Category Archives: New BW

Your Flickr Pro Account Has Been Renewed


East Village, New York

I renewed my Flickr account for another year. It’s been five years, which almost follows my photography path exactly. Is there a coincidence that I started to become more interested in photography around the same time Flickr and social networking were emerging?  I think I would have gone down the photography path regardless, but I’m unequivocally, unapologetically, unashamed to say that Flickr has played an enormous role in my development as a photographer.

Perhaps I was lucky though.  I found HCSP early on and without the guidance of Hin Chua, Raoul Gatepin, Ben Roberts, Michael Simon and the others I doubt I would have been pointed toward so many resources, and photographers that have been influential on my development.  I got it with the right crowd as the saying goes.  But beyond that, I’ve met and been exposed to so many interesting, intelligent and supremely creative that it would be worthwhile even if photography didn’t play that large a role.

And that truly is the reason I think Flickr is great, and why doubters should reconsider their negative thoughts about the community.  It’s about the people you meet and network with more than the photography you’re looking at. But don’t get me wrong.  There’s amazing work on Flickr.  It’s hard to find sometimes. And it’s surrounded by mediocrity.  But if you learn how to navigate the communties, you can find it. Welcome to the internet in 2010.

I haven’t exactly figured out why anyone would elect to not put their work in front such a high concentration of photography fans.  Sure, for some viewing photography on Flickr sucks. It does. But it’s only one channel. It doesn’t take much time or effort, and the benefits are worth it. You can find new fans of your work.  Probably even more so than if you’re featured on a prominent blog.  The arguments that having work on Flickr make you look bad in the eyes of the industry are complete bullshit. If you disagree, go read this interview with Noah Kalina or Ben Roberts PDN 30 profile.

Over the five years I’ve had several somewhat heated and very public squabbles over the value of Flickr.  But I’ve really given up trying to make the case or to persuade people.  Now when I see people make snide remarks I just let it slide.  No worries. I know what and who are there.  And I’ve put in the time to establish a rather efficient and inspiring network.  If it’s not your thing, that’s cool. But if you suddenly show up one day and expect to take a short cut in order simply to promote your work, don’t be under any illusion that the community won’t sniff out your self-serving behavior.  I’ve seen it happen. There are no short cuts. If you participate, you’ll find the benefits. If you don’t, you’ll likely dismiss it.  Or what you give is what you get…

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Photos From New Year’s Eve


Greenpoint, Brooklyn – Host, Kramer O’Neill


Emily Weinstein and Jared Iorio


Kramer O’Neill


Emily Weinstein

Kramer hosted a New Year’s Eve party. Drinks, Apples to Apples, a few photos, a New Year.

New BW Project Teaser


©Bryan Formhals

Sometime a few years ago I read that Trent Parke used Delta 100 and pushed the shit out of it.  Reading this meant I had to have the film, even though I had no dark room skills to speak off. At the time I was shooting Trix, Delta 3200 and Neopan 1600, and had no idea what I was doing, but it didn’t matter really because I was just burning through film making photographs.

I bought this Delta 100 and thought I’d try to be Trent Parke, but after about one roll I decided I wasn’t going to push the shit out of the film and had no intention of learning the dark room at my age.  Exposing for 100 speed film even in the nice California light was too much for me. I needed fast film, so the Delta went into the fridge and followed me around for a few years.

As the summer of 2009 came to a close I was running out of film and tired of shooting 35mm color.  I’d spent a good time wandering around shooting 120 color and found a groove that made sense to me.  But I’m rarely satisfied doing one thing at a time, and I had grown to love shooting with the Contax T2. I needed something else.  I’ve always dreaded winter (why I moved to California in the first place), so I looked in the fridge and saw these seven rolls of Delta 100 staring at me and figured, why the hell not.  I loaded up the Contax and a vague idea for a project.

It didn’t start well. I took some night strolls and flashed random shit, but never really what I wanted to photograph, or what tone I was going for.  I shot two rolls, got them developed, then scanned them. Two or three photographs caught my attention.  They fueled my initial idea, so I went out again, at night wandering around. It was still a struggle, but I was determined to keep shooting. I knew that feeling nothing was something.  This was the inspiration. Fight. Move forward. Make photographs, something will happen.

As with all ideas, the initial stages are the most difficult, but eventually you fight through them and through scanning and editing you start to see patterns, ideas emerging.  This is the exciting part for me.  Once I have images to work with I can go back into the field and refine the ideas.  I feel this is something that’s been trilled into my mind by watching Hin Chua over the years.  Repetition, persistence, hustle, and above else, photographing even when you don’t feel like it.

I burned through those initial rolls and ended up buying more.  Now the project is a passion.  The last couple of weeks every time I leave the apartment I can barely believe what I’m seeing.  I just dropped off four rolls at the lab.  I don’t remember what is on them, well kind of, in that magical way of photography.  There will banality, misfires, missed opportunities, but I know there will money shots and building blocks.  Whenever you think photography has abandoned you, it taps you on the shoulder and reminds you why you do it.