for like creating the excitement is like not knowing what the day will give me like stumbling upon something that wasn't there a week before and won't be there next week. And I can only get that image in that small amount of time is very exciting to me. And and it it makes it special in a way. Like, maybe the image itself might be not that great. But the fact that like this thing that happened will never be there. Again, it's it's really different kind of street photography. Totally doing it yourself. Does that give you that? I mean, I know we have a partner or friend or someone to help you along. But generally, this is you in the world. And yet it is that part of the thrill. Yeah. I mean it it's extremely stressful. And sometimes it sucks a lot. And actually the the times where I've had like one or two people helping me the images come out like remarkably better like in stressful. I mean, it sounds like again this goes back to my question. I mean isn't the process is is they're fun in the process. Are you enjoying yourself or sometimes it's really fun? Sometimes I know what I'm doing. And I'm not like working against the clock, or I'm not like stressed out that I'm going to get in you know, 'cause I work I work very publicly. Sometimes I don't wanna like travel to you know, XYZ remote location. I wanna just like shoot on likes. I go to like dead ends like great across the street from me. And you know, sometimes the police come, and I I don't like people like intruding on me, even though it's public space. I don't like being Judean on. I get an. About it. And what if you just said, okay? You know, I'm not going to do that one on wait till another into another one. I. May I would like to think that it is. But I just kind of forget. Yeah. I I guess I that in this goes back to what meters that earlier this need to get something off your chest or something out this idea, and I can see how that could create stress if you take it important for me. It's not like this one idea, but rather just a need to like produce something at that time. Like, I don't if sometimes very rarely it happens. And it's great when it does Joya have like a very specific goal in mind. And I made it, you know, take, you know, greater steps to accomplish that. But most of the time the there's just the the that gut feeling that you need to get out there and like make something essential. You you just to go back and with which to me one of the most electrifying parts of the creative process is when I'm in the midst of working, and I hear

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