PAY HERE
Pictured above, is a framed C Print of my photo "Pay Here". It was selected for a group show... and is the first time I have ever shown any of my photography work, outside of a commercial environment.
Story
I’ve done film photography for the majority of my life. In fact, outside of music, it is the longest creative art form I’ve ever been involved with. However, I’ve never shown any of the work outside of a commercial environment, until recently.
A couple of months ago, I decided to blindly submit a few images to a small show and see what the response would be. Truthfully, it was much more out of hubris than anything else, as I’ve been on quite the role with Broken Banknote, winning awards and being accepted into more shows than not. Basically, I’ve just been feeling myself and was curious how the photography would resonate. Interestingly, the amount of details and packaging required to be a part of this exhibit are more challenging than one of my paintings, but thats a different story.
Details
As I look at the chosen image, I'm immediately reminded of the spontaneity and unexpected beauty that photography often brings. Truthfully, capturing this shot was entirely unplanned—I had driven to DTLA on a completely different mission, yet as I turned a random corner, there it was. The early morning presented itself perfectly, revealing a minimalist composition with an unusual and striking color palette. Despite the full sun, which can feel intense during an LA fall (ironically more like the summer most people envision here), the skies were open and vibrant, devoid of any marine haze, radiating a warmth that quickly transformed the city.
Photographing outside this time of year demands precision and quick adaptation due to the rapid shifts in exposure and stark shadows. And indeed, even though it was still early, I found myself racing against fading ideal lighting conditions. The practical challenge was immediate—I was already past the shot on a narrow, one-way street, glimpsing it now only in my rearview mirror. Finding a parking spot in DTLA can seem impossible on a good day, and this morning was no exception. Forced to improvise, I parked several blocks away, watching precious minutes—and perfect light—slip away.
Equipment became my next hurdle. The large-format, 3D-printed camera I usually rely on had the wrong lens and only black-and-white film loaded, entirely unsuitable for this image, which was all about vibrant color and delicate morning light rather than stark monochromatic moodiness. Thankfully, my medium-format Pentax was ready to go. Positioning was tricky; the street was bustling, and my viewpoint was obstructed by a chain-link fence surrounding a closed lot. Maneuvering carefully, I positioned the 150mm lens strategically enough to shoot through the tiny gaps between the wires, framing the scene despite the obstacles. With urgency, I captured just three shots before the fleeting light disappeared entirely. This one—the best of the three—is the one that made it into the show.
I can be very experimental, looking for things that inspire other parts of my creativity in the image. I often look at an image from a painters perspective, looking to use light and shadow, not in an editorial way, but in an interpretive artistic way. Painting, rather than “capturing”.
Final Thoughts
I have no idea what the response will be at the gallery. I have shot photography for years and have amassed a book of negatives. Some very generic ho hum landscapes, as covered in this post, as well as some very explicit/experimental, personal images. All are an attempt at a conversation with image and idea and most are in a film format.
INFO
Camera: 645 Pentax using 150mm lens
Film: Kodak Portra 400
Process: Hand developed C41 using Patterson tank and Unicolor chemicals
Paper: Fuji Luster continuous-tone, chromogenic print
Size: 16x20 open edition
Side Note
I used ChatGpt4.5 to re write from my notes. Like the other recent post, I don't love the voice or tone. It lacks authenticity.