ART U Lens

“CLINT EASTWOOD FOR MAYOR?”

As Told By: Chris Hardy

Written By: Justyne Gurley

1986

Clint Eastwood was running for Mayor in Carmel, CA. He didn’t want to speak to any other press other than local, but the local press was so small that he branched out to the San Francisco Examiner as well. We were walking around, and I could see in the distance that there was a guy, obviously very “paparazzi-like”. He starts shooting, and I thought to myself, “well this is gonna be great, I'm gonna end up in a magazine in Italy. “ So, as we were walking, and the photographer is standing like straight in the center of the sidewalk. And as we got closer to him, he was still there, but we kept walking. Clint doesn’t pay any attention to him—just keeps walking. The photographer gets down on one knee to keep shooting. I thought to myself, “this guy... he’s gonna get run over.” And sure enough, Clint just stepped over him, just like dog poop on the sidewalk or something. Just stepped over, didn’t even break stride. The photographer went right over backwards, still shooting.

A Q&A of "The Social Distancing Series” as Presented by Surzayon Ghosh

BY: Justyne Gurley

Credit: Surzayon Ghosh (https://www.s.pictures/)

“#thesocialdistancingseries”

With social distancing, and shelter-in-place being the current norm of the world, many an artist chooses to make this their subject of focus. Our own Alumnus, Surzayon Ghosh has taken this time to create a series about these unique times. We asked Surzayon a few questions about his work regarding this project:

Q: What is the name of your project?

A: The name of the project is “The Social Distancing Series”. Pretty apt for the times we are in and with social distancing being the new normal. But whilst starting this project it had to get divided into 2 projects: a “Finite version” and an “Outtakes version”. Finite feels more fine art with a narrative of having 2 people connect through the medium of art even if they do not know each other. Whilst the Outtake is more like how “traditional editorial” would approach with focus on capturing headshots, mid shots and full body shots along with some wardrobe change (at times). There are limitations but as well as being an experiment.

Q: What inspired you to work on it?

A: When I heard of this lockdown, where I was working also had to close down. And with that I too had to head back inside my house. That is when I noticed on Instagram (before it became a trend), that an Italian fashion photographer named Alessio Albi, was stuck but creating these unique imageries with only his FaceTime and screenshots with models from far and wide. That struck a chord with me. I knew I could not afford to be “bored” or not doing anything. But with suddenly this vacuum of time, I started stalking his ways through these stories and how he might have approached it. Since no one before him made it “viral” so to speak.

Q: How does it work?

A: Unlike “in-person” photoshoots but still following basic conventions, I start by sending out messages to all and every model from anywhere in the world (given with this medium I do not have a geographic limitation). Then, if they are interested, I would ask of their availability and an image or two of the space for understanding what I need to set out for. Since there isn’t a “team” per say. My photography at this point is more to direct and help with how I see and how I convey what I see to the model. Since she is the one moving the camera. It is limiting but therapeutic at the same time. All images are JPGs, unless captured with my camera (which are a few).

Q: How many images do you have so far?

A: A total of 8,222 images captured to date and counting with over 40 different models from around globe. I have models from Portland to Madrid.

Q: Who are you photographing and how?

A: Most are models from Instagram but a few are agency models as well. I reach out to them via Direct Message on Instagram give them a pitch of my concept and a reference image and we take it from there. So, the process of photographing is more speaking and capturing moments not posed but in-between there. I keep my screenshot button on and I give the model a catch word so they know I capturing (unlike normally) that way they know when to switch their pose. Also, I mix it up with my camera too but most often I am using FaceTime and the screenshot tool provided on an iOS device (for me it’s the iPad). For each week I do kind of pre-book models with an allocated time slot they may be available to work and a set mood-board depending on their space.

Where do all the people live?

San Francisco, Portland, Boston, Los Angeles, Madrid and Torino to name a few. Plus, more coming soon.

Whilst doing this project, I realized that photography, like everything around us, is evolving. While we cannot go back to our normal, making use of what we have should be the way forward. FaceTime or Zoom photoshoots may become a part of photography history but definitely not something to stick for the long run. Ultimately human connection and narratives are what makes our photography speak. This cannot replace photography but definitely is making me think within the box.

I, along with my sister and other writers, am writing a column on our website—small fictional pieces based off what I hear from people or through personal experiences. The project as a whole is just a way to stay connected and creative during these trying times.