9.11.2008

Nine eleven.

(L-R) Brothers and sisters: Jack, Maxine, Harold, Dorothy and Gerry. ©Ryan Schierling

Today, most people will be thinking about something that happened seven years ago, but this day also marks the 80th anniversary of my grandmother Dorothy's birth. 

Happy birthday, Dot.

10-57.

(L) 3rd Ave. and Pike, the day after the hit and run. (R) 1st Ave. N and Harrison. ©Ryan Schierling

9.10.2008

Nine things I photographed today with a point-and-shoot camera, and one thing I didn't.

©Ryan Schierling

I had to run an errand downtown this afternoon, and I chose to drive instead of walk, like I normally would. My ankles were hurting like crazy from a run and there was no way I was going to make it to 4th and Pike as a pedestrian. So, I left the house in the car, fretting that I was going to never find a parking spot or that someone would do something stupid and wreck themselves into me, or me into them. I've gotten a bit automobile paranoid in my late 30s, and I blame that on living in a city with horrible traffic, horrible drivers, and the fact that most cars now are like your living room – comfortable, street-noise free vessels that have your phone, your DVD player, your stereo, your comfortable leather recliner (heated, of course), your GPS system, your Big Gulp in one of six cup holders, et al, and that most people drive their cars accordingly, like the completely oblivious and distracted morons they are.

Once downtown, I circled the block I needed to park on for a good 30 minutes. Then I circled the eight blocks outside of the block I needed to park on for another 30 minutes. Frustrated, I decided to drive home and take care of the errand in the morning, when I was feeling better about the walk, at least from the monorail. Heading north, at 3rd Ave. and Pike, the light turned yellow. The car in front of me accelerated, as most cars do at a yellow light, and sped through the intersection.

The next thing I saw was a man, wearing khaki cargo shorts and a white shirt, being ragdolled backwards over the right-front corner and top of the car that ran the intersection, his shoes flying in different directions and his shorts coming halfway off. Blood, flowing from his head after he hit the street, saturated his white t-shirt and began to pool around him. The car that hit him slowed a bit – I remember brake lights – and then sped off up the street. I felt sick, like my stomach was jolting up out of my body in slow motion, spinning a bit and dropping back in. The light was still red. People on the corner were bringing their hands to their faces and calling 911 on their cell phones and gathering around this man who had just been thrown through the air by an automobile. 

I don't remember if he stepped into the crosswalk while the light was yellow. I don't remember if the light was red when the car sped through the intersection. I don't remember anything other than the stilted, bloody, ragdoll-like spin of a man momentarily in the air before hitting the pavement. 

8.28.2008

Go Away Come Home.

©Ryan Schierling

Twenty years ago, I made magazines.

Well, little magazines. 

We just called them 'zines. They were xeroxed – filled with photographs and writing about whatever it was we were doing back then, usually skateboarding and BMX and lamenting about girls – and often traded via mail with other like-minded teenagers in far-flung parts of the country. It was an incredible creative outlet and I met a lot of interesting people.

I've still got a stack of 'zines from the late '80s in the closet – with some notables being Stapled and Xeroxed Paper by Spike Jonze, Aggro Rag by Mike Daily, Marcel Marceau's Speech Therapist by Nor-Cal Swami Scott Davidson and Disobedience by Alberto Kroeger. 

But self-publishing a full-color, high-quality magazine hasn't ever really been an option. 

Until now.

Go Away Come Home is a 56-page visual retrospective of my 2007 and 2008 summer tours with Seattle band Spanish For 100. Five weeks of shooting. A month of editing. Two weeks of magazine layout. Two blind-drunk days of wondering whether or not this was a good idea.

After having lived on a hard drive and/or strips of black-and-white negatives for the last year, it's good to finally have given these images a home. 

Copies are available here.

There are additional projects/magazine issues underway, so send me an email if you'd like to be notified when they are available.

8.11.2008

Emily Silver.

Emily Silver, 2004. ©Ryan Schierling

It's always an odd feeling when, many years later, you see someone you've photographed before and haven't seen since. In this instance, I got that strange feeling when I saw the women's Olympic 4x100-meter freestyle relay preliminary heats this weekend. Bainbridge Island's Emily Silver, who I photographed more times than I can recall during her decorated high school swimming career from 2000 to 2004, is all grown up and helped the United States 4x100 freestyle relay team to the Olympic finals, despite having surgery on a broken hand after coming into the wall too hard during a sprint on July 5.

The team, sans Silver after the prelims, went on to win a silver medal in the finals. Emily's folks, Bob and Mary Sue have blogged about their daughter's Olympic progress over at Bainbridge to Beijing. Congratulations to Emily and the Silver family!

7.30.2008

Multimedia.

The Uptown. Minneapolis, Minnesota. ©Ryan Schierling

I've been working on a two-headed approach to a single project lately - my 2007/2008 tours with Seattle band Spanish For 100 will, by the end of August, be presented in a couple of different formats. The first will be an online retrospective, with music by the band (hopefully the only reason you'd ever use music on a photography website...). The second will be a magazine, which is something I've really been wanting to do for a few years now. I'll keep everyone posted on the progress.

Aaron. ©Ryan Schierling

S&S Cafe. Emporia, Kansas. ©Ryan Schierling

7.21.2008

Sno-Isle Libraries.

©Ryan Schierling

I shot some reportage for the Snohomish-Island County Library system recently, highlighting their summer programs for teenagers. I also thought it would be nice to include some clean and classic portraiture of the kids and library staff, even though it wasn't specifically requested. They were thrilled with the additional work. Thanks to Jennifer and the rest of the library staff, and all of the teens who participated.


7.11.2008

Slipknot.

Outtakes - Slipknot DJ Sid Wilson; Slipknot crowd at White River Amphitheater. ©Ryan Schierling

I spent the day at the Mayhem Festival at White River Amphitheater, getting some specific photographs for Mackie Designs, Inc., an audio gear manufacturer based in Woodinville, Washington. Sid Wilson, turntablist for Grammy award winner Slipknot, uses Mackie mixers and loudspeakers, and has a tricked-out RV that functions as a rolling platform for getting his own music - as DJ Starscream - to the masses. The back panel drops, the Mackie gear comes out and Sid drops the needle. It's an instant party.

Many thanks to Shaunna at Mackie, and Sid Wilson and everyone from the Slipknot crew that made the long, hot day a pleasure.
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7.08.2008

Brothers.

Denis and Damir. ©Ryan Schierling

Denis: "Man, get me another one of those cheap-ass ice creams."
Damir: "What?"
Denis: "The ones with the bad carbon footprint."

7.02.2008

Subterranean Pop.

Sub Pop cofounder Jonathan Poneman, for Seattle Metropolitan magazine, July 2008. 
©Ryan Schierling

I remember listening to Mudhoney's self-titled album (on cassette), in Emporia, Kansas, in late '89, thanks to my friend Gary and his definitively progressive taste in music. Everyone else was listening to Guns N' Roses, Tone Loc and whatever Whitesnake / White Lion / Great White song was popular at the moment. Little did I know that nearly 20 years later, I'd be living in Seattle, Sub Pop would be going stronger than ever, and Mudhoney would still be touring.

Go figure.