Category: Photography

Besides shadows, reflections, silhouettes, pigeons, umbrellas, or hats one of my favorite photo gimmick-clichés is finding juxtapositions. Like catching historic reenactors in moments of chronological inconsistency.

The image of Ben above and George below was made on assignment for an upcoming story on the 21st season of Historic Philadelphia’s Once Upon a Nation program — where costumed actors perform first-person interpretations of real 18th-century Philadelphians in the Historic District and at Valley Forge National Historical Park.

The photo of the actor portraying Franklin was made from outside the Free Quaker Meeting House at 5th and Arch Streets. It was established during the Revolution when a rift occurred among the Society of Friends. As pacifists they would not take up arms, pay war taxes, or take an oath of allegiance. A group calling themselves “Free” Quakers supported the American cause and were expelled or “read out of meeting” by the mainstream Friends.

Among those Free Quakers was Timothy Matlack, a clerk in the Pennsylvania Statehouse known for his excellent penmanship. He was chosen by the Continental Congress to produce the handwritten copy of the Declaration of Independence — the engrossed parchment version that we all recognize as the “original” — that was signed by the 56 delegates in August 1776. (Matlack, who was born in Haddonfield, N.J. was also one of the earliest opponents of slavery in America, and he felt that the Quakers were not moving quickly enough to abolish it.)

I only mention the Declaration as, along with many other stories, I have been photographing for in the Historic District and at the President’s House, I’ve been working on a photo essay on some of the direct descendants of the men who were in the room in Independence Hall (then the Pennsylvania State House) as America was born. Their photos, along with interesting and little known facts about the 17 local Signers from Pennsylvania, New Jersey, and Delaware will be published later this week as part of The Inquirer’s coverage of the 250th.

As promised in a previous column, I’ve collected a bunch of my Philly photo-anachronisms from over the years.

Since 1998 a black-and-white photo has appeared every Monday in staff photographer Tom Gralish’s “Scene Through the Lens” photo column in the print editions of The Inquirer’s local news section. Here are the most recent, in color:

» SEE MORE: Archived columns and Twenty years of a photo column.

The Odunde Festival began in 1975 as a community event in South Philadelphia inspired by Yoruba traditions from Nigeria. It has since grown into one of the largest Black cultural festivals in North America.

“Odunde”is often translated as “the celebration has arrived.” The festival is rooted in the Yoruba New Year celebration and honors African heritage, history, and spirituality.

As a photographer working a Sunday-to-Thursday shift for decades, I’ve covered this and many other Sunday ethnic, religious, historic, and cultural festivals — always with a street-photographer vibe.

When I was assigned to photograph stylish clothing last Sunday — festivalgoers are known for expressing their cultural identity, heritage, and pride through fashion — I saw it as fun challenge to work outside my comfort zone and channel a bit of Philly influencer Big Rube or Humans of New York creator Brandon Stanton.

Something I am always asked when speaking to camera clubs or groups of amateurs photographers is: “Do you have to ask people permission to take their picture?” Others ask, “Do you need to get their names?” The most consistent question, though, is: “How do you approach people you don’t even know?”

I am not an extrovert, but early on I realized that “hiding” behind my camera gave me the confidence to meet and build rapport with strangers.

After years of doing it, talking to people has never been a concern. But using a flash outdoors to fill in shadows while also worrying about visual variety — different ages, genders, couples, individuals, and backgrounds — was not the way I usually work.

I think it turned out OK, and I look forward to trying something similar with my visual coverage of the many events ahead this summer. Bring on the World Cup, America 250, the All-Star Game, and everything else.

Since 1998 a black-and-white photo has appeared every Monday in staff photographer Tom Gralish’s “Scene Through the Lens” photo column in the print editions of The Inquirer’s local news section. Here are the most recent, in color:

» SEE MORE: Archived columns and Twenty years of a photo column.

I won’t be photographing any of the FIFA World Cup games here, but I did make The Inquirer’s sports photos Big Picture gallery for the second week in a row.

And again, my inclusion is not a traditional action photo. It’s from a press conference and the subject — Sixers new president of basketball operations Mike Gansey — isn’t even the focus of the image.

I also photographed him posing with team executives, holding a basketball, then a Sixers jersey, followed by his comments and Q & A with reporters, but I was more interested in the periphery, and stayed around after it was over — and most of the media left for more comments downstairs by the other executives (the featured image at the top).

Later in the week in Center City, I passed a youngster in full graduation cap and gown. I often play the role of street photographer so I walked behind them for a block.

If I were not a curious journalist I would’ve moved on, but I said hello and introduced myself as we walked together. Lynnette Lucas was taking her granddaughter Faith Green, 6, for a special lunch after her kindergarten graduation at Mastery Charter School. Lucas takes all her grandchildren to the Chili’s near the Convention Center for celebratory meals where the staff treats them well, especially server Tevin Jones. Faith was headed to a party with the rest of her family, with cake and ice cream later in the day. I switched from street photographer back to visual journalist and headed to my next assignment.

There are different definitions for street photography, but I always like what William Eggleston said: “Often people ask what I’m photographing, which is a hard question to answer. And the best what I’ve come up with is I just say: life today.”

Which brings me to my good friend and Inquirer photo colleague Alejandro A. Alvarez. Starting today Philadelphia will wake up differently. For decades, before the coffee shops unlocked their doors and the metal roll-up shutters were opened on newsstands Alex was already there. A street photographer who chases the morning light, Alex retired from the newspaper yesterday, almost exactly 38 years — Monday, June 13, 1988 — after he first stepped into a newsroom as a full-time newspaper staff photographer, at the Wilkes-Barre Times Leader.

That is not to say he won’t still be there with his camera, waiting for the sun to rise and bathe the sidewalks and neighborhoods with the day’s first warm light. He describes himself as a “professional wanderer about town, documenting the people and places I see.”

And I will probably see a lot more of him now as he will have more time for the street photography he most enjoys.

Readers — and his editors — will miss his breaking news coverage, as he will no longer be checking the news websites, apps, and tips from sources before heading out pre-dawn to visually report on the aftermath of overnight shootings, fires, or accidents. He usually filed his news photos before the reporters even turned on their computers.

The way he sees the city however, will endure and readers will still see his work, whenever Inquirer.com or the Inquirer or Daily News needs a photo to illustrate a story about SEPTA, or pedestrians and city workers, bikers and joggers and dog walkers — in all kinds of weather, they will tap into the admirable archive of his images in our digital library.

At The Inquirer, Alex photographed protests and elections; changes in the seasons and weather; parades, celebrations and memorial; kings and criminals. Yet his most memorable images came from those seemingly unremarkable mornings.

Since 1998 a black-and-white photo has appeared every Monday in staff photographer Tom Gralish’s “Scene Through the Lens” photo column in the print editions of The Inquirer’s local news section. Here are the most recent, in color:

» SEE MORE: Archived columns and Twenty years of a photo column.