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(light instrumental music)
- So instead of me just rambling on
for 20 minutes about this project,
I thought what I would start with
would just be a brief overview of this project,
how I got into it, talk about a few of the photographs,
and then have more of a discussion because I think
that tends to work better in shorter timeframes.
So as Penny was saying, I began this project
in the spring of 2010.
The Muslim American Society, which is
a national Muslim organization,
wanted to build a mosque and community center
on Staten Island in New York City.
The idea was they were gonna buy an abandoned convent
from the Archdiocese of New York, and convert the building.
When the people on Staten Island found out
about this however, there was a huge backlash,
to the point where one of the community meetings
that they had, a retired Army, I believe it was a captain,
had come to try to, sort of make amends between
the Muslim American Society and the community.
He was a Staten Island resident,
served two tours abroad, the whole nine yards.
When he asked the Muslim American Society
if they were gonna be good neighbors, they said,
"Of course, that's why we're having these meetings."
When he returned to the people
of Staten Island, they shouted him down
and literally drove him out of the hall.
This was covered very widely in some of
the daily newspapers in New York,
but had never gotten a lot of national press.
This was about six months before the hoo-ha over
what became known as the "Ground Zero mosque,"
which I'll talk about in a little bit.
So when I was reading about this in the paper,
I wrote to the Muslim American Society,
and their main offices are in DC.
They then, in turn, put me in touch with
a mosque in Brooklyn, who invited me to come
for an entire year and make photographs,
basically of whatever I wanted.
So on the first night of Ramadan in 2010,
I showed up at the mosque with my cameras,
and so began the project.
The first couple nights I was there actually,
I didn't take any photographs.
I had my cameras with me, but part of the way
that I work, in general, is it's always better to get
to know people before you start putting cameras
in their faces, they tend to be much,
get much more ease with you around that way.
So the first couple nights, and I had never been in
a mosque before in my life.
I grew up Roman-Catholic, grew up just outside
of Philadelphia, went to a Jesuit high school
and a Jesuit college, so it was sort of
an eye-opening experience.
I had no idea what happened, the only Muslims I knew
were the guys in New York City that drove the cabs,
and the guys I buy my morning coffee from.
The first photograph I actually made for this project,
it's on the very first roll of film,
and it's like, the 10th negative,
is the one on the other side of that wall,
the girl praying with her father.
That was, sort of the first big photograph I got out
of this, it was, again, the first roll of film,
first couple of negatives, and when I saw
that I realized there was something to this.
So I spent the first year photographing exclusively at
this one community in Brooklyn.
When the time, sort of came to an end,
I decided, part of it was that, not so much a decision,
but an idea that you can't tell an entire group story off of
the group of people in one place,
so I began to photographs other mosques
in other communities around the country,
both as I traveled, and I would go,
like when I visit my parents outside of Philadelphia,
there were a couple of mosques down there I
would visit, other ones in New York.
As I've traveled, I've been to Oklahoma, Idaho, Indiana,
all over the place, again, just sort of continuing
to photograph these communities as I go.
And again, the idea of this project is, I realize
that people aren't gonna have a huge epiphany,
just by looking at my photographs,
and decide everything's great, everybody can get along,
but my goal is that these photographs can start
a discussion, that's sort of what I'm trying to do,
and hence, why I would much rather have
a discussion now, than just stand here.
- The work has been shown, well actually,
at the moment it's here and in Missouri.
It was in Delta State University in Mississippi in
the fall, and Oklahoma City University.
It's been in Idaho, it's going to Colorado
and Missouri again, Chicago, New York, Boston...
Eight, nine, there's been like, 25 shows,
so I can't remember exactly everywhere that it's been,
but it's all on my website, all of the past exhibitions.
But it's been shown pretty widely.
My goal with this project is to eventually,
as I said, it's sort of ongoing, so I'm hopefully gonna
be visiting a mosque here tomorrow actually,
to make some more photographs to go along with the project.
But my goal is to eventually, sort of get all
the way to the West Coast, and sort of photograph,
not necessarily a mosque in every state,
but at least in every, sort of regional area of
the country, to sort of make it
an East Coast to West Coast, and everything in-between view.
Yes?
- Because I really, again, began with
that mosque on Staten Island.
I realized when I was watching this news coverage
that all these people that were protesting
this mosque and a bunch of other ones,
including the 9/11 mosque, nobody had ever
actually been in these mosques to photograph.
The people weren't talked to, the people weren't seeing
what was going on, they were just outside protesting,
and nobody had gone across the street
to see what was going on.
I was, at the time, the first photographer
that was ever in the "Ground Zero mosque",
downtown Manhattan, to photograph,
and can any of you guess why I was the first photographer
that was allowed in there to photograph?
- [Audience Member] First one to ask?
- Exactly, nobody had ever bothered
to ask to go in, except for me.
The board had no idea what to do with the request.
They made me come in, and had a meeting,
and I showed 'em some of my stuff and it was great,
but they really had no idea what to do,
what kind of release I would need, anything,
I had to tell them all this stuff,
because nobody, for as much as the people were across
the street protesting, the camera crews were out there,
nobody had ever bothered to go in.
But that mosque actually doesn't exist anymore,
the land, because of so much protesting around it,
the developer has now sold it
and there's gonna be high-end condominiums,
which is just what New York needs more of.
- [Audience Member] What did you find
the difference between men praying, and women praying?
- In terms of--
- [Audience Member] Their appearance being,
on TV we always just see men praying.
- Right, in general--
- [Audience Member] When you see women praying,
they do the same thing?
- They pray in the exact same way,
but they do separate the men from the women in prayers.
The way I've been explained it,
and it makes sense to me is part of the way that they pray,
and if there's any Muslims here
that can explain this better than I can, feel free.
My understanding is the idea of,
do you know, have you seen how they pray,
how they bow down, the whole thing?
The idea is, it would be distracting if you're looking down
and you see your wife's best friends
bent over in front of you basically,
so the idea is to separate them so that everybody,
sort of, there's no distraction in the moments of prayer.
- [Audience Member] But they do do it--
- They do, they do--
- [Audience Member] In separate rooms, or separate areas?
- It depends on the mosque, some mosques
it's separate rooms, some, they just put
a little, there's just a divider.
Sometimes it's just, all the men are on this side
and all the women are on this side.
It all depends on the mosque and how they have it organized.
I don't have any here, because I took them recently
when I was in Oklahoma City, but I actually do have
some recent photographs of women praying,
which I generally have needed special permission to get,
'cause again, it's sort of one of those barriers.
Yes ma'am?
- I've been to a few homes, there's,
where's the guy I'm thinking of?
There's a couple of photographs around here
of me in a couple of homes in Fort Wayne, Indiana.
I've been to a few here and there,
I'm actually having dinner with one of
the Muslim students and his family tomorrow night.
Whether or not I take pictures
is a whole other thing with some of these things,
I generally will take my cameras,
but I don't, having dinner with the family,
you're not always interested in taking the pictures,
you don't wanna be rude.
But yeah, but most of what I have done
has been more centered on mosques
and the schools, and sort of the areas
where the people hang out around prayers.
- That they're scarily not that much different than us.
Other than no pork, there's really not,
I mean they all sit around the dinner table
and chit-chat, and tell bad jokes, and talk about the news.
There's really very, very little difference.
That's what's sort of shocking about the whole thing.
I've actually done some work with Sikh Americans
and photographing them, and the same,
that project actually, I sort of, is on hold
at the moment, 'cause I can't figure out how to do it
where they look more exciting than what they generally do,
which is just like what everybody else does.
I mean, that's sort of the most shocking thing about it,
or what most people seem to think is
the most shocking thing about it.
- Oh yes, I've talked about politics--
- A lot of them are very frustrated, 'cause again it's,
people are basically pinning their entire religion
with the sins of a few people,
which happens, I mean, every religion has extremist groups.
The Mormons have the Fundamental Church
of Latter-Day Saints, the Jewish groups in Israel
that'll blow up or burn churches,
and spray-paint and everything else,
there's White Christians here in the country
that have been known to shoot up Black churches,
or schools, or whatever else they seem
to be in the mood to shoot that day,
but nobody pins the entire religion on
the acts of those people, except in the case of Muslims.
And I mean, and a lot of them, again, going back to
the thing with the Sikhs, a lot of Sikh Americans
have been attacked because people assume
that they're muslim, because of the way that they look,
so people are pinning the wrong group
with the wrong people's sins to begin with.
Yes?
- I started studying photography
the spring of my junior year in college.
My undergraduate degree is in sociology
with a concentration in anthropology and art history.
My anthropology advisor recommended
that we take a photography course,
so that when we were doing field work,
we would know how to be able to actually take
a picture of what it was we were writing about,
and the teacher that I had that first class
was a guy named Harold Feinstein,
who was a New York, sort of street photographer from
the 40s and 50s, who just recently passed away actually,
and his, the first class, the first day,
he started showing us his portfolio
of these photographs of Coney Island in New York City,
and what the people look, and I just was hooked.
And then I learned how to develop film
and work in the darkroom, I just have been amazed by it,
and that's sort of was what got me hooked,
and I've been doing it ever since.
All of these photographs are still-film,
I still only shoot film for my own projects.
I do my own darkroom work, yeah,
just I sort of fell in love with it,
and just have never let go.
Yes?
- Again, it's more of an aesthetic choice on my part,
I like the look of the black and white,
and I like using the darkroom and making the prints,
and it's again, it's that sort of throwback
to the classic photojournalism.
I've shot maybe, five rolls of color film in my entire life,
like it's just, I just like the look and working with it.
There's really not much more to it than that.
Yes?
- I mean, that's, again, that's one of
those kinda tricky questions to answer 'cause there's,
basically I went in knowing nothing,
so I never really had expectations,
oh was I gonna see this, or see that,
it was sort of, I had no idea,
but what has always fascinated me the most
is no matter which community I've been to,
and no matter what part of the country,
it's how welcome I've always felt going in
to any of these communities.
As soon as they found out that I'm not Muslim
and that I'm not from the area,
it's, "Oh, come and check this out,
"and meet my wife, or my husband,
"and these are my kids," and the whole nine yards.
Like, they're very, very open to people coming
and visiting, I thought it was gonna be
a lot harder to get people to let me take their pictures,
and get involved, and going to these communities,
and it's been unbelievably easy to do.
All you have to do is ask.
Yes?
- That project was eventually abandoned.
There was this, yeah, I don't remember if
the church ended up deciding not to sell them the convent,
but it was something happened with that
and the whole thing sort of fell through,
and it was never built.
- Surprisingly short.
The big Friday afternoon prayer is maybe a 1/2 hour.
They'll do their prayers, and then the Imam will give
a little, the equivalent of a homily,
with the readings for the week,
and sort of, this is what's going on,
and this is what we should be thinking about,
but the whole thing can be over
in anywhere from 20 minutes to a 1/2 hour.
If you just go for the evening prayers,
it's done in 10 minutes, it's very quick.
Yes?
- The residence halls--
- Oh no, because they won't plan to have dinner
when they know they have to be at the mosque.
She was asking if I've ever been at one of
their houses when they've gotten called for prayers,
and no, and the answer is,
because they know not to have dinner
when they know there's a call for prayer coming.
They'll eat before or after, kind of thing.
If that, is that what you were asking me?
Okay.
- [Audience Member] And is that the last one of the day?
- Five times a day, yes.
- [Audience Member] They go to a mosque.
- They don't have to go to the mosque,
they have to pray five times a day.
So the morning, early-morning prayers,
most of them will pray at home.
The late-night prayers, again,
most of them will pray at home.
Friday the mid-day prayer is sort of
the big, weekly one where the Imams come and give the talks.
The rest of them are sort of, much more informal.
Sometimes there'll be 10 people at them,
sometimes there'll be 100.
If it's a weekend, you might get
a few more people than a weekday, 'cause people work.
The holidays are always crowded.
I mean, this photograph here was in the Bronx actually,
a mosque not far from my house.
This kid is actually on the sidewalk outside of the mosque.
The mosque holds about 5,000 people,
and it was so crowded for the Ramadan prayers that night
that they had, basically mats setup on
the sidewalk so extra people could pray.
- [Audience Member] Do they have donations?
Do they pass the plate?
- They have, I mean there's donation boxes in the mosque
that you can, they don't pass the plates
like they do here, like in a Catholic church,
but people do donate to the various causes.
They'll have one, just for maintaining the mosque,
they'll generally have one for, like,
the big one at the moment is for money
to help the Syrian refugees that are getting resettled,
this kind of thing, so.
- I, see I never worry about getting the perfect photo
because I don't necessarily think that one exists.
It's sort of, you take, especially with this,
because I have no control over anything
that's going on in these moments,
other than the settings on my camera.
So if I get a good exposure, that's a good photograph,
but how things line up in the photographs,
part of it's your own aesthetic,
whether you think it's balanced or not balanced,
or how it works, or not.
It's sort of, and part of it's trial and error.
I mean I'll bang away with a couple rolls of film in
a night, and maybe out of a roll
of film I'll get two good pictures,
two pictures that I like, only one of which
will ever actually make it into a show anywhere.
Yes?
- [Audience Member] That leads into
a question I've been thinking about.
In your editing process, what criteria are you using?
To me, I mean, as a candy-lover I like
the Whitman's Sampler where you have a variety--
- Little bit of everything.
- [Audience Member] I see a variety up here
and I'm curious as to why you picked one over the other.
You have this contact sheet in front of you,
you have all these, and you're picking out a photo,
why are you picking these photos?
- Part of, I mean, okay, picking the photos off
the contact sheet and picking which ones I'm showing
are two different things.
The ones on the contact sheet, when I first get one back,
and I'm looking at the photos I've got,
part of it is just, all of a sudden you'll see something
and it'll catch your eye, like that's just the way
the subject matter and the things in
the photograph fit into place.
Sometimes the one right next to it,
right before it or right after it, it's no good.
It's all a matter of just catching that moment
that for some reason caught your eye.
Now when it comes to how to mount
the exhibition of this work?
I mean I have thousands of photographs,
yeah, in general the idea with,
I generally show this in blocks of 30.
There's another exhibition of this work actually in Missouri
at the moment, and it's basically a duplicate of this.
I think they have two slightly different photographs.
The idea though is, kind of go back with
the candy sampler, I don't want everything to be just,
I mean, I have so many pictures of guys praying in mosques,
I could do a whole show of just that.
But I don't want it to be just that,
I'm trying to give more of a complete show
of what's going on, and you don't learn as much,
it doesn't open as much discussion
if you make all the photographs of just one type of subject,
so I'm trying to show a little bit of
what they do in the mosque, at home,
and playing basketball, or playing cricket in the park,
and just in general, and some portraits,
just to sort of make it more visually interesting,
and the show does change exhibition to exhibition.
These photographs haven't been at my apartment since August.
There were four shows in the fall,
there's four shows in the spring,
so when I get it back this summer,
anything that I've shot in this past year,
I'll update and change some of the photographs
even to go out in the fall, so if you were
to see this somewhere else in the fall,
you'll probably see a different set of 30 photographs.
Some of them are always in it, but others will change.
- [Audience Member] When you look at that contact sheet
and you see an image that falls into place,
it sounds to me like you're talking about
a formal organizational composition issue.
- I, to me it's more of a gut reaction.
I can look at my nine contact sheets,
and be like, there's just something in it
that you don't like, whether somebody,
and I can't always tell you why, but like, I know I
can tell you why I like this one better than that one,
I might not be able to tell you
why I don't like the one on the left,
but I can tell ya about the one on the right.
It's just the motion in the eyes,
or the way the head's tilted,
something like that that'll just make,
that's the photograph of the person.
- [Audience Member] Is there any hierarchy
of value in terms of your value of the photograph on them,
I mean is any of these any better
than the other, on this wall?
- I mean, some of these prints,
looking at them, having not seen them since August,
I probably have made a couple better prints
since these were printed, but it's more,
I mean there are definitely photographs here that I like
because I have a reaction to them more than others,
The one of the cop praying
has always been one of my favorites.
That's actually the "Ground Zero mosque" by the way,
so that was a New York City police officer praying in
the most, like, publicly-hated mosque in the country.
The one of the little girl that I said I took
the first night, that has always been
one of my favorite photographs.
The little boy's t-shirt, again,
part of it, that one, is I like what the shirt says,
'cause I think it's hysterical.
The kid who was wearing that shirt
is a really funny little kid basically,
and I've stayed in touch with him
along with everybody else.
And so that one, it's more 'cause I have fond memories of
the kid, so I look at the shirt,
I not only can relate to what it says, but I remember
the kid too, which is, like, that's what I'm saying,
like I have a different reaction to them.
I don't know if any of them are necessarily,
how to classify them as better or worse,
I just have a different reaction to some of them.
- [Audience Member] So it sounds like your decision's
based a lot on the subject itself,
rather than like, formal design.
- Yeah, I am not as worried about formal design.
- [Audience Member] Okay, so it's subject-based.
- Yeah, that was a really short answer
and a really long way to get to it.
Yes?
- No, I mean like, take your shoes off,
but that's the extent of it, yeah.
Yes?
- [Audience Member] Have you attended
many Friday mid-day prayers?
- Yes.
- [Audience Member] Does the Imam normally speak in English?
- Usually, I mean, 95% of the ones I've been to
were in English, one in a couple of mosques
that have larger Arabic-speaking populations,
they'll do it in Arabic, and then in English,
so that everybody, 'cause not everybody speaks Arabic
as fluently, so they'll do it in both.
So I do generally understand, I mean,
I know what they're talking about.
- [Audience Member] How accessible is good film?
- Not hard, B&H which is like, a national,
I mean it's based in New York City,
but they'll ship film anywhere.
There's enough camera shops in the city I can get.
I mean, could I walk into like, a store here
in Williamsport and get the black and white film I use?
I don't know, but being in New York it's,
and I mean you can always order it.
But it's gotten a little more expensive
than when I started, but the paper's actually
what has gotten really expensive.
But yeah, it hasn't been a problem getting it yet,
there's enough people still interested.
- [Audience Member] Are you having trouble getting
the paper you wanna use?
If I look at them standing there,
it looks pretty, like cool tones,
as opposed to the ones on each side look like warm tones.
- Yeah, some of them, and it's not so much
that these are technically all printed on the same paper.
The problem is, they keep screwing with
the chemistry in the paper.
They up and down the amount of silver in it
depending on the price of silver,
so some of them, and the chemicals as well.
So it's more that than, I mean I
can always buy Ilford 16 by 20 fiber based multigrade paper,
but it varies batch to batch now,
which it used to not do as much.
- [Audience Member] I still have a question about
the editing, and then the work as a whole
versus individual photos.
For example, where the gentleman's in
the bottom right-hand corner,
I think the content of it is dependent on,
maybe the photo to its right,
whereas some of the photos speak about
the issues all by themselves,
so to me that might make one stronger than the other,
and some of them, really have to be seen in context.
- Yeah, and that's a good example,
and that one definitely needs to be seen
in a group to make sense, whereas some of
the other ones can definitely stand on their own.
But also, I don't design how they're shown on the walls.
I've always left it to the gallery to decide the order,
and how they go, because I've never seen any
of these galleries before I'm there.
I always leave it up to the gallery directors
to decide what order they think they should be in,
or how they work best in the space that they have.
- [Audience Member] But then that sets up
a little bit of a hierarchy, some prints need
to be with others, and some stand alone, like--
- What I mean, the thing is, I would never show
that photograph by itself, but it's not by itself
and it never would be by itself,
'cause it's gonna be with the rest of these.
- [Audience Member] I'm gonna put you on the spot,
What's the strongest photograph on the wall
that stands by itself, for you?
- Of any wall, or this wall?
- [Audience Member] This wall right here,
since we're here, I'm just curious.
- That one.
- [Audience Member] Can you just speak why, why is that?
- I think both the way the light on the kid was,
I mean, I couldn't have staged that if I wanted to.
That streetlight couldn't have hit him any squarer,
if I had designed it to hit him any squarer,
and it was the way that he was looking
and the way his hand rested,
and just perfectly, formally by itself,
I think that's a good photograph.
- [Audience Member] You talked about wanting
to start a dialogue, have any of
the venues organized community dialogues?
- Yeah, there have, different schools
have done it in different ways.
There have been some, it was in a show up
in Helena, Montana, they did a big inner faith meetings
and stuff like that around it,
and at Mississippi Delta they had groups come up
from Jackson to do panel discussions
with students and this kind of thing.
I did a talk when I was there,
different schools have done it different ways,
but it has been involved in various,
it's also been part of a couple
of conferences and symposiums dealing with,
not just interreligious discussions,
but intercultural things.
So it's been used in a bunch of different ways in
that respect, and sort of, depending on
how people decide to organize it.
Yes?
- [Audience Member] And the bookshelf of
the volumes of the Quran, 'cause...
- Furniture, yeah, all kinds of stuff.
- You know, I've never honestly thought about it.
I don't know, I mean I've photographed,
in working for museums now for 16 years,
I've photographed more books than I care to recall.
How has that, like, somewhere hidden in my brain,
gotten into how I photograph a book that somebody's holding?
If I did it, I didn't do it consciously,
but it's probably there somewhere.
And the other thing with the bookcase,
every mosque has a bookcase
that has nothing but Qurans on it,
and then every mosque also has these shelves
where people put their shoes when they go in the service,
I have photographs of both things
from every mosque I've ever been to.
People have told me I should do a show
of just those two things, but...
- [Audience Member] Do the people
take the books during a service?
- No, they're for people, they don't use them during
the prayers, people will come early
and read a little bit of the Quran before prayers,
after prayers, they have a lot of
the ones you'll see, do I have any on this wall?
Of the students, not that one, that's an actual school,
the kid over there in the corner, that's, thank you.
The one of the kid reading the Quran before prayers
in Wichita, there's the group of girls on the far wall,
the second from the far-left.
They have, for a lot of the kids,
they have basically, it's the equivalent
of bible study class, but of the Quran,
so they go over the stories in the Quran,
they discuss them, they also have Arabic classes in
a lot of them to teach people how
to read Arabic, 'cause a lot of the people
that can speak Arabic still can't read it,
'cause it's extremely complicated to read,
so they use them for that as well.
Yes?
- [Audience Member] Previously you stated
that you grew up Roman-Catholic, so,
- Okay, very true.
I can't tell you if I've done it,
the whole experience perfectly.
I really doubt that I have, coming from the outside,
I am an outsider when I do this, and I'm well-aware of that.
The way, but Muslim communities that have seen the work
have all said that they appreciate what I'm doing,
and like the photographs that I show,
so if they're okay with it that way,
I sort of take that as a sign
that at least I'm going in the right direction,
and that I'm depicting it in an appropriate way,
and a way that they think is okay,
and that sort of, says the right things,
or the message that I'm trying to get across.
That's, I mean, you're right,
I'm an outsider, I don't know, this is not by any means
the complete picture of Muslim Americans,
I'd have to go to every mosque
in every community in the entire country to do that,
this is just a sampling.
- [Audience Member] Have you ever thought
(speaking away from microphone)
the photographer they wanted to,
kind of include them in the standing
on your, the Muslim American experience.
(speaking away from microphone)
- It's been talked about a couple of times
with a couple photographers,
it's just never actually managed to pan out.
There's actually a European Muslim photographer
who's based out of Denmark, that has basically
been documenting European Muslim communities,
and we've swapped a couple emails,
trying to see if there's some way we can combine his work
and my work, in a sort of, more of a semi-global thing?
It's sort of just emails and ideas at this point,
but I mean, the idea has come up, it's just never managed
to pan out for various unsundry reasons.
Yes?
- You mean purposely, or?
First of all, most of them don't wanna talk
to me anyway, judging by what they have written
about me online in the past.
(all laughing)
So they have apparently seen the work though,
but no, I've never, I mean, I'm not,
I'm also not crazy enough to call up
like, Pamela Geller and be like,
"Hey, you wanna come check out my photographs?"
It's just, it's just not,
I'm not trying to pick a fight.
If I do, so be it, but I'm not looking
to do it, if that makes sense.
- [Audience Member] Are you at the point
in your work, where sometimes you'll go out
and shoot all day long, and come back,
and say, "I got nothing new."
- Oh yeah, it happens to me all the time.
Yeah, I'll shoot a roll of film and look at it,
there's nothing on it that I'm interested in, yeah,
'cause the other problem with some of
these subjects too is you go to the mosque
and it's people praying or something like that,
and I've got so many pictures of like,
it's gotta be something unbelievably outstanding
to replace one that I've already got,
so that's sort of the harder part.
- [Audience Member] Do you find it easy
when you're starting--
- Yeah, 'cause you have pictures of nothing,
so you have, now you have pictures of all this stuff,
and then, but getting the better versions of it
or things that make more sense is harder.
- I would like to get some more of the women praying.
There's a couple of ones that I've never gotten
a successfully good one of it,
of the men washing their hands and feet
and all before prayers.
There's been a few that have let me do it,
I've just never gotten,
The photos I've managed to get of it
always just look way too awkward.
Little things like that, but I would like
to have more photographs of the women,
but that, a lot of it depends on the groups that I visit.
Sometimes, like in Oklahoma City,
I got a bunch of photographs 'cause the women there
were, oh, perfectly fine, "come and take pictures,"
but the more conservative groups,
they're not, they're just not willing to let me do it
which I understand, and I'm not mad,
but it's just like, that, I know that hole is there.
African-American Muslim communities,
I know is another hole in this project.
I have a few African-American mosques,
I just don't have a lot of connections to them,
especially the Arabic Muslim population
and the African-American Muslim population
don't necessarily talk that much,
so that's another, sort of area
that I think I would like to get more of,
if the opportunity arises.
- [Audience Member] As I look around,
the proportion is unifying everything, it's similar,
so the question comes up,
are you cropping the negative or are these full-frame?
- Most of them, and nobody's ever asked me that one.
99% of them are full-frame, there are a couple
that I've cropped, but I only ever do slight cropping.
If there's something really stupid in the corner,
somebody's hand sticking out, I'll get rid of that,
but I'm not one of those, I never crop kinda guys.
- [Audience Member] Yeah, I was just curious.
- [Male] Are you shooting same focal lengths
on everything, same lens?
- No, I have, I basically use a 21, a 24, a 35 and a 50
in various combinations, depending on
the space that I'm in, but yeah,
I'm not a big fan of long lenses, I despise zoom lenses
just 'cause I don't think they're as sharp.
One more, all right, one more?
- No, because nobody's ever been crazy enough to show up.
The people that have said stuff have written it online.
It's much easier to anonymously write something online
about somebody, than to show up
and say something to somebody.
I always wonder if somebody's gonna show up,
but nobody up until this point has ever actually done it.
- [Female] Well thank you.
- Thank you.
(audience applauding)
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