5 Questions For Rick Waldroup


DFZ

Rick Waldroup has been a member of Fotozones since practically the beginning of the original site in 2006. Over the years his photos of American street life shown on FZ have constantly fascinated us. We ask Rick 5 questions about photography and his life in this craft. 

 

1. Tell us how you first got interested in and then later involved in photography as a professional. 

 

I was about 8 years old in the early 1960's when I received as a gift, a Kodak Instamatic type of camera. I started taking pictures of my friends and my family. I found myself wandering around my small town taking photos of people, buildings, parks, whatever I could find to photograph. I never gave much thought about why I was taking photos of such mundane scenes, it just seemed like the right thing to do. A few years later, an art teacher gave me a copy of The Americans by Robert Frank, and suddenly, I knew exactly what I wanted to do.

 

That led to shooting for  school / college newspapers and eventually shooting professionally for several newspapers in the Dallas area. In the 1980's I abruptly made a career move and started shooting architectural photography. I did this for over 20 years. I later shifted back to photojournalism and documentary / street work and that makes up the vast majority of my photography today.  

 

2. We’ve seen your amazing work in photojournalism shown on Fotozones, what other genres of photography interest you (of any) and why? 

 

I mostly admire and follow street and documentary photographers, but I also have a deep respect and a certain fascination with personal art photography or performance art photography.  Loretta Lux, Cindy Sherman, and Marie Cosindas are very inspirational to me, just to name a few.

 

3. The personal project work that you’ve shown us in the past is always interesting. Tell us a bit about the project process and how you work through and decide undertaking a project. I’m personally interested to know if you go out and shoot for your projects specifically or if you file work you have done into projects retro-actively?

 

I find I am at my best when I am shooting for a particular job or project. I am focused, in tune, and usually on target as to what I want to achieve. I also find that I seem to find a deep sense of release when a project is over.  At times I go out shooting with a particular project in mind, but I also hit the streets and simply shoot. what I find. I shoot multiple projects at a time. For myself, I find that this type of approach to photography is what keeps me going because my success rate or keeper rate is low, which is as it should be.

 

"We'll Meet Again" is project that I have been working on for several years. This type of project is long-term as I do not go out and specifically shoot for it. It is a series of street portraits which is very different from my normal street photography. I find strange, unusual looking, and eccentric characters to shoot and this project involves me actually interacting with the subjects, something I almost never, ever do with my street and documentary work.

 

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"Dream City."

This is another project that I would go out and specifically shoot photos for it. Being shot almost exclusively in downtown Dallas, Dream City was my attempt to capture the slightly surreal, sometimes dreamy images that can occur in everyday life in a thriving downtown area. For this particular project, I purchased a Holga lens for my digital camera and I also used a home-made set of diffusion filters to achieve the certain atmosphere that I was looking for."

 

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"Riding the Rails." Shot between August of 2008 and August 2009, Riding the Rails documents my travels on commuter trains in the Dallas / Fort Worth area. The goal of the project was to capture images of people who ride the trains and who also frequent the various trains stations. I purchased a particular camera to shoot the photos- a Ricoh GRD II. A very discrete but excellent point-and-shoot camera that proved to be perfect for the project. Almost all of the photos were shot with the GRD. This is the type of project that I go out and specifically search for scenes to shoot.

 

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4. We’ve seen you move from being a Nikon man to a micro four thirds shooter and now back to Nikon again. What prompted the reversal and how have you found it impacting your work (if at all)? 

 

After decades of shooting professional Nikon cameras and lenses, in 2009 I decided to make the change to the micro 4/3 system. My first camera was the Panasonic GF-1 with the beautiful 20mm 1.7 lens. I was shifting away from carrying extremely heavy Nikon gear to a lighter platform with an amazing set of lenses at a very affordable cost. For the next 8 years I shot micro 4/3 cameras and lenses professionally and also for my personal work and for the most part, I loved the system. However, when the Nikon Df came out I remember visiting a local camera store and taking a look at the camera and I immediately thought that this might finally be the digital camera I have been looking for all these years. I finally changed systems just a couple of months ago. I do not know how to explain it, but I went back to my roots. I have found the Df to perform brilliantly in low light situations - something I shoot quite a bit of. It is much smaller and lighter than my last professional Nikon cameras, the D2H and D2x. I have assembled a great set of prime lenses and a couple of excellent zooms for documentary work. I am having a blast.

 

5. With all the changes in the technology of photography, how do you see things playing out in the next 10 years? 

 

Despite my latest fling with the past, I see the photography world constantly moving, shifting and above all, constantly inspiring people to share their images world wide. Cell phone photography is the ultimate future, until that future is replaced it does not matter.  We are all connected.

 

 

Edited by DFZ


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