My work is featured in a new show at Gallery 151 in New York City, opening today. I’m thrilled to have my photography in the show and to be joined by an incredible roster of talented artists.
The show is titled “Default World Dreaming” and takes its inspiration from the culture of Burning Man. The annual event represents a curious and dynamic world of opposites — an ephemeral world created anew each year in the Black Rock Desert of Nevada, and the established, accepted, and socially constructed reality of our daily lives.
To those in the Burning Man community, quotidian life is often referred to as “the default world.” It stands in stark contrast to the culture of Burning Man which is exemplified by self-reliance, non-commodification, gift giving, and radical self-expression. For those who attend Burning Man, these values can be so creative and so liberating that they feel more real than the “real” world.
The exhibition looks at the dichotomy between living in a default world and dreaming of an alternate world, one suffused with creative extravagance and limitless possibility.
The show opens today and runs through April 19, 2014. For more information, please visit Gallery 151.
The Spring 2014 issue of Tricycle magazine features several of my photographs from Burning Man paired with an insightful and beautifully written piece by contributing editor Allan Badiner. The article describes Badiner’s first experience at Burning Man in 2013. It was a journey he had avoided making for many years, he says, but reluctantly agreed to in 2013 in order to accept a speaking invitation. Once there, he was taken in by the event and struck by the curious parallels between Burning Man some of the core practices and rituals at the heart of Buddhism:
Traveling the playa, experiencing scenes from the fantastic to the crudely immature and everything in between, I found more improbable resonance creeping into my awareness between this artsy hi-tech desert ritual and Buddhist ways of being. From the generosity, nonjudgment, and eightfold path-like principles practiced by Burners to the sacred geometry of the city’s layout to everyone’s acceptance that it would all disappear in a matter of days, the playa was permeated with a Buddhist view of life.
And while Burning Man is of an entirely different character, it did have its similarities to a Zen retreat: attendees are hoping for a shift in their perspectives; people are, for the most part, on their best interpersonal behavior; and they take on new names, sleep less, and have amazing insights. Unlike the program at a Zen retreat, many people simply come to dance all week, make love, or blow their minds open with psychedelics. But everyone has permission to follow their dreams and pursue what makes them happy, without judgment. And while some found happiness in pursuing sense pleasures, others took solace in yoga, meditation, and intellectual inquiry. The vast variety of intentions and possibilities don’t seem to separate Burners from one another; rather, it unites them.
Check out the complete article here: Dharma On the Playa
Here’s a peek at the spreads:
I recently updated my equipment page — see What’s in the Camera Bag? — and it struck me that I had given short shrift to one of my most cherished pieces of equipment, the 50mm f/1.4. This is a lens that I don’t often use in my professional work but that nevertheless serves as a wonderful all-purpose everyday lens. In fact, I consider it essential to my photography and rarely leave home without it.
Girl with braids (50mm, f/1.8, 1/800, ISO 400)
My love affair with the 50mm f/1.4 traces back to my earliest days as a photographer. The first camera I ever owned, a Pentax MV-1, came with a 50mm f/1.4 attached. For years it was the only lens I ever used.
As almost any photographer will tell you, the 50mm focal length represents a “normal” field of view on a 35mm film camera or full-frame digital SLR. It’s very close to how the human eye takes in the world. A 50mm is not exactly wide, but often wide enough if you take a step back. It’s not long, but long enough for most kinds of shooting—and certainly for making portraits.
When I bought by first digital SLR, I picked up a Canon 50mm f/1.4 to go with it. That was ten years ago and I still use the lens all the time.
Canon makes the the very same 50mm today, and it still sells for under $400. In the often pricey world of digital photography, I consider that a bargain. And, as I’ll explain in a moment, if you’re considering a 50mm this might be an especially good time to get one.
Meditation Mount in Ojai (50mm, f/5.6, 1/200, ISO 100)
I carry the lens around with me almost everywhere I go. It fits on my Canon 6D, just as it used to fit on my original 5D some years ago, and, before that, the 20D and Digital Rebel. Many times it’s the only lens in the bag. For street photography, casual portraits, and just about anything else that catches my eye, it’s simply the best choice.
Let’s be clear, the 50mm f/1.4 is not the best lens in any particular category. But because it does so many things so well, it happens to be one of the most versatile lenses in Canon’s extensive lineup. And because it excels in low-light conditions—from dimly lit rooms to dark concert halls to parties that carry on late into the night—it’s also happens to be one of the most useful lenses for everyday photography.
Fire Fingers (50mm, f/2.2, 1/500, ISO 400)
Among Canon lenses, the 50mm f/1.4 is not the sharpest tool in the shed. But it’s still very sharp, especially stopped down to, say, f/5.6 or f/8.
It doesn’t have the widest aperture and therefore doesn’t let in the most light or create the most dramatic out-of-focus areas. But close enough.
And it doesn’t have the same rugged build quality and smooth and precise auto-focusing that its more expensive counterpart has. But never mind. It’s plenty good.
Here’s the key point: it does all these things while weighing a mere ten ounces, fitting snugly into the palm of your hand, and costing a fraction of what other lenses cost.
Harper the cat (50mm, f/1.4, 1/1250, ISO 100)
I think the days of the big, heavy SLR are over. Cameras are shrinking. Today it simply doesn’t make sense to carry around a camera unless it’s light, compact and portable. Unfortunately, the most versatile zoom lenses are often the biggest and heaviest.
For me, the 50mm f/1.4 is a better alternative in most situations. It’s tiny and it’s light. You can take it anywhere and (provided you have it mounted on a smaller camera like the 6D) be as inconspicuous as ever.
Rumors have been circulating in recent months that Canon is about to revamp its line of 50mm lenses, perhaps doing away with the 50mm f/1.4 altogether. That would be a shame. And it means there might not be a better time to get one if you don’t already own it.
Art installation by Rebekah Waites (50mm, f/1.4, 1/60, ISO 1600)
When you shoot for stock agencies, you never know where your images are going to turn up. A friend of mine contacted me a few days ago, saying that one of my photos just appeared in Dagens Nyheter, Sweden’s leading daily newspaper. It was a rather unremarkable red carpet photo of actress Jennifer Lawrence that I had taken some months ago.
What was poignant about this particular photo credit was that Dagens Nyheter was where I first broke into print. I was a teenager living in Stockholm in the early 1980s. The newspaper ran a short commentary of mine about a city landmark—Kulturhuset—that I happened to love. To say that I was happy to see my name in print would be an understatement. It was one of the biggest thrills of my life!
Some years prior to that, one of my mother’s friends, a reporter at Dagens Nyheter, had given me a personal tour of the newsroom. The experience set its mark on my young and impressionable psyche and nurtured my passion to become a journalist.
That was more than thirty years ago. I don’t feel that same rush of excitement when I see my name in print anymore. But for whatever reason, getting published in Dagens Nyheter still feels a little bit special. Like returning to an alma mater or revisiting a childhood home.
It helps me remember where I first set out on this long and strange professional journey and, more importantly, take stock of the many places I still want to go.
In addition to ephemeral art installations, Burning Man is famous for its art cars and tricked out “mutant vehicles.” These are often wildly creative contraptions designed as much to impress and amaze as to have a rockin’ good time. Think party platforms, stripper poles, flamethrowers, full service bars, disco balls and flashing lights, cushioned interiors covered in velvet and faux fur, obnoxiously loud sound systems and pretty much anything else you can think of. The bigger and more outlandish the better. The only rule is that the vehicle shouldn’t look too much like a vehicle.
MSN has gathered a collection of 48 of my photos in a slideshow that captures some of the best and most brilliant art cars from the last ten years. You can view it here or click on the photo below.