CNC Magazine

COFFEE CAMERAand a

» Collective photography spanning Miller’s Mill, McDonough, Rex Mill, and Southerness.

» Featured Photographer Justin Phillips

» Why History Matters

ISSUE 1 • 2011

Miller’s Mill // Stockbridge

Southerness // Stockbridge

Rex Mill // Clayton County

a photography journal

2 COFFEE AND A CAMERA MAGAZINE

INQUIRIES // [email protected] // www.coffeeandacamera.com

COFFEE AND A CAMERA • ISSUE 1

COVERThis old barn at Miller’s Mill, locatedin Stockbridge, Georgia, is shownshrouded and canvased by the earlymorning landscape. It was taken byJason Morrison with a Nikon D700 &Nikon 24-70mm f/2.8 lens, processedwith both Adobe Lightroom 3 andAdobe Photoshop CS4.

» ISO1600 | 1/2500th | f/2.8

» www.dubtastic.com

All content copyright their respective photographers and authors and are usedwithin this publication with permission. No portion of this publication may bereprinted in whole, or in part, without prior written authorization. The publishersand editors reserve the right, without giving specific reason, to refusesubmissions and advertising. Acceptance of any advertising does not carry theendorsement of the publishers. Submissions to Coffee and a Camera: APhotography Journal are made by members only. Written inquiries should besubmitted to CNC, 289 Jonesboro Road, Suite 431, McDonough, Georgia 30253.To join Coffee and a Camera, please find us on Facebook and request to be addedto the group.

PETO FALLAS// [email protected]//

RYAN ROARK// [email protected]//

JASON MORRISON// [email protected]//

COFFEE AND A CAMERA // founders

3ISSUE 1 • 2011

10 // MILLER’S MILL

42 // JUSTIN PHILLIPS

28 // REX MILL

7 // GEAR CHECK

MANIFESTO4 // ORIGINS OF COFFEEAND A CAMERA

OPINION6 // WHY THE HOLGA ISTHE BEST CAMERA INTHE WORLD

56 // SOUTHERNESS

68 // OUTTAKES

26 // THROUGHPHOTOGRAPHY

contents

9 // SUGGESTED READING

66 // CAMERA STRAP SHOWDOWN


manifestoIt’s 11:00 p.m. on Saturday

January 29, 2011 and I sit here full ofexcitement as tomorrow morning we meetagain. Tomorrows trip: Oakland Cemetery.

Many times some of the bestideas have come to me when I go jogging,or when I totally separate from the dailyroutine. On one of my early morning jogsduring the month of September 2010, theidea of coffee and a camera was born. Asa coffee lover (of course, I come fromCosta Rica) and as a growing interest inphotography, I thought about mixing both. The first meeting involved only twophotographers, the second session alsotwo photographers, and the rest is history.Starting with just shooting pictures ofnature, we have grown to having differentthemes on each Sunday. Ranging fromabandoned homes, to abandoned golfcourses, mills, lakes, and even asylums.

Coffee and a Camera is definitelyhere to stay, and grow. All it takes is onetrip, and you are hooked.

I have always enjoyed

encouraging people to focus their energyon positive things, and early morningphotography is one of them. You couldcompare it with activities like yoga. It’smind cleansing to be away from the dailyand stressful routine.

The tradition is to meet usually

thirty minutes prior to sunrise for coffeeand socializing. After that the group hitsthe trail and we drive to a specific location,or locations, where all of us take picturesfor a couple of hours. We all go home,choose our best pictures, edit them andpost them on various social media sitessuch as Facebook and Flickr.

For us photographers of alllevels, amateurs to professionals, it’salways a learning experience. Somemembers include doctors, police officers,builders, educators, entrepreneurs,government workers, bankers, and manymore professions.

Our trips vary. From local HenryCounty locations to out of state trips. Thiscoming May we are taking it a little further,as some of us are visiting Costa Rica.

In the near future, a website willbe available for the photographers toshare and sell their work. Stay tuned, grabyour camera, a cup of coffee and let’s allsay big CHEERS.

THE ORIGINS OF COFFEE AND A CAMERA ⁄⁄ PETO FALLAS

CATCH THE CREW ONLINE: www.coffeeandacamera .com

Coffee and a Camera isdefinitely here to stay,and grow. All it takes is

one trip, and you are hooked.

5ISSUE 1 • 2011


We have all been there. Out of any large group of photographers appears, theseemingly inevitable gear comparison conversation rears its ugly head. “Youhave the 500? Well, I shoot with the 800. It also does laundry and preventsuneven tire wear.” We have all heard it, said directly to us or to a friend.

Enter the Holga. This wonderful little camera, designed originally in 1981, isa medium format 120 film camera. The photography community frequentlyclassifies the Holga as a “toy camera”. Its appeal is unlike other cameras inthat it is not necessarily what the camera does right but what it does wrong.Cheap construction frequently results in light leaks, blurring, and other defectsthat many photographers find appealing. When purchasing a Holga oneusually hears “throw the lens cap away” and “cover the back of that thing withgaffers tape”. Certainly not a high end modern DSLR.

Making its debut in China, the purpose of the Holga was to provide anaffordable camera to a very large number of people. Once 35mm film becamethe standard, 120 film was placed on the back burner and forced the makersof the Holga to market the unit in new territory.

The camera has now almost become a sensation among photographers andfilm enthusiasts. Unlimited colors, modifications, and accessories areavailable. With a wine cork and tape, you can convert a Holga to a 35mmcamera. Stereo Holgas and even Holgaroids, Holgas with a Polaroid back,have surfaced and produced stunning imagery.

More than the defects, accessories, modifications, affordable price (you canpick up a Holga for $20), and other fascinating features of this toy camera,comes the reduction of photography to one of its most simple and basicelements: point and shoot. With little options for adjustment, you simply aimand fire and anxiously await the results of the film being developed.

With the Holga, there are no debates on full frame versus crop, Nikon versusCanon, or zoom versus prime. As you stand in a group of photographers withyour little $20 piece of plastic, you remove yourself immediately from any andall equipment debates, when the next model is said to be released, what therumor websites are saying, or whether or not your camera is capable ofshooting video.

You are merely a photographer with one of the most beautifully simplecameras. That is why the Holga is one of the best cameras in the world.

opinion

why the holga isthe best camerain the world⁄⁄ JASON MORRISON

7ISSUE 1 • 2011

gear check

1 In his Tamarac bag, photographer RyanRoark totes his Nikon D700, Nikon 85mmf/1.8, Nikon 16mm f/2.8 Fisheye, Zeiss50mm f/1.4, and Sigma 1.4 Teleconverter2 In his Crumpler bag, a Leica M8 withZeiss 50mm 1.5 lens and a Leica X1 fixed24mm 2.8 lens. Other Ryan also shootswith a Nikon 24-70mm f/2.8, Nikon300mm f/2.8, Zeiss 25mm 2.0 with hisLeica M8, and two Nikon SB-900s. Ryanalso carries a Canon G12 and issponsored by Patagonia Vests.1

2

9ISSUE 1 • 2011

reading

Asylum: Inside the Closed World ofState Mental HospitalsArchitect and photographer Christopher Payne spent sixyears documenting the decay of state mental hospitals likethese, visiting seventy institutions in thirty states. Throughhis lens we see splendid, palatial exteriors (some designedby such prominent architects as H. H. Richardson andSamuel Sloan) and crumbling interiors—chairs stackedagainst walls with peeling paint in a grand hallway; brightlycolored toothbrushes still hanging on a rack; stacks ofsuitcases, never packed for the trip home. The book isavailable at Amazon and through the artist’s website atwww.chrispaynephoto.com.

Beauty in Decay: TheArt of UrbanExplorationTake nothing but photographs,leave nothing but footprints.This is the unspoken rule ofurban explorers, whosometimes risk their safety,police records, and even theirlives to explore abandoned

buildings, sewers and storm drains, transit tunnels, utility tunnels,high-security areas of inhabited buildings, and even catacombssuch as those in Paris, Rome, Odessa and Naples. Although theseurban explorers usually work solo or in small teams, theycollectively put forth a ground cry against a modern culture thatembraces the new, polished, uniform, and mundane. Urbanexplorers find the beauty: layers of graffiti by years worth ofwriters, multi-hued peeling paint, antique objects, someone'sinitials left in the dust on a broken stained glass window andphysical manifestations of memory that abandoned, impermanenturban spaces can hold. Beauty in Decay features the best in full-color, panoramic photographs from urban exploration or Urbexaround the world. Available at Amazon.com

Wall and PieceThe collected works of Britain’s mostwanted artist.

Artistic genius, political activist, painterand decorator, mythic legend or notoriousgraffiti artist? The work of Banksy isunmistakable (except maybe when it’ssquatting in the New York’s MetropolitanMuseum or Museum of Modern Art.)Banksy is responsible for decorating the streets, walls,bridges and zoos of towns and cites throughout the world.

Witty and subversive, his stencils show monkeys withweapons of mass destruction, policeman with smileyfaces, rats with drills and umbrellas. If you look hardenough you’ll find your own. His statements, incitements,ironies and epigrams are by turns intelligent and wittycomments on everything from the monarchy andcapitalism to the war in Iraq and farm animals.

His identity remains unknown, but his work is prolific. Andnow for the first time, he’s putting together the best of hiswork—old and new—in a fully illustrated color volume.

Available at Amazon.com.

Need a Dose of Sarcasm?Wedding photographers will certainly

appreciate following @bitterwedphotog and@uncle_bob on Twitter. For the generalphotography enthusiast, be sure to visit

Photographer’s Math athttp://photogmath.blogspot.com.

PHOTO BY JASON MORRISON

millers mill

ISSUE 1 • 2011 11


13ISSUE 1 • 2011

miller’s mill

Above Michelle BlountOpposite Peto Fallas


15ISSUE 1 • 2011

miller’s mill

1 James Blount2 Peto Fallas 3 Jorge Mayorga4 Jason MorrisonOpposite Jorge Mayorga

1 2

3 4

PHOTO BY RODNEY CHRISTOPHER

ISSUE 1 • 2011 17


James Blount

19ISSUE 1 • 2011

miller’s mill

Ryan Roark


Jorge Mayorga

21ISSUE 1 • 2011

miller’s mill

Rodney Christopher


23ISSUE 1 • 2011

miller’s mill

Above Rodney ChristopherOpposite Ryan Roark


contents

ISSUE 1 • 2011 25


A photograph is a magnificent,

mysterious thing. Photographs are

visual artwork. They can take

something ordinary and elevate it

to a position of honor. With every

picture you take, you are freezing

a moment in time; capturing a view

that will never be exactly the

same again. Yet we have become so

accustomed to them that we often

take them for granted.

The same goes for time. As it was

once said, “It’s awfully difficult

to keep the line between the past

and the present.” We are so busy

looking ahead that we forget where

we came from. I’ve always been

fascinated with history,

particularly ancestry and

architecture. In some respects,

I’ve been very lucky. My family’s

history in Henry County is well-

documented for the most part. I

have a great relationship with my

grandparents, and have learned

volumes from their remembrances

and stories.

Growing up, I spent a great deal

of my youth hanging out with my

grandfather’s friends down at the

country store he owns in

Kelleytown. I would sit and listen

intently to the wonderful stories

they would tell of a way of life

that is no longer known in Henry

County - from unpaved streets and

horse-drawn wagons to grand cotton

mills and dirt-floor schools.

Sadly, today many of those people

are no longer with us. And their

stories have gone with them.

Memories are a perishable

commodity. The one thing I like

about photographs is that they can

tell a story long after memories

have faded. A picture is a window

into the past.

“through

photography”

insight into the importance

of history

and photography by beau kell

ey

27ISSUE 1 • 2011

Photography spans time anddistance as a bridge between lostworlds. One of the aspects ofCoffee & a Camera that I have mostenjoyed is visits to abandonedarchitecture. I am drawn to themystery and unexpected beautyfound in these crumbling buildingsand neglected monuments. Likememories, they are fadingtestaments that our place in thisworld is temporary. Theseseemingly forgotten mills,bridges, mansions, churches,theatres and storefronts stillhave a story to tell. These arethe modern ruins of America,filled with the echoes of the

voices and footfalls of ourforefathers. You don’t miss themuntil they are gone. But what mayeventually fall under the wreckingball now lives forever through myphotographs. It’s an honor that ishard to express with words.

Through photography, I am anartist, historian, storyteller,archaeologist and preservationistall rolled into one. With theclick of a shutter I can beVincent Van Gogh, Ansel Adams,Mark Twain, Indiana Jones, orHenry Thoreau. All the while I’mjust Beau Kelley looking throughthe viewfinder.

Kelley Homeplace in Kelleytown, GA Circa 1896


Along the edge of Big CottonIndian Creek, now nestled nearly out ofsight from regular commuters, you willfind historic Rex Village. The NationalRegister of Historic Places contains anentry for Rex Mill dating back to 1979.Its historic significance is of anarchitecture and engineering naturewith a period of significance said tohave been between 1825 and 1849. In2010, Rex Village was included on thePlaces in Peril list by The Georgia Trust.

Once a very busy operation,farmers were said to have traveled byhorse to have their grain processed.The Mill area now consists of a fewlifeless buildings seemingly forgottenalongside a closed road. The only noisewould be a passing train or carshumming along the newly constructedbypass. At 7am the Mill is silent, cold,and found under a blanket of red andgreen artificial light. Little moves savethe cars off along the horizon andportions of the area are dotted with No

Trespassing and No Parking signs,proof that the area once had a pulse.The traffic lights bookending the old one-way steel bridge remain constant red.

At one side of the Mill area sitsan old building, most likely used atsome point for a variety of services, butnow stands empty. Plywood replacedcurtains and windows and the brightcoat of paint and colors have long since

given way to a corroded skeleton of astructure. The old road, now diverted,can still be seen and is capped withsignage indicating its closure; weedsand nature slowing reclaiming it.

Opposite side of the bridge isa small trail that has been traveled byvehicles enough to carve a small path.Running parallel to the creek that feedsinto the Mill and spills over and underthe bridge, the trail offers a glimpseinto an old factory hidden behind somemodern warehouse exterior that facesthe road.

The C+C crew has visited thislocation twice now, each timefascinated by the wonderful history andphotogenic nature of the area, as if itbegs to be the spotlight again. Perhapsif restoration efforts continue, this areawill indeed see flowering life. Untilthen, it will remain tucked away and ahidden gem of the south.

rex mill⁄⁄ JASON MORRISON

The Georgia Trustnamed Rex Village intheir Places in Perillist for 2011.

29ISSUE 1 • 2011

PHOTO BY PETO FALLAS


1 2

31ISSUE 1 • 2011

rex mill

1 Kim Adams 2 Jason Morrison 3 Peto Fallas 4 Russ Lamp

3

4

PHOTO BY PETO FALLAS

ISSUE 1 • 2011 33


35ISSUE 1 • 2011

Above Kim AdamsOpposite Sarah Knight


Russ Lamp Jorge Mayorga

37ISSUE 1 • 2011

Jason Morrison

rex mill

PHOTO BY KIM ADAMS


Jason Morrison

41ISSUE 1 • 2011

rex mill

Peto Fallas


Recently, McDonough based photographer, Justin Phillips, sat down with Coffee and a Camera and

explained why New Mexico is so cool, the love ofshooting people, 365 Projects, and why he wants to go

on an African Safari.

justinphillips

43ISSUE 1 • 2011

feature

COFFEE AND A CAMERA MAGAZINE44

45ISSUE 1 • 2011

For those out there who do not know you, how about alittle introduction? I am a 36-year-old photographer from McDonough,Georgia that loves to take photos of all kinds of people andinteresting subjects. I am happily married to my bestfriend Beck, and I am the father to three awesome dogsthat like to beg...all the time.

When did you first get started with photography andwhat about it interested you?Well, I grew up in a somewhat artistic family, so growingup, I was always taught to see things for their beauty,different textures and depth. My father and mother areboth “artsy” in their own way, so it rubbed off on me.Allowing me to travel to beautiful places and letting mesee things my way allowed me to develop my eye for thethings I love to photograph.

I was drawn to photography while traveling and living inNew Mexico. While there, I went into a gallery and sawan Ansel Adams photo taken at thePhilmont Scout Ranch in NorthernNew Mexico. This happened to bethe place I was working at the time.I was in this spot in the photo nearlyevery day, and it looked more realand interesting in the photo than itdid in real life. I was amazed, in awereally. I bought my first film camerain the mid 90’s from a pawnshop. Ihad no clue what to buy so I boughtthe shiniest cleanest film camera Icould find. I spent $150 and wentthrough 20 rolls of film my first day taking photos of everything I saw. I was hooked!

I know that you are a Canon guy. What you chose thatbrand over others?I shoot Canon because it was the shiniest cleanest camerain the shop that day. It looked newer than the Pentax 67the guy was trying to talk me in to buying. I mean, AndreAgassi was the spokesman! So, I bought the spiffy Canon

Rebel Film camera. Sometimes I wonder if I had boughtthe other camera, if my style would have developed anydifferently. Now, I shoot Canon. Maybe out of sheerdedication to the brand that started me off.

When you are out on a shoot, what gear do you alwaysbring with you? I shoot Canon 5D mkII. I love this camera. The colors justpop. I carry 3 lenses most of the time. These are the 24-105mm F/4 L, EF 85mm 1.8, EF 50mm 1.4. I know theselenses backwards and forwards, and I also enjoy theweight when shooting weddings, as they are lighter thanthe F/1.2 lens. I carry a few 580EXII flashes and a fewSunPak PZ40X cheapo flashes that fire every time. I carry4 to 5 Pocket Wizard wireless triggers for my off camera

flash usage. I carry a few 4 gigcards, and a few 8 gig cards, anda Sekonic light meter as well.Pretty simple, but I do have a bitof gear that I haul all the time inthe back of my vehicle. Rangingfrom Beauty Dishes, AB1600’s,stands, booms, softboxes etc.

Many photographers feel thatpost-processing transforms thework from a pure state intosomething that can no longer be

labeled as photography. Where do you draw the linebetween digital art and photography? I actually welcome digital art in all aspects of photography.I am a fan and am amazed by some of my peers in digitalartistry. They combine the two together to make incredibleimages. I find myself using the digital mediums as a toolto see what I see when I take photos. I enjoy being behindthe camera more than I do behind the computer, but thinkthe digital workflow and post processing aspects are a partof being a photographer in this age. I try to draw the line

feature

I was drawn tophotography while

traveling and living inNew Mexico.

PHOTO BY JUSTIN PHILLIPS

contents

ISSUE 1 • 2011 47


between the two when things lookextremely unnatural in my photos.Some of the digital art is mindblowing awesome though.

During a recent presentation tothe Henry County PhotographyClub, you made mention thatshooting people was probablyyour favorite. Why is that? I used to be the photographer thattook photos of everything butpeople. I am a natural peoplewatcher, and I enjoy people andtheir mannerisms. I took a filmworkshop a few years ago withDebbie Fleming Caffery on documentary portraits and itchanged how I saw photography. Before, I wanted to shootlandscapes like Ansel. Traveling to these beautiful placesis the easy part. The difficulty lies in getting the lightingand timing right to capture beautiful landscape images.Since the workshop, all I want to do is shoot people. I canput them in light, get emotions, capture memories, andbring out the happy or sad moments. I just absolutely lovephotographing people from all walks of life. I even askedmy wife to marry me as I was taking her portrait, just tocapture her emotions on film. Talk about nervous… Inearly shot the 24 exposures before she said yes... Iactually get antsy now when I am not shooting. I reallylove it.

If you were granted a healthy amount of money to takea few months off work strictly to work on a personalphotography project, and have that project documented,what would it be? I would like to find all the people that have influenced mein my life, up to this point, and capture them as I sawthem. I would love to put them in the environments that Iremember most about them and do a portrait series. Itwouldn’t be life changing to anyone else but me, but itwould mean a lot personally and I feel like it would makepeople think about who and what influenced them in life.A selfish project, maybe, a meaningful one for me,

definitely. There are two projects Iwould like to focus on this year.The first, photographing the crazypeople in my neighborhood. Theother would be a photo series ofthe blue-collar labor groups thathave been forgotten in thedigital/technology age. I am alwaysdreaming of projects.

What photographers do you feeldirectly influence your style ormerely inspire you to do morewith your craft? Debbie Fleming Caffery was a biginfluence on me, and through the

workshop she turned me on to one of my favoritephotographers by the name of Shelby Lee Adams. I lovehis work and how he used his lighting on his portraits. Ialso am a fan of Sebastião Salgado. When it comes to mywedding inspirations, I find Jonas Peterson, Marc Climie,and Denis Reggie each incredible in their own way. Andsince my favorite type of photography is black and white,I fell in love recently with Nick Brandts book “On this Earth,A Shadow Falls” and the incredible images of animals inAfrica. Some of the most absolutely stunning images I’veever seen. It literally made me start thinking of an Africansafari soon. When it comes to my strobist style shooting,I am a fan of the one light godfather Zack Arias, David EJackson, and a guy names Dustin Diaz I found throughFlickr.

It would appear you have started another 365 project. Ithink many people would agree that a photo a day isdifficult at best. What about that project is so interestingto you? I have no clue why I even torture myself by trying thisproject! The last time I tried it, I became overwhelmedand only lasted about 5 months. This time, I plan on usingmy iPhone, processing less, and doing strobist setupphotos whenever I feel like it. The last one I did, I rackedmy brain every day to come up with something. The goodthing about a 365, is that it forces you to be creative and

I know that I have grownas a photographer andam starting to come intomy own style but I wantto continue to grow, andhave bodies of work and

not clippings.

ISSUE 1 • 2011 49

PHOTO BY JUSTIN PHILLIPS

contents

ISSUE 1 • 2011 51

...All I want to do is shoot people. I canput them in light, get emotions,

capture memories, and bring out thehappy or sad moments. I just

absolutely love photographing peoplefrom all walks of life.


53ISSUE 1 • 2011

feature

think of 365 different ways to shoot any type of photo. Thisone will be mix of self-portraits and other things I findcool. I think everyone should at least try it. You know, toget your creative juices flowing and to make youaccountable. Get off your butt to shoot somethingeveryday. You’ll begin to see light, composition andsubjects very differently.

“I just got $800 and want to get my first camera. Whatdo I get and do I need anything else?” This is a tricky question. I will give you a starter option forCanon. Currently on Craigslist, you can buy Canon T1i for

$485 with an 18-55 kit lens. I would sell that lens for $85,then buy a 50mm 1.8 for $85. With my remaining $400, Iwould buy a Strobist Starving Student SC1 Lighting kit.That leaves me $100. I would then take $10 every twoweeks and go shoot at Atlanta Photographers Guild (APG)at Elliot St Pub and learn everything I could. That lens andcamera setup is something that will work in manysituations and allow you to use the wide-open ƒ/1.8 withthe higher ISO of the newer Canon T1i rebel. The Lumoproflashes are such a deal with that kit too. I am thinking ofadding a few to my bag.

COFFEE AND A CAMERA MAGAZINE

SEE MORE FROM JUSTIN PHILLIPS ONLINE www.4squarephotos .com

54

55ISSUE 1 • 2011

If you take a step back and look at all of your work, is itwhere you would like it to be? If not, where do you seeit going in the next 5 years? Right now, my work is nowhere near where I want it to be.I mean, I know that I have grown as a photographer andam starting to come into my own style but I want tocontinue to grow, and have bodies of work and notclippings. Hopefully some of these projects I am workingon now will fill that void. Then I will be able to work onnewer ones that I dream up!

Lastly, where can people find more of your work, news,and updates online? You can visit my website at www.4squarephotos.com andsee more frequent updates on projects on my blog atwww.4squarephotos.com/blog. Thank you for letting me ramble!

For links to some of the items mentioned in this interview, please referto the page 75.

JUSTINS BLOG www.4squarephotos .co/blog

feature

PHOTO BY RYAN ROARK

contents

ISSUE 1 • 2011 57

south

ern

ess

Southerness, formerly a golf course and club, isslowing falling victim to demolition by neglect.Originally designed by Clyde Johnston, the coursewas built in 1991 as a semi-private, bent grass golfcourse and was quickly voted as Best New Coursein the Atlanta area. The fairways were once fencedwith trees and the course featured a variety of waterhazards in addition to sand and grass bunkers.Hole #17 was said to have been a 394-yard par 4. In 2003, Southerness hosted theGeorgia Public Links Championship. One year laterthe State of Georgia purchased the property, whichwas to become passive park land with walkingtrails, and closed the course.

Few signs of activity were present upon our visit onDecember 5th, 2010. It was easily the coldestCoffee and a Camera to date. For someone who hasnever been to Southerness, the property is vast andeasily daunting. The signature of the fairways isnondescript, almost defunct, and nature has quicklymoved to reclaim the land. The club house sitsvacant and securely closed, the large wooden deckempty and cold. Vines and thorns have nearlyclosed off portions of the deck entrance. The oncepristine and manicured water hazards have takenon the appearance of some backwoods pond thathas yet to see a human touch. Portions of smallshacks and buildings exist along the cart paths, andthe occasional manmade object is found in thebrush, though heavily overgrown.


Peto Fallas

59ISSUE 1 • 2011

southerness

Ryan Roark


61ISSUE 1 • 2011

southerness

Jorge Mayorga

PHOTO BY JAMES BLOUNT

contents

ISSUE 1 • 2011 63


65ISSUE 1 • 2011

southerness

Above Ryan RoarkOpposite Jason Morrison


⁄⁄ JASON MORRISON

I have always been a Nikon shooter. I havenothing against Canon and think they make agreat camera, I just happen to have startedwith Nikon. As much as I enjoy theircameras and lenses, I am extremelyfrustrated with their standard neck strapthat comes with each camera body. If youhave used one, you can easily attest to the

fact that their standard issue neck strap issharp enough to slice tomatoes. And if it strong

enough to do that, it is certainly strong enough to place a serious amount ofdiscomfort on your neck. Throw in a DSLR, heavy glass, and flash, and that seemsto be a little too much weight pulling the Nikon strap down into the back of yourneck. If you shoot enough and want a strap, you most certainly have gone lookingfor something better.

Back in October of 2008 I attended a workshop in the Locust Grove area. Thephotographer leading the workshop had an interesting strap made by a relatively newcompany named Black Rapid. What intrigued me most about the strap was that it

allowed the photographer’s hands to be free as the camera hangs at the side. Theconnecter (shown at the left) screws into the tripod mount. While the design at the left

has drastically improved over the initial line of straps, I was fearful of allowing my gear tohang at my side connected only at that single spot on the camera. I was worried the strapconnector would fail with my camera attached and that a lens or body would be damagedas a result. And if you are anything like me, you really cannot afford to just toss your camera

on the ground.

Moving from a very clunky and oversized camera backpack, some good friends purchased aCrumpler bag for me in December of last year. The bag is awesome and absolutely perfect to

take on photo strolls or shoots where changing lenses needs to be done relatively quickly. Thebag fits very comfortable on me and I sling it toward my right side. Only trouble with that setup

is that is where I prefer my camera to rest when using the Black Rapid strap. Since I was pretty hungup on the Black Rapid model, I was not looking forward to trying something different or going back to theNikon neck slicer model.

strapshowdown

67ISSUE 1 • 2011

Enter the Crumpler strap, also purchased by the samegood friends that purchased the Crumpler bag for me. Iwas at first hesitant about switching over to this strapbecause I was so used to having the Black Rapid strap andcamera to my side. After all, using something for a fewyears tends to get you into a certain pattern. In fact, it wasawkward having the camera resting in front of me on mychest again. As I mentioned earlier, with my new camerabag hanging off to my right side, I really did not want mycamera hanging there as well. That just wouldn’t makemuch sense. But the Crumpler did not disappoint. As youcan see in the photo (bottom right) of the Crumpler“Industry Disgrace” model, the area where the strap restson your neck has some extra padding and support. Thestraps wrap around and come to a thicker spot aroundyour neck and are also padded for comfort.

In terms of cost, both are “basically” in the same range.The Crumpler “Industry Disgrace” is available in brown orblack for just $30. The Black Rapid models start at $53and move up a little depending on the model and are onlyavailable in black. While more pricey than the Crumpler,the Black Rapid models do give you some pocket andstorage room for items such as batteries, business cards,and extra memory cards, something the Crumpler modeldoes not offer.

In terms of durability, I have not owned theCrumpler long enough to compareit to the Black Rapid. The BlackRapid model is the secondstrap I have purchased fromthem, and my first one, whichwas used for about 2 years, isstill in great shape. It really tooka beating and has lasted quite awhile now. I have used it on justabout any kind of shoot and photo strollthat you could think about. The Crumplerhas not been tested under the sameconditions but it will be soon. I have taken itwith me on a variety of shoots and it has performedand always been comfortable. It too has taken quite a

beating in some unforgiving environments but remainsnew to the eye.

The biggest disadvantage, for me, when shooting usingthe Crumpler strap, was shooting portrait orientation. TheBlack Rapid connects to the tripod mount under thecamera so the strap hangs conveniently out of the way.The Crumpler strap is going to hang in your way of theviewfinder on occasion and can easily get on your nerves.If that kind of thing doesn’t bother you, that is the strapyou need on your camera.

When carrying the Crumpler bag, their strap is a must.When shooting weddings or if I am at a place where I wantmy hands free and camera out of the way, The Black Rapidstrap is my strap of choice. In an effort to summarize thiswhole debate, I really believe that you need to considerwhat works best for how you shoot. Just with purchasingany gear, go with what works best for how you move andfunction during your shoots. Both of these straps arereally great models, durable, and most important,

comfortable through long periods ofshooting.

review

CHECK THEM OUT ONLINE: Check out the Black Rapid s t raps at www.blackrapid .com andthe Crumpler l ine of s t raps at www.crumpler.com.


outtakes

69ISSUE 1 • 2011

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

Coffee and a Camera outings always have their benefits. Photographers get to stretchtheir creative legs and shoot new and interesting locations on a weekly basis. Oneaspect that is nearly more enjoyable than taking photos, is the fun that is had in thecar, on location, or out to eat after. Here are some fun outtakes

Below (L to R): Jason Morrison, Ryan Roark, Martimus Knight, Sarah Knight, Billy Dixon, Peto Fallas, Otto Kitchens, Kat Milby; Taken at Miller Theater in Augusta. Stay tuned as next issue wewill have a special section featuring this amazing location.


2 3

71ISSUE 1 • 2011

outtakes

1 James Blount photographs Peto Fallaslying in the leaves at Southerness. 2 Always smiling, Jorge Mayorga has fundespite the freezing cold at Panola Park,as photographed by Ryan Roark. 3 James Blount took this photo of hiswife Michelle at a location inMcDonough. 4 Peto Fallas capturesJason Morrison holding up a pair of dirtyunderwear inside of an abandoned housein the McDonough area.

1

4


1 Ryan Roark gets crushed byJason Morrison’s fingers as viewedthrough a fisheye lens. 2 A purveyorof fine head wear, Billy Dixon,composes a shot in the McDonougharea, as photographed by PetoFallas. 3 A cup of Starbucks coffeesits on a tailgate before anotherearly morning excursion. 4 A uniqueview of some of the early morningcrew as captured by Peto Fallas. 5 Standing back taking this shot,James Blount watched as ThomasWolfe, Justin Phillips, and JasonMorrison explore an abandonedgolf course along an old cart path.6 Ryan Roark catches Peto Fallasand Billy Dixon hanging out duringthe trip to Oakland Cemetery. 7 Rodney Christopher shoots PetoFallas and Jason Morrison posingwith Ryan Roark’s monster Nikon lens.

1

2

73ISSUE 1 • 2011

outtakes

3

4

5

6

7


on deck

Who knew that just a few months ago that this group would see the growththat it has seen. What started as three or four photographers has turned intoa group nearly 60 members strong. Each outing produces new friendships,new photographs, new challenges, and new inspirations. The group hasgrown to the point where many of the outtings have to be limited to a specificnumber of participants.

Imagine where it will be in another few months...

This first issue of the magazine, while a modest beginning, will hopefully growjust as the group has grown. We want to help utilize this publication as notonly a showcase for the talented group of photographers that is Coffee and aCamera, but also as a way to creatively preserve our community with photography.

The next issue will cover two locations in the Hampton area, the historicOakland Cemetery in Atlanta, an open gallery exhibit entitled “Favorites”, anda special visit to a historic location in despair and in need of restoration.

If you own or manage a historic or unique location and would like to have thatlocation preserved through photography, we would be more than willing totalk with you. If you have any suggestions of great places to photography,please send your recommendations to [email protected].

whats up next in issue #2⁄⁄ Photo by Kat Milby

75ISSUE 1 • 2011

credits

Through Photography• The photo is of the Kelley Homeplace in Kelleytown, GA Circa 1896. Image courtesy Beau Kelley. Beau Kelley is a Henry County native and real estate broker. In his spare time he enjoys traveling with his wife, volunteer work, and shaking his moneymaker for local charities.

Rex Mill • Hall, Joel. "Rex Village seeks historic designation." Clayton News Daily. N.p., n.d. Web. 26 Oct. 2009. http://tinyurl.com/4cexrz5• “The Georgia Trust - Places in Peril." The Georgia Trust - The Georgia Trust for Historic Preservation. http://www.georgiatrust.org/news/2011places.php.• Joyner, Tammy. "Historic Rex named to Georgia's Places in Peril List" The Atlanta Journal-Constitution. N.p., n.d. Web. 13 Oct. 2010. <http://tinyurl.com/4flbgrz.

Justin Phillips Interview• Strobist Starving Student SC1 Lighting Kit: www.mpex.com/browse.cfm/4,12314.html• Atlanta Photographer’s Guild: www.flickr.com/groups/atlantaguild/

Southerness• "Southerness Golf Club." Clyde Johnston Designs. N.p., n.d. Web. 10 Jan. 2011. http://www.clydejohnston.com/completed_courses/southerness.htm. • "Southerness Golf Club." WorldGolf.com. N.p., n.d. Web. 10 Jan. 2011. http://tinyurl.com/48l7vct.

SPECIAL THANK YOU TO OUR CONTRIBUTING PHOTOGRAPHERS AND AUTHORSThis first edition of Coffee and a Camera: A Photography Journal would not be possible without the vision of Peto Fallasto create such a fun and positive group. The photographers that venture out every Sunday morning make the trips soworthwhile and interesting. Our photographers included in this issue, in alphabetical order, are Kim Adams (p30, 35 &38), Michelle Blount (p13), James Blount (p15, 18 & 62), Rodney Christopher (p16, 21 & 23), Peto Fallas (p12, 15, 29,30, 32, 41 & 58), Sara Knight (p34), Russ Lamp (p30 & 36), Jorge Mayorga (p14, 15, 20, 36, 60 & 61), Kat Milby (p73),Ryan Roark (p19, 22, 56, 59 & 65), Jason Morrison (p10, 15, 24, 30, 37, 40 & 64), and featured photographer JustinPhillips (pp42-53). Thank you to author and photographer Beau Kelley, for lending his writing talents and special take onhistory. To contact an artist about commissioning work, purchase prints, or other photography related services, pleasesend an email to [email protected] and we will have the artist contact you.

COFFEE AND A CAMERA • WWW.COFFEEANDACAMERA.COM

Date post:	28-Mar-2016
Category:	Documents
Upload:	jason-morrison
View:	215 times
Download:	0 times

CNC Magazine

Documents