Apr 03 2019


Photo by Thatcher Keats

In last the post, we discussed the idea that publications may get spoiled with social media. But we came to the conclusion that it doesn’t spoil anything.

Then the conversation found it’s way to cooking times. How long do your images bake before ready for consumption? It’s obviously different for everyone and it also depends what your working on.

Sitting a little longer on photos could lead to things like tighter processing, smarter edits, bigger ideas and concepts.

In school we would work 6 months on a portfolio. On assignment, you could shoot 10 days for a 3 page editorial. More like 1 or 2 pages and then work with multiple editors to get it right.

In today’s world you shoot it and post it within seconds. I have lost my way in this rabbit hole, a lot of people have, which is why I like to have open dialogues lately.

It’s our job/duty to shoot stuff in our own particular way and communicate our messages and way of life before the Kardashians take over. Actually we are already way too late.

Therefore, speed and volume seem to be great allies to us.

On the other hand, a slower more methodical approach may be more effective.

Again, depends what you’re working on. I’m sure we will have to use a combination of both.

Apr 02 2019


Photo by Mike Vos

I was blogging the other day about IG again. I know I know we heard it all before.

In summary, I was saying that I think I figured out one the main problems for me. That is spoiling my prints, zines, and books by showing the photos first on Instagram.

The easy solve is to only post photos that have been published already.

The whole concept of social media is to be sharing in real time though, so this defeats the purpose. But what is your main purpose is what I’m getting at it.

Nick sent me a message talking about the fact that back in the day, magazines didn’t want your photos if they have been seen before.

He was submitting to Transworld who published skating, surfing, bmx, and snowboarding magazines. Coincidentally, I worked there in the mid 90’s as their darkroom guy.

And he is right. If you sent photos in, it was assumed you have never shared them anywhere with anyone.

Even after publishing, photogs might use a different frame for an ad or even reshoot something differently but this was heavily frowned upon. It was considered “double dipping”.

Of course the internet changed all this. And we are talking about action sports, where new tricks were still be invented and new spots discovered every day back then.

For H.E., I post only photos that we have published. But that doesn’t mean they haven’t already been posted or published somewhere else.

For my personal stuff, this is where the tension is. If I am visiting NY, it’s fun posting my adventures in these foreign lands. But when I get home and wanna make a new book, oh shit all that stuff is already on IG and thus spoiling the surprise.

It probably isn’t ruining it really, but when editing layouts it is kinda deflating, for me anyways.

Again, I figured out that I’ll just post stuff after I published it, or use story mode more often. This is a pointless conversation if you aren’t printing and publishing on a regular basis. (Which you should be if you are reading this.)

I’m an over thinker. But the sooner we can figure out the flow, the sooner we can get to work.

The sooner we can figure out the outcome, the sooner we can figure out the income.

I think I just wrote my first quotable nugget.

Mar 31 2019


Photo by Adi Segal

We’ve talked about it before but I wanna get back into it. What’s your favorite daily driver setup?

Of course we have different setups for different occasions. But I did some flying around the country this past month and it made think about alot of things.

I try to pride myself as a simple one lense one camera guy, but times are changing I guess.

I have a whole dslr setup for assignments, commissions, and client based work but that usually sits in a bag in the closet most days.

When I’m leaving the house on a daily basis, for the past few years, it’s usually my phone and a point and shoot that I don’t really like and am about to return, or my heavy dslr with a giant lense.

Recently, I have fallen in love with an M43 setup. Specifically, the Panasonic Lumix GX85.

I don’t want a zoom and I don’t want a bunch of extra lenses, so I think the next time I get in a plane, its gonna be the GX85 with the 20mm (40mm equivalent) plus Ricoh GR II or III.

I finally got to play with a Ricoh, its great. The III with no flash doesn’t bother me if I have the GX85 close by.

What are you guys feeling these days?

Feb 04 2019


Photo by Samuel Liebert

Remember when dobermans were the badass dogs? In 80’s movies, the bad guy’s mansion always had 2 dobermans. When I was a kid I got chased on my bike for 5 blocks by a huge doberman. Sooner or later pitbulls took the crown for most badass dog. Remember in “No Country For Old Men” when Josh Brolin is getting chased by a pitbull? Soo sketchy. Great scene.

At what point does “bad” evolve into “badass”? At point does “badass” mean “good”? For example, why do we root for the menacing killer robot machine known as “The Terminator”?

I dont know, I’m not very psycho analytical. But I’ve been looking at photos all day and wonder why certain “bad” photos are actually “good” and why some of the “good” photos are actually not good at all.

There are more than a few things at play here. State of mind, editing for printed pages vs editing for anything else, peer pressure, etc. I could go on and on.

I think that we need the polarities of good vs bad to learn. (“Contrast” right?) The idea is you learn how to shoot a basketball by evolving from bad form to good form. Then good form is supposed to lead to more buckets.

But we know this is not always the case. You can have perfect fundamentals and still totally suck. Or you can have the worst posture but somehow swish every shot. So beyond learning is game perspective.

To bring it back around, I think once you’re passed good vs bad, passed winning vs losing, then you develop a wider perspective. And sharing perspectives is sharing stories. So I guess this is more about game appreciation.

Jan 29 2019

The Greenest Light

Photo by Alex Martinez

In the NBA, there’s a guy killing right now. His name is James Harden. I am not a huge fan though because while he does kill it in the regular season, he is often choking in the playoffs. Commentators always seem to mention that he has “the greenest light,” meaning that the coach, his team mates, and the whole organization all give him the go ahead to do whatever he wants on the court. For example if he decides to never pass the ball, that’s fine. Or if he happens to miss every single shot in a game, that is fine too.

Most players aren’t allowed this much freedom. That’s because your team would lose if the coach played it this way with an average player.

I guess we are going esoteric today. I got some questions about editing for projects, zines, and books. And usually I can tell that it is their inner coach holding them back saying things like, “You’re not ready for prime time.” I am here to give you the green light. The greenest light. Do whatever it is you want to do and don’t second guess yourself or your talents.

There are 2 main questions when it comes to self publishing.

How much are you willing to spend? Let’s say you want to make 100 copies, you are either going to spend $300, $1200, or $20000. Or somewhere in between.

What is it for? Are you planning on selling it and making money back? Or are you giving it away for promo? Or do you just feel the need to express yourself? Or do want to make something for the homies?

There are no right or wrong answers. But answering these questions will be part of the shaping of the edit. For example, if it is for the homies then running those 2 extra photos of Gary going crazy is fine. But if this project is for showcasing your visions in hopes to find work or other projects, etc. then maybe it doesn’t need any photos of Gary at all.

For me, I want to make something different and cool and I want to make my money back and little more so that I can put out the next one. I envision what my zines and books will look like on someone’s kitchen table. I want it to look odd next to other publishings like newspapers and magazines.

For Hamburger Eyes, I want to showcase a certain style of photography that we all know and love yet doesn’t get that much attention. For my own zines, I want to have fun and be as weird as I wanna be.

Sometimes it is a matter of just making 1 copy. Show it to some people, then work on it some more. Rinse and repeat till you can’t work on it anymore, then make 1000 copies.

Whatever it is you want to do, you now have the green light. Start today.

Jan 27 2019

Crossing the Chasm

Photo by Ray Potes

After writing about darkroom stuff it made me think about when I started to cross over from shooting film to digital. I found this thing I wrote in 2013 about experiencing psychosis from the switch. Click here to read that.

For me, when I started hanging prints from digital cameras next to prints from hi res scans next to prints from the darkroom and pretty much no one could tell or didn’t care to notice, that’s when I started thinking it was ok.

Sure maybe people did notice and didn’t want to say, but at that time people around me had no problems telling me a photo I made didn’t work, or if I should have chosen a different cover for a zine, or if I printed something too dark or too light, or whatever. I always invited comments and criticisms. Yet no one ever asked what cameras or film stocks. Those conversations happened at coffee shops and bars with other photographers.

I would think at least the gallery people wanted to know. When you sell these things you always put down the paper stock which sort of implies the process. Like this, “Silver Gelatin Print” or “Digital C-Print”. Technically, you could use “silver print” for C-Print because there is silver in a chromogenic print. But no, it wasn’t a big deal what you shot it on, no one cares. I guess that’s what goes in the “Artist Statement” but I never had one of those.

Maybe some folks just assumed that we were all film and all darkroom. I could see how that assumption was made because we published black and white zines and had our own black and white lab.

Also, some of the photographers in our early issues like Vic Blue and Brian David Stevens were submitting digital photos. I didn’t know till years later and published them with the same assumptions as every body else.

I am not telling you to cross over. Do whatever it is you love to do. But the game has changed. When people say they love film, sometimes they are referring to camera mistakes and darkroom misshaps and imperfections. When I was in school, that was an F grade. F for fail. We had to make perfect negs and perfect prints. Same when working in commercial labs. So for some the switch to digital meant getting closer to that perfection, easier.

Just saying and sharing my thoughts. I know some will want to battle about it. For me there is also cost and convenience factors. What do you think?

Jan 26 2019

Advanced Darkroom Techniques

Photo by David Uzzardi

Someone emailed asking about leveling up their darkroom printing. Some of you might be thinking, “This dude can’t be qualified to answer this. He mostly shoots with his phone and makes xerox prints.” Well, that is me today. But me 3 years ago I literally lived in a darkroom. I owned and managed a darkroom rental facility with 5 darkrooms for 8 years. I couldn’t pay 2 rents, so I moved out of my apartment and into one of the back offices at the spot. Don’t tell anyone, I’m not sure it was legal. I also spent most of my 20s working in commercial labs, mini labs, private labs, etc all for processing and printing black and white film.

TIP 1 – Make good negs.

When I was in school, we had to turn in negs. At first it was to make sure we were using the camera properly but mostly it was to learn how to expose the film and process it perfectly to make printing easier. (I went to Palomar City College for a few semesters. I remember on day 1 my teacher said she may not make me a good photographer, but she will make me a great printer. Their photo dept had won numerous photo awards surpassing some of the big name art schools and universities.)(They were very proud of their photo dept and apparently so am I.)

You need to be processing your own film to make good negs. Or find a lab that will hand process it, or find a better film that will handle machine processing for that particular lab. For instance, when I lived in Hawaii for a minute, turning in Ilford HP4 actually came out better than Kodak Tri-X when it came to the lab I was using.

Shoot the whole roll. I know this isn’t always possible, but for me, especially at night I would try to shoot the whole roll. That way I can process it a certain way. If no flash, I would add more time and go a little over. If I did use flash, I would process it a little under to make it less contrasty. And that’s not even mentioning yet pushing and pulling the film. Sometimes I would process 5 rolls but each had different processing times.

“Expose for the shadows, print for the highlights,” That’s a common black and white darkroom standard statement. (It’s opposite for digital, btw.) But I always thought it should be changed to, “Expose for the shadows, process for the highlights.” Meaning control your contrasts in the processing of the negatives.

Learn about pushing and pulling your film. Learn about all the different developers. I kept it standard and mostly shot everything at 400 or 1600. That’s T-max in T-max developer at 68 degrees. Tri-x actual rating is 320, but they put 400 on it because most people don’t know what they are doing. If I shot Tri-x, I developed it in Rodinal. The old school guys shoot their 400 at 200 or less. I can’t seem to find it right now, but there’s a book out there with all your favorite photographers recipes. I remember Larry Clark had a weird one in that book. He shot everything at 600 and 1200 or something like that.

The point is 90% of your printing problems can be solved if you know how to make good negs.

I know you’re thinking, “What if you have a good photo but a lame ass neg?” That happens. Sometimes you have to get off a photo and all the settings are wrong on your camera. Or sometimes you put the roll in the wrong batch. There’s a lot of ways it go sideways. It’s ok though, we’ll discuss that in the next section.

TIP 2 – Print the whole neg.

What makes a good print is pretty much defined in 3 parts. The first part is the photo itself. Is it good? But this is about Part B, which is details. And Part C, tonal range.

If there is details in the sky, like clouds or ufos, bring them out with dodging and burning. If there is details in shadows, bring them out with dodging and burning. This is another reason for turning in negs when I was learning. The teacher wanted to see if we were ignoring these things.

You tend to print for your main subject, like if you had someone centered for a portrait against a brick wall. But in that brick wall background there may be a rat’s head poking out, some weird graffiti, or some other thing you didn’t notice when shooting. Granted this also depends on the sharpness of the lens your using, but in general try to bring up all the details if they exist in the original neg. It will make for a better print.

Printing for the entire tonal range also makes for a better print. Try to represent all the tones of gray in one print. Especially if these tones exist in the negative, you are doing a disservice if you do not showcase them. I have seen people who would spend a week on one photo. Like 40 hrs printing one single image to try and bring out everything and anything that is there in the negative.

You have heard the word “richness” when people are describing contrast, they are talking in terms of all the different levels of grays. When I started printing, all the 100 companies making fiber paper each had 100 different ones to choose from. These papers would range from warm to cold, matte vs glossy, hi contrast, etc etc. all with the purpose of finding those deeper blacks and subtle creamy levels of white. Part of the fun is these discovering these things and then creating your own recipes.

When doing your test strips, try doing a full size one. The whole photo. And then do another test strip for all the filters. Do different test strips for different sections of the photo. Think about printing split filter. This means printing the highlights with a low contrast filter and the shadows with a high contrast filter. This means you are exposing the print twice, which means you could fuck it up in many ways.

I can’t describe how to do split filter without making a video, but I’m sure one exists. It’s a game changer. I’m not sure but I think it came from the Zone System guys. When I was in school people would whisper things like, “See that guy over there, he’s a zone system guy.” Better get out of his way.

Go find a museum and look at the black and white photos. Locate the good prints and make note of what makes them good. Work on your stuff and show it to other older photographers and ask them how you could do better.

In conclusion, I think people in general aren’t trying hard enough to make good prints. I know at the moment I’m one of those guys, so don’t follow what I’m doing. I’m like those mechanics that drive beater cars. They know they can just fix stuff, but they also know it looks like shit right now. My photos look like shit in general right now, but if and when I ever get asked to do another exhibit in a museum or fancy gallery, I know and they know that I can make some good prints for them.

For me zines and blogs are my chosen destiny though. It’s my vibe. What’s your vibe? Print for your vibe but get good at the basics first.

Jan 25 2019


Photo by Jimbo Celzo

Ask Me Anything. I could blab on and on about pretty much anything. I have a handful of ideas about articles I plan to write about for this site, but if there’s anything in particular that I can help you with feel free to leave a comment or email me direct.