David Uzzardi is an American photographer.
Without going too overboard, he takes the kind of pictures
that more idealistic types might call ‘timeless’.
From candid snaps of back-street brawlers to straight-up
portraits of the man on the street, his black and white photos have a certain classic
quality seldom seen in modern times – a long way from the brash and bratty
hyper-action of Instagram-friendly street photography.
Here’s an interview with him about his photos…
Starting at the top, how did you get into photography? What
made you want to start taking pictures?
My high
school had a photo class which I took. I was lucky enough to have a really good
teacher. I always shot Polaroids growing up, but this class inspired me to take
photography more seriously and consider it for a career.
Nowadays it’s a lot easier to get ‘into
stuff’, due to the internet and the endless information on there – but how did
you find out about photography and stuff back when you were starting out?
Mostly
indie book shops and libraries. I grew up very close to Manhattan, so I would
go into the city and spend days in vintage book shops discovering
photographers.
Is it almost too easy now?
Yes,
it’s crazy. While everything was much harder when you couldn’t just google, I
am happy I grew up in a more analogue time. I think my photos are better
because of it. Not to say there aren’t amazing younger photographers coming up
now, because there are.
Do you go out specifically to take photographs,
or are they just products of you already being out and about?
It’s a
bit of a mix. There are trips I take specifically to shoot, but then some of my
favorite photos were taken when I wasn’t expecting it. I
basically lurk around. Nothing specific, I just venture out and observe. Some
people probably think I’m a creepy dude checking them out, but that’s just me
finding my next photo.
Are there certain things you look for?
Yes,
definitely. The ordinary, everyday moments. Moments I think other people miss,
but there is so much beauty in the classic, mundane moments. Also, I’m big on
composition so everything needs to line up perfectly.
Are there things you try to avoid shooting
too?
Drugs.
Posers. Nothing to put down street photographers that shoot more of the raw
back alley content, it’s just not my thing.
You shoot a lot of people – and a lot of
actual portraits rather than just spy shots. What’s your techniques for getting
these type of shots?
Lurking.
Haha kidding, sort of. I must have a friendly face, or disposition, but people
seem safe around me, and inviting.
A lot of people out there are perfectly
content just shooting endless photos of the backs of peoples’ heads and spy
shots from miles away – do you think they should try a bit harder?
If you
can’t see a face, there must be something else about a photo that makes it
special, otherwise it’s a worthless picture. I would suggest editing your
content more and waiting for a better moment to capture that same pic. Or just
getting closer. So yes, put more effort into it
You live in Los Angeles now, but you spent a
long time in San Francisco. A lot of people talk about how San Francisco has
changed over the last 20 years due to the influx of tech companies – what are
your thoughts on it? Did you see a noticeable change?
Yes,
it’s completely different now. I left at the right time, right before the
shift, so I didn’t stick around to see the city lose some of its magic. I still
love San Francisco and it holds such a special place for me, but I’m happy I
made the transition when i did.
How does Los Angeles differ to San Francisco?
L.A.
gave me the chance to make a living shooting photos. There is much more
opportunity here. I worked at a photo lab in San Francisco, and I work behind
the camera now. Also, I drive a lot more now.
Does location influence the photos you take?
I’ve noticed that no matter where I go, my photos always look pretty much the
same.
I don’t
think so. In San Francisco, with it being such a small city geographically, I
found myself shooting the same content — it got stale. So L.A. was a blank
canvas for me. My photos look the same, just with different people and
backdrops.
Do you think going out and taking photos has
changed over the years? It seems like there’s a lot more people snooping around
with little cameras nowadays.
Yes,
definitely. There is such a larger community now, I think it must be the
digital aspect making it easier to shoot. I love it, there is much more of a
community.
Unlike a lot of so called ‘street
photography’ that’s around now, your photos have a very classic style. Is this
a conscious thing? I might be wrong, but to me they’re not tied to any
particular age or era like a lot of photos are.
Thank
you very much for that. Norman Rockwell’s paintings are definitely an
inspiration. As is the music of George Jones. I am drawn towards those
‘timeless’ moments.
Do you still mess with the dark-room?
I
actually don’t process at the volume or even near the volume I used to. I went
digital when I moved to L.A. for my commercial work, and started shooting more
digital street stuff. I’ll never give up film, but you cannot beat the
convenience and speed at which digital photography provides. The chemicals were
literally destroying my hands, and who knows what else. I had to take it easy,
as I’m still feeling the effects of the 15 years I processed film
professionally.
You used to work in a photo lab. What was that like?
Very fun and easy-going.
I learned more working in a lab than I did in four years of art school. You
basically get to learn directly from some of the best artists in the world,
seeing how they shoot. I
personally developed film for some of the world’s best photographers like Bruce
Weber, Sante D’orzino, Duane Michals and many more.
Have you got any tips for success under the
red bulb? What makes a good print?
I tend
to overexpose, which makes my film denser and gives it more detail. I also pull
most of my film a stop to build up my mid-tones and then pump the contrast
while printing.
I often think that with photography, the pool
of influence is relatively small – most people out there are into Robert Frank
and Walker Evans. Have you got any names for people to look into that they
might not have heard of? Who else deserves some recognition?
Danny
Lyons is famous, but I feel like he still isn’t as well-known as he should be.
Bill Owens and WeeGee of course. Working with Bruce Weber’s negatives over the
years, his photos were the most well-composed, perfect exposed pics I’ve ever
worked with. I am still blown away by that, nothing compares, he’s a technical
genius.
What sort of work do you do now with photography?
While I still shoot
street photos, professionally I’m actually a product photographer. Which is
kind of crazy seeing as some of my best work is of living people, but I also
love working with objects. They balance each other out.
Do you ever get burned out on taking pictures? What
with working as a commercial photographer, and then taking you own personal
shots – does it ever get a bit much?
No, never.
Professionally I shoot on average over 1,000 a day and it never gets old. I
sometimes can’t believe i found a way to make a healthy living shooting
photos.
What keeps you out there taking pictures?
Fear of missing the
shot.
Do you keep in touch with the people in your photos?
Or are there regular people who you bump into often on the street?
Funny enough, when
Hamburger Eyes’ SF Eyes came out recently, one of the guys I shot over 15 years
ago as a young punk emailed me. He asked if I would send him an autographed
photo. So crazy, and of course I sent it to him. I do wonder though what
everyone is up to now.
What are your thoughts on how people view photos these
days? Is there a perfect way to present a photo?
It’s definitely
different than what I grew up with, but as long as people are enjoying photos
it really doesn’t matter to me.
Following on from that, do you think Instagram
algorithms and the allure of the shock image can sometimes mean that a lot of
good photography is now ignored or under-appreciated?
It’s pretty gross to me that shock images
and a horrible picture of a boob or a pic of someone smoking weed for example,
will get someone a huge art show or recognition just because it’s hyped. I
don’t get it nor will I ever.
Vague question, but what makes a good photograph?
The subject.
Very true. Have you got any words of wisdom to end this with?
Don’t leave home
without your camera. I guess no one does now since we all have smart phones,
but if that’s what you use, then always have it handy as you’ll forever regret
the photo you didn’t take.
Roman Candle Magazine 