Making a Scene with Brooklyn Photographer Walter Wlodarczyk.

Since our one and only encounter at a Black Flag show in June of 2013. I've been in steady contact with Walter through social media. Over that time I've often found inspiration in the engaging photographs he posts from local Brooklyn shows and events.  Images that make the viewer want to cross that bridge or ride through that tunnel to investigate what's really going on and about on the other side. More than anything, Walter's images serve as an accurate documentation of the thriving and expressive music scene and artistic community happening in our very own backyard. I recently had the chance to talk shop with and have him share some of his favorite images. Here's what he had to share.
James Damion

James: For starters, can you introduce yourself and let our readers know who you are and what it is you do?

Walter: My name is Walter Wlodarczyk and I'm a documentary photographer based in Brooklyn. My work focuses primarily on creative life in New York City – music, performance, other forms of art, the people doing the creating, my experiences.

James: When did you originally start bringing your camera to shows and was there anything specific that made you want to capture what you were experiencing?

Walter: Photographing music is a natural part of what I do more generally, which is document creative life in the city. One of the things that most inspired me to take up photography is the art that came out of downtown New York in the 70's and 80's – and not just the music photography.

Hausipungo

The photography that documented the artists and what it meant to live in the city at that time, in a more general sense. Everything I read and saw from that period made me want to create my
own document of life in the city, at this time.
A document of art, music, people, my life, the things I enjoy and think are great and important. All of the things that I'd want to appear in books made in the future about life in the city today.

James: Do you shoot for any of the many music sites, blogs or media outlets out there or are you just doing it for your own selfish passion?

Walter: I do some assignment work, but generally work directly with artists, and on self-directed projects. I focus on subjects that inspire me, knowing that opportunities to publish my work will come (and they do) if I've done a good job in capturing what I see. And it's really not selfish at all.

I love it when someone tells me that they got into a band after seeing my photos and deciding they had to check them out, or when I'm able to get photos published of a band that I love.

Math The Band with Peelander-Z

In terms of specific publications,
I've recently had some work published in Impose Magazine, and Alt Citizen. Those are two publications that I like because they have a vision about what they're sharing with the
world, and a sense of being part of a creative community. That fits with how I work. As a photographer I'm a contributing member of a community of creative people – not someone who takes photos simply to get published.

James: What's your weapon of choice? What's in your bag? Make, Model, Lens, Flash.

Walter: I use a Canon 5D Mark III. Lenses depend on the situation, subject, and lighting.
I like the 24-70 f/2.8 as a good all-around lens. I might go with a wider zoom if the situation is very tight. I also like to use a faster prime lens if it's possible to (again, it just depends on the subject and situation). And I always pack a flash, because you never know.

James: Flash or no Flash? Why?

Walter: The eternal question. If you throw out the obvious situations where you simply can't use flash, or must use flash to get anything usable, I think there's a big middle ground of maybe.
I try to feel those situations out and may use flash to the extent that it'll work with the ambient light and maintain the spirit of what I'm photographing.The other dimension is that I try to be very careful that my use of flash is not disruptive or distracting, because a show is about the performance, not about me taking photos of it. There are the shows where it just doesn't matter – everything is so crazy no one even notices. The trickier spots are those where you need to use flash, but everyone's standing 15 feet from the stage and the energy is maybe tenuous to begin with. I hate to be a distraction with flash in those cases, but sometimes you just need to. I try to be economical if that's the case. But it really just depends.

James: Do you have a certain approach that may differ from others? Is there anything specific you're looking to document or a feel you want to come across in your images?

Walter: I think every photographer's approach is unique by definition, starting with the choice of what to photograph.

In terms of art and music, I want my photos to capture what inspires me about the subject– the energy, beauty, humor, craziness, freedom. I want to convey the spirit of what I'm documenting and express what I find wonderful about it. I also like for my photos to be a very definite counterpoint to everyone who says New York City is dead. The city may be different
(it always is), too expensive, etc. But it's not dead.

James: What else do you like to shoot? Where does your camera usually take you.

Walter: I've had the privilege of touring with KEN South ROCK in Japan and around the US, and that has been awesome. I love touring and documenting the experience. I also like to visit Miami a few times a year to hang out with my friends the Audio Junkies who I met while on tour there with the ZZZ's. The Miami music scene is great and the Audio Junkies are always putting together great shows – especially during Art Basel and over the 4th of July.
I like documenting all of that madness. And of course, I enjoy documenting New York City and art in general, in addition to music.

James: I have a list of photographers who not only inspired me to pick up a camera and document my surroundings, but one or two that actually helped me get to where I am now. Who are yours? The ones who moved you to shoot?

Walter: Peter Hujar for one – especially his photographs of New York at night. I saw a collection of those photographs in 2005 and that was one of the first experiences that I remember making me really want to pick up a camera and document my New York. Also Zoe Strauss. I saw the last installment of Zoe's ten year I-95 project, which was an outdoor show, her photographs mounted on pillars under an I-95 overpass in her neighborhood in Philadelphia. The photos were arranged with incredibly specific care both up and down, and across the rows. Zoe describes her work as “an epic narrative about the beauty and struggle of everyday life” and that is really a perfect description of her work, and that show. It was epic and then some. It really made something click inside of me about what photography can and should be. Nan Goldin as well – her work also made me want to create my own document of New York City.

James: I think most photographers have their horror stories of getting gear and/or their heads broken at shows. Do you have any battle scars to share?

Walter: Thankfully I've not experienced any truly serious damage to gear or person.
Just normal sorts of thing -- I've had a cigarette put out in my arm, had people fall on me, had my camera punched into my face by a friend who was very “in character” during a performance, been stun gunned. The stun gun thing was not an accident, actually, but it wasn't malicious. I'm pretty good at preventing accidents, actually. In particular, catching falling mic stands. I once received a round of applause for making a one-handed diving catch of a fancy microphone at a jazz party.

Chat Logs

Highlight reel for photographers, maybe.

James: Personally, the thing that draws me to your images is.
I almost never know any of the bands you're sharing images of, but those images inspire me to seek out their music and hear what they're all about. I don't know if that qualifies as a question, but it's an observation that can't go without noting.

Walter: Yes – thank you. That's exactly what I hope for. I've been successful if someone sees one of my images and is inspired to learn more about the subject.

James: The last time I shared the Pit with you was at the Black Flag show at Warsaw.
(A particularly bad show for me personally) I recall Jason House, another local shooter, being there. I always here stories about very unfriendly photographers who don't like sharing the pit, their stories or anything particularly social. Personally, I've been somewhat immune to that stereotype. Do you, yourself have any personal rules of the pit?

Walter: Oh, most of my interactions at shows are totally positive. My personal rule is to try to make the best photographs I can without distracting from the performance or impeding anyone in the audience from enjoying the show as they would if there were not a photographer there. No one wants a camera jammed in their face or flash straight in their eyes – obvious things like that. And I try to share my space with anyone else who is shooting or filming. Common sense and respect. Occasionally there's someone who doesn't get it, but I just try to work around those people. And that can be a photographer/videographer, or an audience member who is intent on clobbering everyone. The best thing is for everyone who goes to shows to collectively let those people know that that kind behavior is really not okay. I think Joe from Big Ups put it pretty well –
“I know we're all animals, but let's be domesticated animals.”

James: Most of what I've seen from you comes out of Brooklyn, particularly Bushwick. Is it safe to say that Brooklyn's more than hipsters, Pabst and clever haberdashery?

Walter: That's really just a function of the fact that I live in the area and that's where we tend to hang out, and see shows. I also shoot plenty downtown and other places, and of course not just music. There's plenty going on all over. New York is so diverse, the generalizations people make are silly. You find out what a place is about by getting out and doing things and meeting people, not by reading the comments on the Internet. I try to ignore all of that. Especially the comments.

James: Very true. Are you originally from New York City?

Walter: I'm from New Jersey. I'm a product of the tristate region.

James: Well then, we're practically related. (In a backwards finish to start kind of way.)
What are some of the bands and music spots worth looking into.

Walter: In terms of venues, everyone should visit Death By Audio lots before
it closes in November. I can't even remember how many great shows I've seen there. I also suggest checking out and supporting our great DIY venues like Shea Stadium and Silent Barn. And Goodbye Blue Monday, which has provided a stage for literally anyone who wanted to play, for so long.

Links to Walter's Work;

Website; http://www.walterwlodarczyk.com/#!/index

Blog; http://blog.walterwlodarczyk.com/

Instagram; http://instagram.com/wlodarczyk

Twitter; https://twitter.com/wlodarczyk

Facebook; https://www.facebook.com/wlodarczyk.studios

Talking to Aquarian Photographer Roz Smith

It's nearly impossible to go to a show these days without seeing any number of photographers lining up in front of or alongside of the stage. Add to that the sea of concert goers with iPhones, BlackBerry's and other electronic devices hoisted in the air like cigarette lighters were decades ago at stadiums, forums and auditoriums around the world. We live in an age where every moment is documented and shared for the world to see.
Being a photographer in my own right. I'm always eager to communicate and share experiences with my fellow shooters. Having shared the pit numerous times with Roz. I decided to reach out to the Aquarian Weekly photographer to learn about her beginnings, inspirations and working with the longest running alt. music weekly. James Damion

James: I don't know if you remember, but I fondly recall the first time we met. It was at the Brick City Sound Riot. We were both shooting the event and I remember being a bit drained after hours of shooting and jumping around like an idiot. We had exchanged pleasantries during the day but it's when either Invisible Lines or Those Mockingbirds were set to play, when you gave me somewhat of a warning that something really good was about to happen. Do you remember? Were you shooting for anyone in particular then?

Roz: I do remember that night and I'm pretty sure Those Mockingbirds were about to play.
I was mainly shooting for myself that night, especially seeing how it was the first show I felt like shooting in some time. That was a good night.

Lawrence Trailer

James: When did you first become interested in photography? Was there any specific style or photographers that initially inspired you?

Roz: Hrm, that's a good question.
I can't really put a year or date on when I started getting into photography. As a kid I used to buy a bunch of disposable cameras and just go shutter crazy with them- taking pictures of everything and everyone. Then I got my first point-and-shoot when I was maybe 10 or 12 and it was all uphill from there.
When it comes to photographers who have inspired me generally Cass Bird and Cindy Sherman have been two of my biggest inspirations. Todd Owyoung is another one I can lump into the group. There wasn't a particular style that inspired me, I wanted to shoot everything and everyone from landscapes, portraits, pets and especially bands.

James: How old were you when you started going to shows? Do you remember your first?

Roz: I was probably 15 or 16 when I first really started going to shows. My first show was in this basement in West New York. It was definitely a fire hazard type of deal but so much fun.

Morning James: How long before you started bringing your camera with you?

Roz: I had it with me from the first show. I had my little point and shoot with me and I probably pissed so many people off but fuck it,
I was having fun.

James: Do you remember who played? What is it that made people so pissed at you?
Were you blinding people with your flash?

Roz: Oh jeeze, I don't remember the full bill sadly. Probably my flash and the awkward positions I'd find myself in to get the shot I wanted. But hey, it's in the past (Laughs).

James: What was your first SLR camera? Do you consider yourself a gear head when it comes to what you shoot? What do you use now?

Roz: My first digital SLR was my Canon Rebel XS. I had that for four or five years before I upgraded to the Mark III. I wouldn't say I'm a "gear head" but I do some pretty ridiculous research before I purchase something new for my camera. My current body is the Canon Mark III, the lenses I shoot with are Canon's 24-105mm f/4 L IS USM, 28mm f/2.8, 40mm f/2.8 STM and my old favorite the 50mm f/1.8 II. I recently bought a Canon Speedlite 580EX II, which has been interesting to learn how to use after upgrading from a Bower flash.

James: So, what was the image that got you noticed? What was the band?

Roz: To be honest with you, I have no idea what got me noticed. 

James: Do you have any battle scars, broken gear or stories of out of control pits to share?

The Protomen

Roz: I certainly have had plenty of battle scars from shooting shows! I was at Mexicali Live shooting a band I love called
The Protomen and at one point one of the monitors fell off the stage and onto my foot. I've been pushed around, had screaming matches with other photographers (small photo pits will do that to ya) and had to protect my camera from the occasional drink thrower. I actually did crack the screen of my Rebel at a show, apparently sensitive screens aren't a fan of being pushed into sharp corners…..who would've guessed it!

James: How did you come to work with the Aquarian? What was your first assignment with them?

Roz: I just applied for an internship when I was still in college, had an interview and I've been there ever since. I started writing show previews, or Spotlights as we call them, but as far as my first major assignment I don't remember. I should probably dig through our archive and find out. Now I'm curious.

James: Have you taken on more responsibilities with them since then?
Roz: I have! I run their social-media sites and I run this video interview series called Project Greenroom.

James: I'm not familiar with it. Can you fill me in?

Roz: Project Greenroom is a video interview series where bands can, if they want to, also perform acoustically. I try to shoot them frequently but sometimes scheduling doesn't work out ya know.

Reese Van Riper

James: Where do you want to go with your photography? Where do you see yourself in say five years?

Roz: Hm, good question. As far as where
I want to go with my photography, I just want to keep on shooting bands
I love and work on coming up with some out there concepts for photo shoots. I do have an idea for a photo book I'd love to publish. Well in five years I hope to still be doing what I love, with another job to support my habits of going to shows and buying camera equipment. Frankly, I have no idea where I'll be in five years and that's the beauty of it. I'm just taking one day at a time and going from there.

(All photos, including her self portrait, by Roz Smith)

Roz Smith Photography  Facebook

Project Greenroom  The Aquarian Weekly

Brooklyn Vegan Photographer Jason House

When setting out to do this blog, speaking to some of the concert photographers 
(past and present) that helped to inspire me along the way was one of the key things I wanted to do. Being a photographer myself I knew it wouldn't be easy. 
The photographers I've met along the way have always been eager to share their images and thoughts on their favorite bands. But when it came to talking about themselves, their style and approach. 
Most would become tight lipped.
In asking Jason House I was a little more confident.
In talking to him at shows he's been both friendly and engaging. His style has a unique perspective and approach that makes the viewer feel as if their part of the story. Jason's work can regularly be seen on Brooklyn Vegan and he recently created a website to showcase more of his work. 
My thanks to Jason for taking the time to so thoroughly share his thoughts. 
James Damion



James: What was it that drew you to photography?

Jason: It started at an early age. I’ve always has a sense of wanting to document things. During the summer after third grade, I took a museum studies course through my school and that really changed my outlook on things. I’d like to say I actually started shooting that early, but the interest always outweighed the means. We couldn’t really afford a camera, film and processing, so I got in the habit of framing things up in my my head and thinking, 
“If I had a camera, it would look like this”. I’ve done that ever since.



James: What was it that made you want to start photographing bands and live events?
Were there any photographers that particularly influenced you? If so, why?



Jason: I cite my lack of camera as the biggest motivator. I was always drawn to live shots in album layouts and I wanted to get the in your face shots like I was seeing in fanzines. 
When I did get the chance to start taking a camera to shows, that‘s the sort of thing 
I had in mind. One of my earliest influences was John McKaig, the hardcore promoter and photographer from Syracuse. I always appreciated his work ethic and took amazing action pictures. More recently I’ve been putting names and faces with images and researching music photographers like Jenny Lens, Dick Waterman, Jim Marshall, Charles Peterson, 
and Edward Colver as well as studying photo history.
I think composition and style is just as important as subject. Lately I’ve been taking a more stripped down approached experimenting with framing and contrast.


James:Were you always a digital guy or did you get your start shooting film?

Jason: Digital changed everything for me. The few early attempts at film were usually disastrous. I have a huge respect for film and especially people who use it to shoot shows, but it just wasn’t practical for me.

James: What else do you love to shoot and why?

Jason: I live rural and urban landscapes, particularly historic architecture. I always had this thought that people and cars unnecessarily dated photos, so I shoot around them.

I’m not really a fan of modern architecture either. I’ve never really explored the area of studio photography, but I don’t have anything particularly against it. I do find it funny that my music photography is essentially nothing but people and the rest of my photos rarely have people at all. I think I just prefer capturing candid moments.

James: Why do you think that is? Are you a very social person in general?



Jason: I wouldn't say I'm totally anti-social, but I was always the quiet kid and youngest of three so I learned to go do things off on my own. I would read, listen to music, or draw.
Punk made me a lot more sociable.

There's a little bit of a funny story that goes with not wanting to have people in the shot as far as New York City shots go. For one thing, I hate tacky signage and lousy remodeling. 
New York is beautiful from the second story up. Also, I wanted to set a certain tone for the city pictures versus, say rural landscapes. I grew up in Upstate N.Y. where everyone had this impression that New York City was this lonely desolate and violent place where people go to have their dreams dashed. I remember even teachers telling their students this. 
It probably came from books and movies, but I really thought it was like that growing up. 
A lot of people still think it's like that. I decided I'd shoot with that in mind.

James: Do you have a preference between Black and White and Color?

Jason: It really depends on the subject.
Black and White is definitely classic, but color sometimes really makes a picture. I feel it out case by case.
Each one sets a certain tone.

James: What are you currently working with? Body and Lens, What made you choose that gear and why it works for you.

Jason: I use a completely stock Nikon D3000 with the Nikkor 18-55 lens and the cheapest external flash I could find. 
I figured that would be the first piece of equipment to go, so I didn’t want to make a big investment. 
It’s not a particularly fast setup, but I like to keep it simple and portable. I was getting overwhelmed with the whole buying process, but thenI ended up getting a great deal on this camera from someone I knew. 
That made it so much easier. Now that I’m starting to really get to know the equipment, 
I’ll be able to make a much more conscious decision about what type of equipment I might need.

James: How did you hook up with Brooklyn Vegan? What's that experience been like for you?

Jason: It was actually through a videographer who I kept seeing at shows. I contacted him after we both attended the same 2 shows in the same day. I noticed him in a photo in a view of the second show and recognized him from the first. He remembered me and told me that the metal editor from Brooklyn Vegan had seen my photos and had been asking around about them. That was actually the Powerpoint/InflatableChildren/Go!/Bad Trip show that I went to on a with him. Pretty much every major project I have going on right now is from a connection I made through that show.



James: That was a memorable and very personal show for me. That was about a year before we met. I would have loved to have seen and compared images from that day.



Jason: The funny thing is I never got around to sending them pictures from that show.

Initially I was going to shoot the Afro Punk festival, which was exactly a year ago.

I took on a little too much since it was a 2 day outdoor festival. Someone from the site had sent me a full set of guidelines, but I dropped the idea of shooting for them for a while

and I deleted it. A few months later, I decided I'd try again and shoot the Dead Kennedys at Irving Plaza. The band played well, but it was my first time in front of the gate and there was only one opener. (they were terrible) I dropped the idea again until I decided it was something I really needed to do and we set up the Agnostic Front show@ Santos…
Which was the second time we met.

The most interesting thing about covering events for them is that there isn’t any real limitations as far as the layout goes. One of the big things they push is getting the whole ambiance of the event. I keep pushing myself to get more descriptive shots and put
together more narrative sets. The editing process can be very tedious, but I really enjoy it.
It gives me a chance to study break down each image and figure out what I could do better.

That’s very helpful when you’re teaching yourself.

James: That's one of the things that stands out about your work. You have a unique approach I haven't seen in other photographers work.

What do you think sets you apart? Do you have a game plan when getting ready to shoot?

Jason: One of the reasons whyI was so drawn to punk shows was the lack of barriers between the bands and the participants. I try and blur that line and make it so the viewer not only knows what it looked like to be there, but also what it felt like to be there. You’re watching the show from my point of view.

I don’t really limit myself to just punk, but that‘s the main jump off point. I’ve shot everything from metal to bluegrass since that’s the range of my own musical interest. 
I go by what I enjoy and what I think will be visually interesting and what I think people will connect with. 
I think that shows up in the finished product.

The New York music scene is flooded with both local and traveling bands. 
I do a little bit of research while I’m deciding what to shoot. I watch live videos and try and find pictures from previous performances. Not in a clinical way, but it helps me know what to watch for and decide where I should be when the action starts. It’s also a great way to checkout new bands.

James: Front center, side or on stage?

Jason: It depends on the crowd. I pick a “dig in” spot where I think I can catch the most action just in case I get stuck in one place. If it’s feasible, I try and switch sides mid-set so I can get shots of all the band members. If the stage is accessible and I think the potential shots are worth it, I’ll go for it. The most important thing is not being in anyone’s way. Shows on the floor pose a whole different set of challenges.



James: Why is that?



Jason: Your at face level with everyone. You don't want to blind them with your Flash.
There's equipment and people to watch out for. Especially when you're trying to shoot
down low.

James: Are there any shows or bands you've shot that stick out?

Jason: That would be a very long list, but the best shows are the ones where both the band and audience are enjoying themselves. Coalesce, Wovenhand, Tim Barry, GBH, Langhorne Slim, TheLegendary Shack Shakers, World/Inferno Friendship Society, and Murder By Death
all stand out. EYEHATEGOD is one of the most surprising live bands out there.The first time I saw them, they played nearly 3 hours. You would figure they act like they were full of hatred, but they were all up there smiling and cheering on the crowd. Those guys love what they’re doing. 
The Nick Poot Benefit Show featuring Nomos,Perdition, Parasytic, and Brain Killer was probably the most emotional show and intense shows I’ve shot. One of my favorite recent shoots was Tombs. They‘re a great live band both musically and visually.

James: As photographers we've all had to deal with both the bouncers and the people in the pit. 
Have you had any serious damage done to yourself or your gear?

Jason: Thankfully nothing more than a few bumps and scrapes and a lot of wear and tear on the camera. I cracked my collarbone and sprained my foot a few years back. They were just random accidents, but it makes me a little more cautious- especially when I’m shooting 
in the pit. Having a camera in my hand makes me much more aware of everyone around me. Just a broken flash so far on this camera, but that’s to be expected.

James: What was the hairiest show you've photographed? Why?

Jason: There’s a lot of great shows in this city, but things just aren’t as violent and chaotic 
as they used to be. That’s definitely not a bad thing. It’s nice not to have to deal with so
many fights, neo-nazi skinheads, and extra aggressive dancing. I did recently see
The Dillinger Escape Plan at Music Hall of Williamsburg. That show definitely 
had it’s moments. I secretly wished they still lit things on fire though.

James: Have you exhibited your images anywhere (gallery or show) If so, where? 
If not, any plans in the near future?

Jason: A gallery show would be something I would definitely consider.
I’ve actually been thinking about it a lot lately. I did a few shows early on, but it’s been quite a while. I’d like to see a show of D.I.Y. artist and photographers. It would be interesting to see what everyone is doing.

James: In the past there might be one or two photographers at a show. 
These days you can run into half a dozen people shooting for different outlets and sites. You've also got everyone there taking pictures and video with the 4G's and Blackberry's. How do you compete, interact?

Jason: Other photographers can be pretty intimidating, especially when you‘re first starting out. As I started progressing,
my confidence level started going up. 
I think it actually pushed me to try different things. I’m usually so focused on what I’m doing, soI don’t really worry about it.
I just shoot around camera phones.
I don’t even like to encourage them. 
I’m all about people trying to document their memories as long as they’re not 
rude about it. That’s usually not the case.

James: Any advice for the shooters that are coming up? How to approach, act and share the space?

Jason: Don't get overwhelmed, be prepared, be aware, and have fun. Shoot what you like, but don't be scared to go a little out of your element. Most importantly, be polite.
Nothing makes photographers look worse than slamming through a crowd to get to the stage, standing in front of someone while they’re trying to watch the band, or stage diving feet first into the crowd with your camera while picking fights with other photographers.
Yes. I’ve actually seen that happen.

James: Good advice. Words to live by.



JasonHouse Photography Site



Brooklyn Vegan