Photographer Captures a Raw San Francisco Beyond a Startups

October 3, 2014 - photo frame

Rap Groupies. Santa Cruz, 2012. Photo: Rian Dundon

Beach At Dawn. Point Reyes, 2012. Photo: Rian Dundon

Adam And His Pit. Seaside, 2010. Photo: Rian Dundon

World Series Parade. San Francisco. 2010. Photo: Rian Dundon

Steamers Lane. Santa Cruz, 2010. Photo: Rian Dundon

Ed Working Out After Prison. Monterey. 2010. Photo: Rian Dundon

Ed And Aurora At Burger King. Seaside, 2009. Photo: Rian Dundon

Tiffany, Holly And Ed On Ocean Beach. San Francisco, 2014. Photo: Rian Dundon

Ed and Chris. Seaside, 2010. Photo: Rian Dundon

Derek After Surgery. Monterey, 2009. Photo: Rian Dundon

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Rap Groupies. Santa Cruz, 2012. Photo: Rian Dundon

Beach At Dawn. Point Reyes, 2012. Photo: Rian Dundon

Adam And His Pit. Seaside, 2010. Photo: Rian Dundon

World Series Parade. San Francisco. 2010. Photo: Rian Dundon

Steamers Lane. Santa Cruz, 2010. Photo: Rian Dundon

Ed Working Out After Prison. Monterey. 2010. Photo: Rian Dundon

Ed And Aurora At Burger King. Seaside, 2009. Photo: Rian Dundon

Tiffany, Holly And Ed On Ocean Beach. San Francisco, 2014. Photo: Rian Dundon

Ed and Chris. Seaside, 2010. Photo: Rian Dundon

Derek After Surgery. Monterey, 2009. Photo: Rian Dundon

If you’ve never visited a San Francisco Bay Area and all we know about it comes from a stories and stereotypes we see in a media, you’ll be unhappy with Rian Dundon’s Out Here Vol 1. But that’s a point. He doesn’t sketch prohibited startups, hip restaurants, or even a Golden Gate Bridge. He focuses on a normal, roughly mundane, aspects of life in a city.

“There are few places as installed as Northern California with preconceived meanings,” says Dundon, 33, who lives in Oakland. “Not that issues like record and gentrification aren’t important, though there are other ways of saying it. Most of us here aren’t going about a lives meditative about Google buses.”

For anyone who’s spent time in a Bay Area, his images feel strikingly familiar. He’s prisoner scenes and places we pass by any day, and finished so in a approach that feel greatly accurate—from a tonality of light, to a impression of people, to a approach he’s selected to support a settings he’s photographing. The work, all in black and white, also is really personal. He grew adult in a Bay Area, altered away, afterwards returned 4 years ago after 6 years in China. The photos are his greeting to how things have changed, a diary of sorts chronicling what it’s been like to be back.

“I consider it’s critical that photographers sketch where they’re from, and about issues that impact them,” he says. “But it took me a prolonged time to be means to come home and do this work.”

Some of a photos can be tough to review since they’re so personal. Some of a people in them are friends, and any has his or her possess story. Other photos speak, subtly, to broader issues. Take, for example, a print of several immature women, any with a cellphone aloft, brisk around a immature male in a hat. He’s a California rapper Philthy Rich, and a picture conveys a augmenting mania with documenting a lives rather than savoring a moment.

“It’s about a approach that record contributes to a stress of a lives,” he says. “That’s not specific to California, though it was innate here. I’m creation a really visible indicate here about record and recklessness of it all.”

Out Here Vol. 1 is self-published and something like a ‘zine. Dundon chose to self-publishing to equivocate formulating an expensive, rarely discriminating book that went opposite a thesis of his work. There will be some-more to come; volume dual will concentration some-more firmly on San Francisco, though Dundon hasn’t motionless what he’ll do in volume three.

Dundon considers his work documentary in nature, though it’s transparent that he doesn’t fire in a traditionally documentary style. His storytelling isn’t quite linear, and his altogether account can be tough to grasp. He’s OK with that. He likes a fact he’s figure his possess niche. “I run into people who don’t get it, and that’s totally current too,” he says. “I’m really hugging a line and infrequently step over toward unpractical and art work. But I’m happy there on a line.”

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