Category: Stories

A funny thing happened in Omaha…well, not really.

I was photographing the sky scrapers of downtown Omaha, just as I had just done in Minneapolis and Des Moines, when a young security guard rode up and told me that they had observed me on the security cameras and that I couldn’t photograph the First National Bank building across the street.  I had been through this scenario before and so I forcefully told him that I was on public property and that I was free to photograph the building.  I could tell by the look on this poor guys face that he didn’t want to be in the middle of this and so I said “Look, it’s not personal, but I face this all of the time.  I am on public property and I can photograph anything that I want.  Go ahead and call it in, it’s okay.”

A few minutes later he looked up and said “she’s coming” and yes she was!  A female supervisor was marching towards me with a lot of attitude and demanded to know what I was photographing.  She then stood about 1 inch from my face and stood on my materials so that I couldn’t photograph, and insisted that I give up my camera so she could erase my images.  The situation was quite comical because as I pointed out to her, I could call up hundreds of images of the same building using my iPhone.  Because she would not let me photograph and wouldn’t allow me to me leave, I asked that she call the police to resolve the impasse.

I’ve been in this situation a number of times before both with the police and with private security guards and I’ve generally found the police to be polite and educated about our rights.  Once I was stopped while photographing a bridge in Florida because it was adjacent to a Navy base, the officer requested some information and was polite and even apologetic.  This was a positive experience.

However my experience with private security guards has not been so polite or positive.  They seem to have been given strict orders about not letting people photograph their property but they seem to lack an understanding of the law and our rights.  This can create a dangerous situation to your person, your images and to your equipment.

Some things that you can do are:

1.  Know your rights.  You can download a copy of “Photographer’s Rights” and carry it with you:  http://www.krages.com/ThePhotographersRight.pdf

2.  Be confident, firm and cooperative.  Knowing your rights can help you be confident and firm, but you should also be cooperative and explain exactly what you’re doing; “I am a fine art photographer and I’m photographing…..”   While an explanation is not generally required by law, there can be no harm in being cooperative.

3.  Be polite.  While you may be in the right, that rent-a-cop can still hurt you (oh mamma), delete your files or damage  your equipment.  So be polite and only bring out the attitude if it’s really needed.

4.  Call the police.  If your confrontation is with a private security guard and you cannot resolve the situation, one option is to call the police and hope that they will protect your rights.  Of course it could go the other way and you may be detained until the issue is resolved.

In a post 911 world photographers are being scrutinized more than ever.  I’ve noticed that certain pieces of equipment seem to draw attention:  a large camera bag, long lenses and tripods.  Whenever I’ve used a tripod on the Mall in DC I am questioned.

I do try to appreciate both sides of this issue, the police and private security guards have their orders and their intent is honest; to prevent future attacks.  However we do have rights and it would be pretty difficult to be a photographer if you’re not allowed to photograph!  So my best advice is to know your rights, keep your cool and be polite.

Cole

P.S.  Regarding the impasse in Omaha; before the police arrived the supervisor received an urgent call and left me standing there.  As I was leaving the police arrived and asked if I was okay, I said yes and left.

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Did I lose something?

It was there before, but now it’s gone.

Where did it go?

Will it be back?

Two years ago I stood in the lobby of a hotel in Akron, Ohio and looked up.  I saw saw a ceiling lamp, but it was more than that, it appeared to me as abstract shape that inspired me to create my Ceiling Lamps portfolio. The image above was that first lamp.

Now fast forward; three weeks ago I was back in Akron and staying at that very same hotel.  Upon checking out I thought about that lamp and looked up.  The lamp was still there, but to my surprise I could no longer “see” it, it just looked like an ordinary lamp to me.  I thought to myself; I wonder why that lamp inspired me before?

That really kind of scared me, why didn’t it look special any more?  What had I lost and could I get it back?

And what if I were walking down the street today and passed “The Angel Gabriel,” would he inspire me to stop? 

If I were to stumble across that “Old Car Interior” again, would it interest me enough to photograph it?

This experience reinforces two personal beliefs that I have: first to always stop because you may not “see” that inspiration later and second, you can keep going back to the same location over and over and over and still “see” something new.  Seeing a great image has more to do with our creative mood, than with the location.

I’ll be back in Akron next year and I’ll be very curious see how I’ll “see” this lamp!

Cole

This is the Angel Gabriel.  I met him on the Newport Beach pier as he was eating French Fries out of a trash can.  He was homeless and hungry.  I asked him if he would help me with a photograph and in return, I would buy him lunch.

The pier was very crowded and I wanted to take a 30 second exposure so that everyone would disappear except Gabriel.  We tried a few shots and then Gabriel wanted to mess up his hair and hold his bible.  The image worked and the only people you can see besides Gabriel are those “ghosts” who lingered long enough for the camera.

Gabriel and I then went into a restaurant to share a meal; he ordered steak with mushrooms and onions.  When it came, he ate it with his hands.  I discovered he was Romanian and so am I, so we talked about Romania.  He was simple, kind and a pleasure to talk with.

I asked Gabriel how I might contact him, in case I sold some of the photographs and wanted to share the money with him.  He said I should give the money to someone who could really use it; that he had everything that he needed.

Then the Angel Gabriel walked away, content and carrying his only two possessions: a Bible and a bed roll.

Cole