When Patrick Joust isn’t working as a librarian for the Enoch Pratt Free Library, he can often be found on the streets of Baltimore with his twin lens reflex film camera, photographing subjects in the city. The type of camera, Joust says, intrigues his subjects and allows him to fly a little more under the radar. He is the latest subject of our series, Baltimore Street Photographer.
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Yale University recently unveiled a platform called Photogrammar, which hosts 170,000 images taken from 1935 to 1945 — which spans parts of the Great Depression — by the United States Farm Security Administration and Office of War Information. There are more than 1,600 that feature the city of Baltimore during this time, and The Sun has identified more than a dozen “themes” from these images that we will roll out in The Darkroom in the coming weeks and months.
A majority of the photos from Baltimore focus on its industry at the time, but there were many that captured everyday life. And as the producer of The Darkroom’s ongoing series on Baltimore street photographers, I thought it a perfect fit to start with these photos. Photographers John Vachon, Marjory Collins, Sheldon Dick, Arthur Rothstein and Arthur S. Siegel were some of the photographers assigned to Baltimore. Captions in quotes are the original text provided for that photo.
Harry Bosk works in Hampden, so it’s pretty convenient that it’s his favorite place to pursue subjects for street photos. He’s not trying to do ‘Humans of Hampden,’ he’ll tell you, but his work is reminiscent of the popular New York City photo blog. And Bosk frequently will engage with his subjects before taking their photo — a tactic that informs how he will capture that person (or people). Bosk is the latest subject of our series, Baltimore Street Photographer.
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A steady stream of cars is heading northeast on Belvedere Avenue on this humid late-August day. Parking spots along the street leading up to Belvedere Square are at a premium. The sidewalks are filled with lawn-chair-carrying concert-goers – young and old, black and white – heading to the final “Summer Sounds at the Square” event of the year.
The scene here encapsulates all that is attractive about Belvedere – and all that frustrates some residents of this North Baltimore neighborhood.
Photographing people doesn’t interest Pat Gavin as much as photographing places where people used to work and live. Gavin is an urban explorer in Baltimore, and an avid documentarian of his finds. Among the sites he’s studied in Baltimore: Lebow Brothers Clothing Company, American Ice Company, Cutty’s gym from The Wire, Sparrows Point Steel Mill, Eastern High School, Montebello Rehab Hospital and many more. He’s the latest subject of the series, Baltimore Street Photographer.
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Sequences are considered by many to be the building blocks of video storytelling. If ‘sequence’ is a new term to you in this context, it’s defined as showing a process from start to finish through a series of images, or video clips. Building a good sequence requires that you understand the process that you’re filming, that you get a variety of shots (wide, medium, tight, different angles, etc.) and that you can move to quickly set up your next shot.
I recently filmed a sequence of Venezuelan arepas being made at Alma Cocina Latina in Canton, and through the screenshots below, you’ll see how it was done.
Kathleen Kline can get busy photographing bands and events, but she always makes time for street work. As a Baltimore street photographer, Kline covered the riots in April to give a citizen’s perspective of the events. And we filmed at the place where she gets her inspiration: Graffiti Alley.
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See how past popes and papal visits were covered in the pages of The Sun, including Pope John Paul II’s visit to Baltimore in 1995. Click or tap on the images for full-screen views of the front pages.
FULL COVERAGE: Pope Francis visits the United States
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When Alejandro Orengo, a Baltimore photographer and filmmaker, covered the riots in April following the death of Freddie Gray, he wasn’t working as a member of the press. He just wanted to document what he thought would become history. He was roughed up in the crowds, but managed to capture remarkable images. And that’s just a small part of the work he’s done in Baltimore.
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Like many other young professionals, Katharine Scrivener wakes up at about 6 a.m., spends her days in meetings and sending emails, and comes home to make dinner, relax with her husband and work on freelance projects. Unlike most other young professionals, however, Scrivener bookends her mornings and evenings with extensive medication treatments.
Baltimore neighborhoods
Baltimore street photographers
Year in review
Freddie Gray: protests, aftermath
24 hours with...
A. Aubrey Bodine
Viewing Baltimore from above