Phototalk with Sarina Finkelstein

1) What made you decide to start a project about the new wave of prospectors in California? 

I have always gravitated toward photographing “undiluted” personalities and the off-the-grid or alternative lifestyles of the passionate, obsessive, eccentric and determined.  This was what attracted me to photographing the new wave of prospectors in California.

Before I started the project, I had recently undergone a tragic loss in my own family, and I read a small newspaper article about a group living in the mountains of California, who had either given up everything (selling homes, farms, etc.) to move there to pursue their search for gold, or who had lost their jobs or retirement plans and were doing it as a means of support in the interim.

The idea that people—in a time of desperation or as a lifestyle choice to escape the chaos of modernity—were moving to the wilderness to pursue the self-reliant lifestyle of their predecessors some 150+ years ago was inspiring.   On an emotional level, part of me associated with the idea of people being stripped of everything and independently trying to work their way back toward finding something to sustain them.

2) Can you tell us more about this phenomenon and about your work “Prospectors”?

I started photographing the new wave of prospectors in 2009, when the country was in the midst of its worst financial crisis since the Great Depression of the 1930s.  Yet, while banks were imploding, people were losing their jobs and houses were foreclosed upon, the average price of gold between 2005 and 2010 quadrupled.  The increase suddenly made prospecting for gold seem to many like an attractive and lucrative venture.

In late 2009, I was reading a great book, Shop Class as Soulcraft: An Inquiry into the Value of Work by Matthew Crawford, which discusses the status of the craft or trade industry as it exists today in relation to the emerging information economy.  Crawford comments in his book, “it’s a bi-product of the hard economic times…a desire to be frugal.  And, this idea of being frugal requires some measure of self-reliance.  The ability to take care of your own stuff.”  I think that’s what they’re doing.  Many have fled a global economy based largely on abstract forces in order to become modern-day “pioneers,” living in tents or campers amidst some of the most picturesque scenery that exists in this country.  What they get in return is the simple satisfaction that comes from being able to pull something tangible like a gold flake or nugget from the ground with their own two hands.

I have been photographing communities and individual prospectors around The Golden State over the last few years.  In the time I’ve been photographing them, there have been a few changes.  The price of gold has continued to rise.  There has been quite a bit of environmental legislation passed to limit certain forms of modern mining equipment (suction dredges) used on the waterways.  That has had a huge impact on the prospecting population and mining supply store sales, but has also decreased income derived from out-of-state miners who came to California to prospect.  It has also driven many California prospectors to leave the state.  The ones that remain have reverted to more historic/traditional low-tech forms of prospecting like panning and sluicing.

3) The original prospectors, back in 1849, were basically moved by desperation, looking for gold to survive. Do you think the value of gold has changed for the new prospectors? 

Maybe?  It depends on which person you ask.  The majority of the people I have been photographing are still trying to survive off of the gold they find, and they recycle it back into their lifestyle.  Many don’t have a permanent home, no car payments, electric bills, telephone, etc., so finding even a small amount of gold can potentially sustain them.  

But, there are some who are doing it more recreationally in their retirement, who use it to make jewelry or art, or just to get outdoors.  

4) What does “the gold” stand for ?  

The gold itself stands for different things.  I already mentioned the ideas of “tangibility” and “self-reliance,” but it’s also an obsession.  It gives them hope, inspires them to take a risk, and the search appeals to their adventurous spirit.  Many are willing to gamble everything to find it.  Sometimes, their faith in their ability to find it borders on being “spiritual.”  They connect with nature and the energy of their environment through ancient practices like “dowsing/divining” for gold, or by trying to “read” the river to determine where gold may have been deposited decades or centuries ago.

5) What do you think this continuous search symbolizes ?

Throughout history, there are countless stories about some sort of character on a search for treasure, power or hoping to get rich…Ovid’s King Midas, the search for The Golden Fleece, The Holy Grail, Indiana Jones, The Goonies and even the search for the precious mineral “unobtainium” in 2009’s Avatar.

Throughout all of these—whether they find the treasure, whether they don’t find the treasure, whether it brings them satisfaction or whether it turns their lives to misery—what you’re really reading about are people who are on an archetypal quest for something they hope will bring them some sort of happiness.  It’s the same today.

6) I was very touched by the words of prospector Bernie McGrath who said: “All my life I’ve searched for serenity and peace of mind. Tried everything for that. When I found this, gee, here I am alone, not a soul around me…I thought it was as close to Heaven as I’d ever get”.  Looking for gold seems more a life choice instead of a choice for living. How was it like to live there with them? What where your impressions and feelings?

Gold prospecting is clearly a life choice, and Bernie explained it perfectly.  Where he lives, there is no cell service.  There are no computers.  He sits every day atop a river canyon with a view of rocky Southern California mountains in the background.  It’s peaceful.  There is a small group of prospectors who gather around him daily.  He is known as the “Unofficial Mayor of Nugget Alley” because he has been there since the 80s and has taught many of the newbies how to prospect.

One of them, Martin, lives in a tent less than a mile upstream.  He sold his farm in Missouri (ten miles from my own hometown) to move to California with his friend to prospect for gold.  Where his camp is located, on the banks of the river, it catches a cool breeze through the trees, and the only sound is the current over the rocks.  The last time I visited, he said to me, “it’s all about the digging, the work, the search.  And this…[waving his arms in all directions]… is my front yard—the river, the mountains.  You’re on my porch.”  

Having experienced just a taste of the life they experience every day, it’s clear why they love it.  I always find it difficult to leave.  

7) In your works, you seem to combine documentary photography together with an artistic vision, is that true? 

Another photographer told me recently that what she enjoys most about my photographs is that she gets a sense of how I specifically see things, how I feel and the details I pay attention to in a place or in a moment.  She said that even if the subject matter of my work is not inherently about me, I still make it feel personal and intimate and that is what makes it distinct and unique from other documentary work, which often strives to be more objective.

My working process is slower than most traditional documentary-style photographers.  (Some people call this “slow journalism,” I guess.)  It is purposeful, considered and—above all—more involved.  I spend a lot of time just talking to people—holding my camera but never pressing the shutter—watching their body language, learning what is important to them.  I only start photographing when they are comfortable, aware and accepting.  The photographs are our exchange, our connection.  I don’t generally pose people, but I will ask people to freeze in the moment in which they are.  I feel like my best images achieve a sense of quiet strength.  

 8) What does photography mean for you?

What I love most about photography is that each day is always different from the next, there’s always a new adventure or person to meet.  Get a group of photographers together in one room, and there’s no shortage of great stories.   

Do you know the phrase, “Sometimes, you do not really fully understand something unless you take a walk in someone else’s shoes?”  That’s what I do every day I’m photographing, test-driving what it is like to live as they do, experience what they see or how people see them.  Photographing teaches me to always be open to something new, to never be judgmental, to read people and to appreciate details.  

Above all, I finally have an excuse for staring.  

9) I know your husband is also a fellow photographer. How is it like to share your life with someone who’s in your same work?

We started dating by going out together to photograph while we were in college.  Eleven years later, we are one another’s biggest cheerleaders and harshest critics.  I respect his opinion.  We often edit one another’s work because we each know how the other person thinks and sees, what we want our work to achieve.  We are equally driven and we challenge one another to be better photographers. He shares my obsessive love for the medium.

All images © Sarina Finkelstein



1. First off, tell us a bit about how you got started in photography. Who are some of your biggest influences, and where do you find your inspiration?

«I guess I’ve been interested in describing things visually from an early age. Photography seemed to be the most practical way for me to do that.  Although, I didn’t really feel confident in what I was doing photographically until several years after college. I suppose my main influences in the photo world come from exploratory photographers such as Carlton Watkins and Joel Sternfeld.  I like the idea of exploring the world and photographing along the way, not knowing what you might find.  Other inspirations come from all over including friends».

2. Your project, Sansaram, or “Mountain People,” documents hikers within the Sobaek Mountains of South Korea. Your method of photographing them describes them  as dignified and proud, and it seems that there is more to this story than simple recreation.  Talk a bit about the significance of these mountains, and what they mean to those who undertake them.

«I’m not sure what the mountains mean to those individuals who climb them, but the mountains do have a spiritual, folk, and religious history that goes way back. I think it boils down to an individuals respect for the mountains and nature in general and what they get out of the experience.  While I was living in Korea, I could tell that that the enthusiasm and enjoyment in hiking up mountains was high. The amount of people on the mountains at one time, the amenities at the base of the mountains, and the serious hiking gear being worn, led me to believe that this was something important for the Korean people to do».  

3. Another similar project you shot was of Haenyo, or Female Divers. Please explain their story. What drew you to photograph them?

«The Haeyno, or female divers, project stemmed from an assignment, but what led me to really embrace this project was similar to the reason I was drawn to the hikers, the commune with nature.  Whether it be the climbing the steep incline of a mountain, or diving into the cold depths of the sea, there is a challenge to overtake these elements, but there is also a beauty in it.  The Haenyo dive without oxygen tanks for seafood such as sea urchin and octopi as a way to support their families.  It’s a role reversal compared to the typically patriarchal dynamic found throughout the rest of the country. The tradition is dying out though as the younger generations are not interested in this extremely demanding profession».

4. How did your experience in photographing these two groups affect your perceptions of South Korea as a whole. Did you leave the country with things you did not bring, so to speak?

«It certainly did change my perception of the country, or rather added a lot to it.  I didn’t really have too much knowledge about South Korea when I went there, besides a bit about the food and a small bit about the history, but to see all the subtle and profound differences in everyday life was really interesting.  I’m kind of glad I didn’t know what to expect as it allowed me the pleasure of discovery».

5. Lastly, what are you looking forward to in 2012, photographically or otherwise?

«I’m looking forward to a change in scenery. It’s been way too long since I’ve been on a nice long trip.  I’ve got some domestic projects in mind as well, but It would be great if I could photograph hikers throughout the world. Feel like that must have been done already though.  Still it would be nice».

© urbanautica | Ian Baguskas

[Trans] 130129 Photo talk

Q : ฝาแฝดมีความสัมพันธ์ที่น่าอึดอัดใจกันใช่ไหม?

YM : ผมควรที่จะเป็นมักเน่! ใครเป็นคนปล่อยข่าวลืออย่างนี้? เอ๊ะ?! นี่มันจะออกอากาศไหมครับ?


SEL 35mm APSC pada A7R

Memanfaatkan lensa SEL 35mm F1,8 yang diperuntukkan pada kamera APSC dan dikawinkan dengan kamera Sony A7R.
Sesuai dengan hukumnya,ketika bukan lensa fullframe yang dipakai maka akan terjadi crop factor. 35mm di fullframe akan menjadi sekitar 52mm dan terjadi pengurangan ukuran sensor. Awal adalah 36mp maka akan menjadi 16.3mp.
Detail dan warna yang dihasilkan ternyata lebih baik daripada ketika saya kawinkan pada kamera Sony A6000. Hal ini merupakan pengaruh dari jeroan A7R tersebut.

DOF nya terlihat normal dan baik. Membaca dalam kondisi lowlightpun tidak ada masalah sama sekali.
Perfect RAW and JPG.

Berikut adalah beberapa images hasil sederhana pada sebuah makanan dengan memanfaatkan DOF dan minuman dalam kondisi lowlight ISO 1000 pada F 3.5

[Trans] 130129 Photo talk

Q : ความสูงของแฝดคือ180ซม. แต่มีข่าวลือว่าไม่ใช่ นั่นจริงใช่ไหม?
KM : อะไรนะ? ใช่แล้วครับ ผมพูดไม่ค่อยเก่งนะ อา~ ผมไม่สามารถบอกได้จริงๆ เพราะการออกเสียงของผมไม่ดีล่ะ (heongheong)



Menggunakan filter polarizer pada lensa.

Sering kita melupakan hal yang sangat sederhana pada fotografi. Semua dikarenakan kemudahan Pengaplikasian file pada software editing. Rela menghemat 200rb hingga 400 ribu demi proses panjang di sofware editing. Saya tidak mengatakan tidak boleh melakukan proses editing,hasil dari kamerapun telah melalui proses editing digital. ;)
Nah,pilihan sebenarnya adalah kita mau menjadi fotografer atau photoshoper? (#istilahGaul) tidaklah dengan semua itu.

Sebagai pelaku foto,kita dituntut untuk mengerti dan menerima…perkembangan teknologi yang cepat sangat kita rasakan. Semua itu juga memiliki tujuan mempermudah dan memaksimalkan hasil yang kita buat dalam waktu bersamaan selagi proses foto berlangsung.

Salah satu yang saya angkat disini adalah penggunaan filter Polarizer,filter ini sangat berguna terutama disaat kondisi tertentu. Misal pemotretan diluarp pada siang hari atau ketika subyek/obyek kita berada dalam area berkaca dan juga bermain kayu diantaranya. Salah satu contoh yang saya sampaikan tersebut sangat berpengaruh hasilnya ketika kita menggunakan filter Polarizer. Sebagus apapun lensanya,tetap kita harus memikirkan efek penunjang fotografi sebagai penyempurna hasil dengan kualitas terbaik.

Melihat perbedaan diantara, foto yang saya share disini dalam kondisi waktu yang sama. Terlihat ketika kita menggunakan filter Polarizer warna akan lebih matang. Selanjutnya kalian sendiri yang bisa menilai.

#GoodMorning! Come visit us @uniquephoto booth #850 @photoplusexpo #OnStage #happeningnow #havingfun #photoplus #2015 #unique #UniqueSocial #u #stage #phototalk #lecture #photojournalism #photojournalist #photooftheday #javitscenter #javits #nyc #ny #usa (at Jacob K Javits Convention Center)

The Last Photo

It’s been about a year and a half now, but I’m almost certain I took the last photograph of someone in their life. I am certain it was the very last professional portrait of their life. The session was only two days prior to their passing, so if their average day was anything like most of my average days, I took the last photograph of a man’s life.

The photo shoot was just some simple, natural light head shots for a school’s faculty. I had done about a hundred head shots for them in the past, and would do a hundred more in the future. Only on rare occasions did personalities stick out… exceptionally friendly or exceptionally rude. The rest of them ran together in my mind. I did, however, only have one person ever walk up for their photo, flex their bicep like a body builder and kiss it, and walk off as though their nailed their “professional head shot”. It was a great piece of levity for that session. I asked the man to come back, and I got a real photo, his last photo, talked to him briefly, and then he carried on about his business. 

The news came to me when I was asked to expedite the editing process so that the portrait could be used at the funeral. It was very sudden and unexpected. A big loss to the college.

Then it hit me in waves…what if I had messed up. What if the file got corrupt. What if I blew the highlights out and the photo is terrible. What if the photo is terrible. Is the photo terrible? 

It wasn’t. The photo was fine. I actually sent two: a normal, smiling “professional head shot”, and a photo of a man kissing his bicep. The person that I sent the photo to said it was a perfect picture of him, the two together. Professional… and quirky.

It just feels weird. Photography is weird. It’s about condensing time into a single frame, and then taking that frame and allowing it to exist BEYOND it’s time. Compression. Expansion. A reminder of the way something was once. It reminded me why photography is important. It’s important to document and remember and make things beautiful. The world can be cold and dark and we need reminders that there is beauty and life when we take the time to notice. 

Approach life and work with intentionality. Don’t half ass it. You dont know if the photo your about to take is someone’s last.