Tell us a little about the history behind Autumn.
Jeremy Weiland: David Mims started Autumn ten years ago—he’s the mastermind behind it. The first space was on 2nd Street between Avenue A and B. Eventually, about eight years ago, we moved up here to a way better location: 9th Street between 1st and 2nd Avenues. You can literally throw a stone from the shop and hit someone skating at Tompkins Square Park. There’s more foot traffic and the skaters in and out of the area. It’s a skate team of friends over here—you can ride for whoever and still be 100 percent down with Autumn. Whether we can give out stuff at the time or cannot, we are still always able to provide the skate community. Everybody rides for Autumn, straight up. Ten years is a long time to be in business for a skate shop that is not based on apparel or anything like that. Somehow we are able to survive on just skateboards. Whether they’re buying something or not—just as you see right now there are like 15 people here—skaters frequent Autumn.

How did you end up working at Autumn?
Well, I was in Philadelphia and hitting up the city for about ten years. I’m pretty picky when it comes to skating and like to be able to not worry about getting kicked out like it is back in Philly. I’m too old to be running from cops. Here you can just skate all day and do whatever. Even if you see a cop, they probably want to skate your board or something funny like that. Everyone here is welcoming.

What is the story of the infamous Autumn Bowl?
Basically a bunch of dudes wanted an indoor spot to skate. Dave ended up getting some funding, so he got in touch with his friends to come help build the bowl. The Autumn Bowl had a long run, but from what I have heard, when we threw the super gnarly Thrasher Skate Rock event at the same time some music video was being filmed, the landlord got pissed and turned the electric off the next day. Soon after, he wanted the skaters out and raised the rent a ridiculous amount, which was super harsh on us. We had to shut down the bowl, but it lives on in everyone’s memory.

You guys also provide a lot of the skating stuff to Tompkins, right?
Well at first when the shop was down on 2nd Street it was real hard to transport the skate obstacles to the park. TF Eric would chain up some rails at Tompkins and it was super hard to get grind boxes there from 2nd Street. Now that we are only 15 feet from the park, the grind box situation has really opened up a lot more. We have gone through so many boxes, ramps, and rails in the past. We always continue to build new ones and sometimes skate companies and people will hook us up with random obstacles to store in the shop.

That’s awesome. The TF is such a dope spot to skate.
Yeah, I love that place it has got to be my all time favorite place to skate in New York City. You have 12th and A up the block, but it didn’t exist when I first started skating around here. The vibe at spots like those differ from any normal skate park. Sometimes there are no ramps or anything, but it’s still super fun to skate and hang out at. You don’t have to worry about the skate park jock dude flying around the corner and showing you how good he is on the ramps. People at Tompkins can skate flat ground all day and have fun. It just goes to show how much people can do wrong when they design an ordinary skate park. Through skating the TF, I met everyone I know in New York. One thing let to another and I got my job here. I’ve been working here forever. I got lucky with this place, that’s for sure. All you have to do is walk into this place, no matter where you’re from and you instantly realize what Autumn really is, a skate shop.

Autumn Skate Shop

What was it like growing up in LA?
Ian Markell: Growing up in LA was really awesome. I was never bored, this city kept me really busy. I got to spend a lot of time alone as a kid experiencing the city for myself and finding the quirky stuff around LA when I was very young. I have a really close connection to this city and I identify with all the amazingly strange things about Los Angeles.

How did you get into photography and how do you stay motivated to constantly create such rad work?
I started taking photos when I was probably 11 or 12 years old after I got an old 35mm camera from my dad. I started taking photos of my friends pretty casually as well as other interesting things I saw. It was a natural attraction to the medium for me and I took photos of the things that I loved—and I still do. I am motivated to create work partially because of my urge to make photographs, I can’t really control it. And the other part of it has to do with the things that I choose to surround myself with, people in particular. My friends and peers motivate me and the resulting photographs encapsulate the unconditional love in all aspects of my life.

How would you explain your photographic process?
My process is not really a very formulaic or strict one, I try to keep it very loose. I usually have an idea of what I am looking for in a series but I never really go into shoots, especially with people, with too many restrictions about what exactly I will shoot. The process is always really collaborative and is always a pretty relaxed but concentrated time. I think that when I am making photos is when I am most sensitive to my environment and it’s important to stay open and vulnerable, that’s when I feel my best work is made. It’s a hard thing to do for me, because I am also very meticulous and precise, but I’m used to this push and pull thing happening when I work and have become more comfortable with it. As for the lives of the people in my photos, they are usually people that I am acquainted with or are friends of mine. It’s important for me to try and really connect with the subject when it’s a person, to show the feelings between that person and me through a photo.

Do you dabble in any other mediums besides photo?
I am also interested in sculpture, which is sometimes involved in my process of making photos. I also have been working on some new videos lately. Sometimes I paint as well but somehow It all relates back to photography for me—the allure of a mechanical process keeps my interest time and time again.

How to you tie all of that stuff together?
I sometimes like to construct something that is made only for the purpose of being photographed, so that the final product will involve a sculptural element but it lives within a photograph. It’s nice to step away from straight photography for the moment and to be in complete control throughout the whole process from the subject of the photo to the printing. I like to add some of these works into series with photographs of all different subject matter. But it is always different in the way that I combine medias, it keeps me really excited about possibly talking about what a photograph can be in a new way.

How do you feel about the outcome of showing your work on a wall as opposed to the web?
I love showing work in person and I also love showing work on the web. I think that the way in which I do both are always referencing each-other. When I show photos on the web they are always particularly arranged and in similar size which sort of references a gallery’s consistency. And when I show photographs in person, they are somehow referencing the internets disconnection between images which appears both in my installation of the work as well as the subject matter. They two are both really important elements for my own personal growth but also really defines the generation and the way that we experience photography.

Blow Up LA

You guys must be pretty big Simpsons fans, huh? How’d you pick that quote as the name of your band? And how do you feel about the more recent seasons of the show?
Mick Mendelsohn: Coming up with a band name is kind of like trying to get girls. If you have one, they just come to you. If not, they’re nowhere to be found. Shortly after starting this project, Adam and I were going back and forth with band names. First You Get the Sugar was the only one to pass the “Yeaaaah!” test. It was Adam who came up with it. I had actually never seen that episode. Other options, like Buttermilk Pig, were just not marriage material.

The album sounds really clean and professional. What was the recording process like? Did you have any problems or was it just a process of laying down the songs you already knew well?
Mick: We recorded the album in our producer Adam Stotland’s studio. Since we weren’t paying for recording time by the hour, we had the luxury of experimenting with different sounds and arrangements. Some of the tunes, like “Tell Your Mama” and “Sabre Rattlin’” we just kind of banged out. Others, like “Name Drop,” we built in the studio. This being the first proper First You Get The Sugar record, it was a learning process trying to figure out what approach works best for us.

What was it like working with the guys who mixed and mastered the album? It sounds like they’ve worked with some pretty big acts–was that intimidating?
Adam Kagan: Once we finished recording, we realized we needed to find some serious talent to ensure the sonic quality that we wanted. We were fortunate to have Glen Robinson, a man of Falstafian appetites, mix our album. His work jacked our sound up to a level that really blew our minds. Andy VanDette is a long-time veteran and chief mastering engineer at the legendary Masterdisk in New York. He was the ultimate icing on the cake at the end of our production process. Andy has worked with some amazing people in the industry, so I would say we were more honored than intimidated. Okay… slightly intimidated.

You guys self-released and self-produced the album–are the labels beating down your door now that it’s out, or do you prefer to stay independent?
Mick: That’s actually a really good question. These days, with the record industry in such a transitional state, you really have to prove that you can do it yourself. This is a beautiful thing though: It forces you to be creative in marketing yourself and it weeds out the poseurs. There’s a growing sense among musicians that seeking a major label is kind of like trying to find a dick boss to work for. That said, if someone wants to dump a boatload of money on our laps to make First You Get The Sugar records, we wouldn’t say no.

Do you get normally get people to actually dance at your shows?
Adam: Usually you just have to get one person to break the ice and start grooving, and then it’s a lot easier to get a big dance floor going. Some people come to our shows just to work off the two hotdogs and poutine. You could say we’re providing a public service.

Do you have any horror stories from the early shows you guys played? Any empty clubs or totally apathetic audiences?
Adam: We played a show to a near empty-room, unless you count my aunt and uncle from Latvia. That hasn’t happened in a long time though. Once Mick’s guitar fell right before going on stage and snapped in half at the neck. Like true pros, we bottled up our anger and played the show with a cheap off-brand replacement.

First You Get the Sugar

Format

Open Gym sessions follow a format where kids play with and against players their own age. Typically, the session schedule is:

Session 1: 10:00am – Noon (10-13 years old)
Session 2: Noon – 2:00pm (13-16 years old)
Session 3: 2:00pm – 4:00pm (14-17 years old)
Session 4: 4:00pm – 6:00pm (16-18 years old)

Registration

All players must have a completed registration form and waiver prior to playing at an Open Gym.

Registration Form (PDF)
Waiver Form (PDF)

Open Gym Atlanta

In Atlanta, 500 kids were showing up every other weekend to B.E.S.T. Academy and Georgia Tech to play, meet our athletes—and each other, customize shoes, get a free haircut from our barber, eat free healthy snacks, get snapped in our photo booth, and generally be part of the game we’ve always loved.

Check out a video recap from one of those Atlanta sessions, including an appearance by Maurice “Mo” Evans.

Upcoming Atlanta Sessions

Open Gym Boston

Starting in the summer of 2010, we were able to host Open Gyms in our own backyard of Boston, MA. This video showcases some of the local talent. For more info on Open Gym Boston, check out the schedule below.

Upcoming Boston Sessions

Open Gym Boston on Facebook

Open Gym Philadelphia

This video features an Open Gym that went down on the campus of historic Girard College. It also includes a special appearance by pro baller Elton Brand, there to hang out with the kids and to celebrate the debut of his signature shoe, the EB3.

Upcoming Philadelphia Sessions

Open Gym Philly on Facebook

You just finished up a tour, right? How was it?
EMA: It was really awesome, at the end of it, to go fishing for my grandpa’s 86th birthday. The last show we played was in Minneapolis, and I was really nervous, because not only did my parents come, so did my aunt and uncle, my nephew, their foreign exchange student, my other aunt, and her old hippie friend and her college boyfriend.

Do you get more nervous if you’re performing in front of people you know?
Yeah, for sure. It’s kind of cool cause they are supportive, but it’s very nerve-wracking to perform in front of your mother. Apparently she really likes the record, but she’s like, “I gotta ask you about some of these lyrics sometime,” and I’m like, “Noooooooo!”

Some of your lyrics are really intense.
Yeah, and she knows all of them, ‘cause the lyrics are printed in there. She also played it for my grandma and grandpa, so my 86-year-old grandpa is sitting around listening to all of these things, so that’s kind of nerve-wracking, plus my grandma, she Googles me more than anyone else. So I’m trying to hide from grandma, but she’s really hard to hide from.

She’s a good Googler?
She’s a good Googler. She probably has some sort of fake Twitter account, who knows? I’m terrified of her. But the one thing that’s nice is that my grandparents pretend that they can’t understand what I’m saying half the time. It’s like a mutually agreed-upon illusion. We both pretend that they can’t understand what I’m talking about, which takes the pressure off.

Do you think it’s accurate to describe that album as “dark,” the way a lot of people are doing?
I don’t know…there’s also a sense of humor in the record that I think people don’t get or a sense of over-drama or tongue-in-cheek-ness that I think gets lost on people. Like in a song like “Butterfly Knife,” there’s an element of camp there that I think people don’t get.

How does it feel to be well-known all of a sudden?
It’s funny, because the only people who ask me that are bloggers, you know? I feel pretty much the same, the only thing that feels different is that I have to do a lot more work, a lot more varied things. It feels almost like I’m starting to work toward my potential. I was realizing this last night—I think part of the reason Gowns broke up is because we weren’t being challenged to our potential. We were so DIY, anti-publicist, anti-booking agent, and after a while, I think we just kind of outgrew that. And when you’re not being challenged, that’s when the real self-destructive things come out, which is the story of my high school years. I have a lot of stuff to do, but I’m feeling good about it so far. I get freaked out reading stuff about myself on the internet, so I don’t really do that very much.

So you don’t ever Google yourself, see what people are saying about you? You try to avoid that kind of?
Well I did, at one point, finally look at the “California” video …

Oh, you read the YouTube comments? Oh no…
The YouTube comments! There were like, ten pages of people arguing over the definition of a hipster, and I’m like, “Oh my god, what is this?” But it was kinda funny, ‘cause there was somebody from like, Romania, being like, ”I don’t care about this deal with hipsters, this music’s great!” And then there was some curmudgeon from who knows where, probably from Park Slope, being like, “Aw, I hate this band.”

Do you feel like there’s been a backlash at all against you since you’ve been so well-reviewed?
Well, I’ve felt resistance from weird places, I’ve actually felt more acceptance from poppy people than people in the avant-garde or experimental scenes. It’s actually a really codified scene as far as what the rules are. The fact that I wanted to sing, and I had lyrics that you could understand, stuff like that, it was kind of breaking these rules. There’s something going on in avant-garde right now that’s sort of, “Make the loudest noise that you can, use math and computers to do it, or analog circuits that are complicated and old, don’t sing, don’t let people hear your lyrics, don’t be too pretty—it’s for sissys.” I think there were certain people in avant-garde that were a little afraid of me, I think.

Afraid, you said?
Yeah, because I think I represented a rule that they didn’t even know that they were strictly adhering to. Which was, don’t sing and do all this at the same time. I’m interested in figuring out where rules are and what happens if you break them. Which is how I feel about noise and singing, noise and harmony… Is there a rule that they have to be separate? Why? Let’s look at that, let’s talk about it. I don’t have any rules myself. I constantly try to think about what I have a stigma against. And I think I do it lyrically, too. Like, I can’t do this? Why? Why can’t you say that?

EMA “Past Life Martyred Saints” – Track: “Milkman”

EMA Website
Buy the album!

Hey Grant. Did you start skating or photography first?
Grant Brittain: I started skating in the days of clay wheels in the 1960s, so I already skated and then got the job at the Del Mar Skate Ranch in 1978 and started shooting photos in 1979. There aren’t any skate photographers that didn’t skate first. Back then you wouldn’t take up skate photography as a career choice, there was no money to be made. I shot for three years before making a cent. I just did it for fun and to document what my friends were doing. I didn’t think I would still be doing it 32 years later.

You’ve been around skating for a long, long time. What are some of the differences between back then and now?
The difference between skateboarding back then and now is immense. Back when I worked at the Skate Ranch skating had died and nobody gave a rat’s behind about skating or our world. There were hardly any videos, no TV shows with skateboarding, no internet, no digital photography, and no money in it. Everybody just did it for the love of skateboarding. Hardly anyone was making a living off of it. Nobody told skaters what to do and I think skaters liked it that way. People were characters, individuals, they were on a trek to self exploration and bending society’s rules. Just flying somewhere was an adventure; wherever skaters went they were totally different from the conservative locals.

What’s your advice to people who want to start taking skate photos?
Everyone starts at the bottom in any endeavor, no one starts at the top. Unfortunately in this day of digital instant gratification, kids have no patience and want everything now without working hard for it. Every skate photographer I know, including me, started shooting photos of their friends skating and working their way up through the ranks. You have to love skateboarding and photography and the money thing has to be second or you’re doing it for the wrong reasons. What I tell everyone one is to not give up and to persevere in whatever path they choose in life. Nothing comes easy. If it did, it wouldn’t be worth as much to you. My memories from my beginning days are my most cherished.

Do you go through a separate process when you’re shooting your “art” photos as opposed to your skate photos?
I slow down a lot when shooting my art stuff. I am super relaxed, just observing and letting my mind take over. It’s more like meditation, it’s my solace. It’s just about me and the camera and I am only trying to please myself. When shooting skateboarding there is a lot of energy being released so I get caught up in it, whether it’s going good or bad. I get anxious and angsty. I want to make a great photo for me, the skater and the world.

Tom, how’d you get that “Tom Grom” nickname? You’ve had it for a long time, right?
Tom Remillard: I think I got it because it rhymes with Tom and I used to be really small.

Do you ever watch old skate video for inspiration? Do you think the technical ability of skaters has gone up overall?
Yeah, I watch old Antihero videos, Speed Freaks, old contest footage… The level of skating has gone up but the mentality has stayed the same.

What’s the worst injury you ever got?
I broke my wrist in half, that’s permanent damage that’s never going away.

Ouch. You skate the Washington Street skatepark a bunch, right? That place looks sick.
Yeah, there and Bucky Lasek’s Bowl are the two places I skate the most and I very much enjoy them. Washington Street is really gnarly and it hurts me every time I go there. It’s great.

What’s skating in San Diego like? Must be awesome to have the weather be nice basically all year round.
It’s the best thing ever and I really try to not take it for granted. I utilize the weather and skate all day every day.

Grant Brittain
Tom Remillard

I know you’re in the middle of making your debut album. Where are you in that process? Are you still laying down tracks?
Lil Twist: I’m still in the studio right now, but I’m almost done. I only need a few more features and a few more solo songs and I’ll be done. I’m like seven songs in.

You’ve got some big names featured on this album, including Drake and Nicki Minaj. What’s it been like working with them?
It’s been amazing. They’ve been my family for a few years, before Drake was the Drake he is today and Nicki was the Nicki she is today. They’ve been encouraging me for so many years. Now that it’s finally my time to step up to the plate it’s even better—better advice, everything.

How does the process of making a full album compare to putting out a mixtape?
I’m way more focused on the album. On the mixtape I’m really just rapping and getting off what I need to tell my people. On the album I’m trying to actually make straight radio-ready records.

How did you first get signed to the Young Money label and get involved with Lil Wayne?
I ran up on Cortez Bryant—who is my manager now, and also Wayne and Drake’s manager—a few years back when Wayne was performing. I met Cortez backstage—all the radio personalities let him know who I was because I had a record out at the time—and we exchanged contact information. Months passed, or even a year passed, and I kept calling his business phone, just kept calling him. Then I got word that he was performing an hour away from where I’m from, so my mom drove me down there and I begged him to let me perform. He said, “Let me see what this kid’s got.” I went up there and gave it my all and after that we kept in contact. They flew me to Atlanta to see how I could develop and produce in the studio, and they loved my work ethic and I’ve been in Young Money ever since.

What’s your relationship with Weezy in particular been like?
Wayne is none other than my brother. He’s also my boss, but he’s my brother at the end of the day.

Would you say he’s helped you more with the music side of things or the business side of things?
Both, equally. In family problems, everything. Just life in general.

Is all this success a surprise to you, or did you kind of expect to live the kind of life you’re living now?
Since I was a young boy just starting to rap I’ve always wanted to see how I could adjust to it and see if I could ever take this life. It’s still kind of overwhelming, but I love it.

You recently did some work on the set of Lottery Ticket, Bow Wow’s new film, right? What was it like working with him and trying to act?
Bow Wow was on the first single that I dropped, “Little Secret.” I didn’t even have an actual part in Lottery Ticket, he just hit me up like, “Little bro, I got something for you. Just come and walk through the neighborhood in the movie.” Bow Wow’s a cool person, he’s another big brother figure for me.

Is that something you want to do, act in films?
Oh yeah, I have a few things on the table now.

That’s cool. Anything you can talk about?
I don’t want talk too early, but I can say that I have a reality series for MTV, and I have some movie scripts on the table with A-list actors.

Sounds busy. Is there anything you want to do that you aren’t doing? What’s number one on your to-do list?
I want to drop this album and sell as many records as possible. That’s my main goal, that’s my focus. I want all my fans to love me and the music that I’m getting ready to put out. That’s what I haven’t done and that’s what I look forward to doing.

Check out Love Affair from Lil Twist’s debut album, Don’t Get It Twisted, below!

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Lil Twist – Track: “Love Affair”

Lil Twist
Young Money

Your guys’ bio on MySpace says you’ve known each other since you were four years old. Is that true?
Joey Armstrong and Max Becker: Yup.

So how did you guys go from being friends to being in a band?
Cole Becker: Well, Joey had been learning drums since he was a little kid. One day, we watched School of Rock, which is a really inspirational film, and I decided to take up guitar and Max took up the bass, and we all played together. And Travis came along a little later and we formed a band.

Wow, so School of Rock literally inspired you to form the band?
Travis Newman: Yup.

As far as punk rock goes, did you guys all grow up on punk rock, basically, like with Joey’s dad and everything?
Joey: I mean I did, and I’ve listened to punk rock since I was little, and Travis did too. But Max and Cole grew up with the complete opposite of that.
Max: A lot of James Taylor. It’s just what we grew up on. It’s not anywhere near what we do now.

What attracts all of you to punk?
Joey: Well, not only the sound of it, but also the people too, they’re really interesting and they’re not at all fake. It’s more of a community. We met some punk kids yesterday, and they told us next time we go by there, they’ll have a house for us to stay at, and you just meet cool people through punk like that.

You guys recorded your album in four days, what was that recording process like?
Joey: It was very simple, and it was basically just how we play. It wasn’t anything new for us. That’s how we’ve always done it. We don’t try to spend too much time on detail because then it ruins the fun for us.
Cole: I mean, we’re not a perfect band, we’re not perfect at our instruments, so that’s what we sound like. There are parts where you can tell we messed up in the recording, but we don’t try to fix them, ‘cause that’s not who we are.

Do you feel like there’s any pressure with your dad being “the Green Day guy?” Or is it all positive, your association with him?
Joey: I feel some pressure, just ‘cause we’ve been getting a lot of good press, and as much as we try to avoid the whole “Green Day Jr.” label or whatever, we’re gonna get it put on us. I just push past it—we’re a different band than Green Day. We’ll do what we want and we’ll play how we play.

Is it fun to be your age in a touring band? Do you wake up and you’re like, “Man, this is awesome?”
Travis: Yeah it’s crazy. It’s just nuts. We’re a touring band while most of our friends are on vacation or are at home or with their families. But it’s crazy that we’re the same age as some kids who have never played an instrument before and we’re touring around.

Yeah, that is pretty crazy. Do you get homesick at all on tour?
Travis: No.
Cole: Nah.
Joey: Not really. I don’t think we get homesick cause we’re all here, we see each other everyday, so we don’t miss home. I think if one of us was gone across the world, then we’d probably get homesick ‘cause we’d miss each other. We’re basically like family. Of course we miss our other families, but I don’t think we get homesick.

Check out some tracks from Emily’s Army below!

Emily’s Army – Track: “I Wanna Be Remembered”

Emily’s Army – Track: “Broadcast This”

Emily’s Army – Track: “West Coast”

Emily’s Army on MySpace
Emily’s Army Blog
Buy the album!

You moved here from Seattle a few years ago, right? How do you like the city?
Well, I moved to New York around 2008 and lived with Pat Smith. I was helping him do sales for his skate company, Coda. I had met him back in Seattle at the screen printing shop I worked at, where he used to get all of his skate product printed and I had also shot some skate photos of him. We kept in touch and I visited Portland here and there where he lived at the time and we eventually got to talking about working for his company. I wasn’t a very good salesman [laughs] so that did not last too long.

I have met so many awesome people being in New York that have inspired me. I have been able to meet people whose artwork I’ve admired through a friend and then become friends with them. It’s just like skating, you can grow up watching people skate on VHS tapes and then years later you are drinking beers with them and skating around. The weirdest connections are always appearing in the art and skate scenes. It’s a small world.

How did you get into photography?
My grandfather gave me a camera when I was around age 16 and at the time I was skating everyday. All I would do was skate and film so I started taking photos of my friends and that’s pretty much where I learned to use a camera. I took some photography classes in high school but didn’t really learn too much—I kind of have to learn through trial and error with pretty much everything.

What do you like to shoot nowadays?
I guess I just like shooting my friends and what’s going on in my life. I also have really been consumed with fashion photography but nothing too high end or anything. I like to keep it fairly simple and real. I am pretty much really over shooting a legit photo lit properly with like a bunch of lights and all that. I just don’t have the patience for it.

How did you end up putting together the photo show Help Is on the Way?
There was this empty space on Ludlow and Rivington that was going to be occupied by a Coffee shop from Seattle. They were waiting on permits or something so I asked if we could use it for an art show and they said yes. I asked all my friends to be in the show. Curating a show is a pain in the ass though. Artists are some of the hardest people to deal with, so to try and get some of the hardest people to deal with who are your friends—it’s like a double edged sword. I had to move about 200 super fragile Italian bricks shipped straight from Mt.Vesuvias out of the space before we could set up and of course no one showed up to help that day. The night of the opening the place was packed and we eventually were forced to shut it down because of noise complaints from neighbors.

What are you up to these days?
I’m working at this spot called the Camera Club of New York that has color and black and white darkrooms. They have been around since 1886, it’s crazy. I have been putting a ton of hours scanning film learning how to print in color. When I am not there I am working on video projects, photo projects, photo assisting… a ton of stuff.

What do you like the most about analog printing as opposed to digital?
Going into the darkrooms and exposing the paper, handling it through the chemicals, and checking out the negatives on the light table—it’s all amazing. When you really nail it, it’s really exciting. At the same time, I will shoot with literally any camera that I can get my hands on because I don’t think the quality matters as much as the subject of the image.

Brayden Olson

Bad Meets Evil