You can be alone, with a camera in your hand, and you can walk. In that moment, the medium sheds the expectations attached to narrative production. You don't need to have something specific in your mind. You don't need to have in mind that you have to do something with it at some point. This is freedom.
I recently gained a new obsession, and I'm ready to share it with the world: finding and analyzing rare vintage images. A picture speaks a thousand words, and these photographs tell us more about history than a textbook chapter ever could. So even if you think history is boring, I'm well-equipped to change your mind, and give you some delicious food for your brain to chew on today.
Films seen long ago but unavailable for rewatching often loom large, like myths shadowed by fear: Will a second viewing confirm or dispel the initial impression? I first saw "Caught in the Acts" ("Délits flagrants"), a documentary by the French director Raymond Depardon, in Paris, a few months after it opened there, in 1994, and it struck me as one of the greatest documentaries I'd ever seen.
I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera. Parks recognized photography's potential as a tool for social change and advocacy, viewing the medium not merely as documentation but as an active means of confronting systemic injustices and giving visibility to marginalized communities.
My approach to fashion isn't rooted in traditional design; it begins with imagery. He envisions clothing not merely as fabric but as an integral element of storytelling within striking visuals. Queer photographers from another era ignite my creativity far more than the mere act of making garments.