I used to be on project for The City protecting the cabbies at a protest outdoors of City Hall and there was one man I observed who regarded zen, like he was possibly meditating. He’d had his eyes closed for minute or two, very peaceable and serene whereas all this commotion was occurring round him. And then I see this bus coming down with an advertisements for a film with two individuals 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, just keep doing that for another second. Please, I need to get this photograph.” And fortunately, he saved 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 can be fantastic. These moments that you just by no means suppose would occur in one million 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 City that occurs when there’s so many individuals and issues occurring 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 far more.The interview comes simply earlier than the opening reception for Ben’s solo present, In Tension, this Friday night from 6-9 at Gallery 198, at 198 twenty fourth St. in Brooklyn, along with his work then on show there by way of November.