Interview witth Dewey Keithly

Upon meeting Dewey, your first impression is of an open, amicable person that’s approachable and easy to talk to. He walks at a relaxed pace while others push by in a hurried fashion through the hallways of the photo department at Grossmont, and is easily spotted by his collared shirts and brightly colored nikes. It’s for all these reasons that upon first seeing his work that you’re shocked how “rough around the edges” his subject matter can be. Whether it’s a formal and purposeful portrait shot on the bulky 4×5 land camera of a shirtless latino man sporting possible gang tattoos, or a quick snap on a canon g10 depicting a woman asleep at a trolley stop in a lower class portion of San Diego, Dewey’s photographs more often then not portray people in walks of life different from what some of us may be experiencing. However he does not limit himself to these areas alone. His most recent work has been of the streets and subways of New York City, floor to ceiling condo life in Downtown San Diego, and abandoned buildings that have been foreclosed upon.

Dewey’s friendly and approachable personality shines through the work as it is clear that despite photographing people who are living in areas far from his own, he respects his subjects and is attempting to demonstrate an appreciation for them. It is clear within the frame that a connection has been established between photographer and subject.

Q: For your extensive work with the 4×5 camera in Barrio Logan, what reasons brought you to that particular part of San Diego?

A: It was actually by chance that I began to work in Barrio Logan. At that time I had been confused as to what my subject matter should be while shooting with the 4×5 camera. (I’m sure some of you remember that.) The first portrait I created was of a painter on the border of Golden Hill and Barrio Logan. It was better than anything I had shot with the 4×5, so I decided that it needed to be further explored.

Q: Did you ever feel apprehensive about approaching any of the individuals you chose as subjects for the series?

A: Nope. Although with some of the people I shot, some of the things they told me did make me a bit nervous. But that’s what made it fun.

Q: What did you like most about photographing Logan Heights with the bulkier and unwieldy 4×5 camera?

A: The best part of shooting in Logan Heights with a 4×5 camera was my opportunity to slow down and really think about what I was doing there. Instead of me going through a place and taking extensive amounts of images with a digital camera, it was necessary for me to go there and set up and observe what this place was really about.

Q: Do you have a specific photograph from the series that is a personal favorite?

A: I enjoy many of the images that I created. If I had to pick one, it would most likely be my first portrait. It is of the painter I mentioned before. He is standing quite confidently with his shirt on his shoulder, showing off his tattooed body, and staring directly into the lens. With his jeans worn down and spattered with paint, you can really get a feel of who this man is.

Q: This past summer you photographed New York with a canon point and shoot g9, what was the transition like from working with a slower and larger camera to shooting with a pocket sized canon that emphasizes mobility and encourages shooting many pictures?

A: This was a definite change for me. I am glad that I had shot with a 4×5 before I shot with the g9, so I wouldn’t forget about slowing down my thought process. Any photographer could get caught up in a place like New York. There is so much going on and it is such a fast paced place, that I could have just shot a bunch and not really have too much of a vision in my work. I had time to think about what I wanted to say about New York, and what I wanted to accomplish there, and I am glad I did.

Q: Currently you’re photographing lower class portions of Chula Vista with the g10, what brought you to this place?

A: I have a good friend, Mike Aland, who lives in Chula Vista. Although Mike can’t wait to move out of the area, I have always been intrigued with the many different people, and storefronts in Chula Vista. It seems like there is some kind of lost identity there. It’s not quite Tijuana, but it still doesn’t seem like you’re north of the border. I have made some images of a trailer park I found on my last venture there which I feel should be investigated more deeply. It seems so out of place.

Q: How has the experience been photographing candidly with on camera flash as opposed to asking permission before hand as you did with Barrio Logan?

A: Well, I definitely still get yelled at, but this way I have an image. Only kidding. I do enjoy engaging in a more intimate relationship with my subject matter as I did with the people in Barrio Logan. A person’s personality and identity can be well displayed when being photographed in this order. If a person can feel comfortable with the photographer, their true emotions will come out. I feel though that in some instances a moment can be lost if it is not shot right when you come across it. It is definetly a new approach, but I feel both ways are very effective. Bruce Gilden work style was able to help me shoot candidly.

Q: Your photographs are almost always taken in close proximity to the subject, are there specific reasons for choosing to work so close?

A: I think that images of this matter are much more powerful close up than from far away. It feels almost uncomfortable for the viewer look at images like that. Especially when the subject matter is making direct eye contact with you. It makes it more personal.

Q: For your most recent surveillance work downtown, how did you find your vantage points?

A: I decided that I needed to be at exact eye level with my subject matter. I had the idea of shooting from the tops of a couple buildings, and even snuck into a bar that was being rented out for a party at the top
 of the Marriot Hotel, but wasn’t satisfied. So I decided that shooting from parking structures would be my best bet.

Q: Did you feel conflicted at all about how you approached the work?

A: I did not feel conflicted as to if I were invading anyone’s space. I know I was, but it didn’t bother me. I think for this type of work, it is important to find where you stand, and make those precautions before you photograph. For me, I do have limits for what I will photograph, but I do also think that it is important to sometimes step out of your comfort zone. I am always very conscientious of my feelings, and for my safety while I shoot. If I ever have an unsafe feeling like I shouldn’t be somewhere, I leave a.s.a.p.

Q: What were some of the considerations you had when selecting which subjects to photograph for the surveillance work?

A: Well, this is probably the most important question a photographer should ask him or herself when doing any project. I had to do a lot of searching. I watched people for a while. I know it sounds kind of creepy, but that is what I needed to do to get some effective images. I actually started this project up in Santa Barbara, shooting into fraternity parties, but wasn’t satisfied with my vantage points.

Q: How far away were you from the people you were photographing?

A: In some of my surveillance images I was about 40 or 50 feet away, with my lens zoomed in all the way. On the image of the man sleeping, I was maybe 15 or 20 feet away. It depended on how close the parking structure was to the buildings I was shooting into.

Q: Did you encounter any problems with security or police?

A: I had some issues with security. Fortunately there are plenty of escape routes in parking structures. I typically enjoy persuading these types of people to let me shoot though. Each parking structure I shot at was visible by neighboring buildings on each side. There were many people noticing me work. So in a way, I was under surveillance. I had to work quickly, because with the many people viewing me, and making phone calls, it was destined that the police would show up.

Q: Is there a general conceptual idea you attempt to convey through your work?

A: One main idea I really try to emphasise in my photography is making a connection between the subject and me being the photographer. In my portraits, I feel it is vital to have that intimate connection. If there is no connection there, why take the picture?

Q: Where do you see yourself in the future in terms of photography?

A: I would love to move on with photography and progress. I love documenting places, and will work in that field. I want to have a career that I love.

Q: Which photographers have influenced your work?

A: Bruce Gilden ‘s work influenced my street work in New York, and even recent works I have done.
Richard Avedon’s “In the American West” project helped me on shooting my portraits with the 4×5 camera in Barrio Logan. I also enjoy Gary Winnogrand and William Eggleston’s work.

 

from the Barrio Logan series:

from the Chula Vista series: