Im fascinated with youth and I got that from a combination of living in USA where everything is based around the unhealthy obsession of youth and the preservation of it at seemingly any social cost. The age from about 17 to about 30 are interesting times for me to document, because it was a time of great stress and confusion for me and when I look back on it now, with the benefit of hindsight, I can see how others confront their identities and try to fit in to a scene or niche in order to survive the perceived social balance that you think you need to adhere to in order to be accepted.
This particular image attracts me primarily because of the striking nature of light, and then the unveiling of an intricate social anomaly being revealed behind the wall of smoke. This wonderful non verbal communication/interaction which involves the photographer who in turn passes that on to you the viewer and ultimately you are part of the process of non verbal interactivity communication.
I shot this about a decade or more ago, a dull average nondescript day I had some things to do in town and I was rushing around, I saw this as I walked onto a busy pedestrian street. I made the shot and I dont remember consciously knowing why I made it because I had grown up in a conservative country which was on the cusp of rapid cultural and economic changes which were going to change everything in a massive way.
People like these, typically people who had no children of their own, (in many cases spinsters and bachelors who had been children during the war themselves) who protested abortion in a visually extreme manner before, who, one can only presume, had some compelling force the drive them to dedicate their lives and sanity to promoting such incredibly vile and repugnant imagery in a way as shock everyone young and old into their way of seeing their political standpoint.
As soon as the economy started to visually change the anti-abortionists disappeared from society but would return with a new younger generation as soon as the economy growth slowed.
Negativity begets negativity.
I remember this man trying to engage her on some philosophical hook and her response was tight lipped religious piety.
I don’t really show the pictures of the people that interest me the most because I don’t think I have the narrative to back it up in its own right yet, and flickr isn’t the forum for that work either, I’ve kind of dug myself into a hole there withe whole street and what I defined as the kind of street I wanted in Seattle Street and which has generally become accepted as an acceptable version of that decisive, contemplative, gag, style, which doesn’t really rely on any level of intellectual insight to understand or appreciate, the pictures of the people I am really drawn to are highly reliant on my audience being open to seeing something that they normally don’t even register and having their attention drawn to it, ..and so it’s been my belief that my Audience is infact not American at all.
See Street photography has become about shooting the oddities and the highlights of the everyday or at least that’s the premise; using the “everyday” as an excuse to make pictures of things that stand out of that “everyday” entity which really doesn’t mean what it is in that context anymore. Look at the London Street Photography festival as it stands now, at 3 years old, and all of the pictures have a basic sameness to them and a sensationalism to them which irritates me now.