I used to be on task for The Metropolis masking the cabbies at a protest exterior of Metropolis Corridor and there was one man I observed who appeared zen, like he was perhaps meditating. He’d had his eyes closed for a very good minute or two, very peaceable and serene whereas all this commotion was happening round him. After which I see this bus coming down with an advertisements for a film with two folks screaming, and the sunshine was proper on this one who’s meditating. Then because the bus got here, the sunshine was additionally proper on these figures on the bus. It was this unbelievable second. I used to be simply — and all photographers do that — praying: “Please, simply preserve doing that for an additional second. Please, I must get this {photograph}.” And fortuitously, he stored meditating for an additional minute and I used to be capable of take that shot.
There are these nearly absurd, tense moments that occur on a regular basis which are great. These moments that you simply by no means suppose would occur in 1,000,000 years however seem to be they’re completely aligned. I took {a photograph} that appears like I had it staged but it surely’s not. It was simply the kismet of New York Metropolis that occurs when there’s so many individuals and issues happening round you on a regular basis.
Ben Fractenberg, visuals editor for THE CITY, joins LIT NYC hosts Harry Siegel and Amy Sohn for a wide-ranging dialog about road pictures, photograph journalism and rather more.The interview comes simply earlier than the opening reception for Ben’s solo present, In Rigidity, this Friday night from 6-9 at Gallery 198, at 198 twenty fourth St. in Brooklyn, together with his work then on show there via November.
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