"Finding New York": People in the big city

EVERY DAY PHOTOGRAPHERS AROUND THE WORLD looking for new ways to tell stories or to capture what we previously did not notice. We choose interesting photo projects and ask their authors what they wanted to say. This week we are publishing the “Finding New York” project by Canadian Camilo Fuentelba, who has not for the first year debunked the image of New York in his head for himself and documents the real life of New York streets.

Most of my photos of New York streets reflect the fact that I'm visiting. We all have an idea of some kind of magical place where we have not been. And New York is just such a place. However, being here once and seeing the city with your own eyes, you realize that it is completely different, not the same as you imagined. And that's not bad, just different.

I was born in Canada, and grew up in Chile in the 90s. Having lived for several years in Asia and Australia, in April of 2010, I moved to New York. It took me three years before I could get together and take to the streets to photograph people. By the time I moved to the famous Brooklyn district of Bedford - Styvesant, or, as the locals call it, Bed-Stae. On the streets here you can feel the spirit of old New York; this is exactly how I imagined the city before I considered it my home. Then I started shooting the “New York” series: it became not only my personal exploration of the city, but also gave me valuable experience as a photographer and allowed me to understand what I stand as a professional, because millions of people before me had already removed New York from different angles. I trusted my instincts, tried to concentrate only on what I saw, and did not worry too much about the global result of my work. The only advice I can give to others is to just go out and take pictures. Take the camera with you wherever you go. Have fun, watch and just allow yourself to enjoy every day. Magic is born when you merge into the life and rhythm of the streets.

People who got into the lens of my camera always reacted differently. It is difficult to remain inconspicuous if you run around the city with a big camera. I tried to shoot on the phone, but I did not like the result - it seemed somehow unnatural. So, some people did not pay attention to me at all. Others were interested: why am I filming? I replied that for the sake of art and to document the life of New York. One clerk attacked the police against me because I refused to remove his photo. As a result, I defended my right, because in New York (I don’t know how in Moscow) the law permits to shoot anything and anyone in public places. I would, maybe, delete that unfortunate photo if the clerk asked about it kindly. Sometimes I ask people for permission before removing their portrait, but this, of course, is a completely different shooting format. I love and respect staged photography, but now I prefer impartial shots.

Since my childhood, I was taken to photography, but only at the age of 24 I really got carried away with it. I then lived in Taiwan and once bought the book by Ensel Adams, and began studying the basics of photography from it. I recommend it to all beginners, especially those who are interested in black and white photography. At the same time, I lost my job: the school where I taught English decided not to renew my contract, so I was at a crossroads. At that moment I chose - go to study music production or photography. As a result, he entered and graduated from the College of Photography in Melbourne, which no longer exists.

I respect all the genres of photography, but most of all I love the documentary and portrait - on the streets you can shoot both. I bow to the work of William Egleston, Diane Arbus, Bruce Gilden and contemporary photographers like Jesse Marlowe. In my opinion, the work of photographers is very important for the future, regardless of the genre in which they shoot. This is our way to freeze the present, so that future generations can look at the pictures and admire (or vice versa) our time.