Getting the shot is not an easy task, but this year, Alta Journal photographers rose to the occasion. Whether it involved spelunking to a 24-hour doughnut shop at 1 a.m. or facing suspicion in a rural desert biker bar, Alta’s contributing photographers did not shy away from a challenge. Below, these incredible individuals share their last-minute decisions, talks with subjects, and aesthetic choices—providing an insider’s look into this year’s top photos.
CAROLYN FONG, “SAN FRANCISCO’S 24-HOUR DINER STOPS THE COSMIC CLOCK,” ISSUE 25
“I think the moment that I’m most proud of was finally getting George, the diner’s co-owner, to allow me to take a portrait—a single portrait of him at the bar at 1 a.m. after being there for an hour and patiently waiting and slowly earning a little bit of his trust. The bonus was the younger folks coming in for a doughnut after a night out and getting to capture them enjoying a shot of ouzo with George as his usual routine of welcoming new patrons.
“It’s been a while since I’ve been out past midnight, and I’m glad that this job pulled me out well past my bedtime to experience a little slice of San Francisco history and what I hope will be a lasting part of its future as well.”
SCOTT BAXTER, “AN AWFUL LEGACY OF VIOLENCE IN THE ROUND VALLEY,” ISSUE 25
“My hope is the story will raise some awareness. I spent a couple of days speaking at my motel with Harold, a member of the Cortina Indian Rancheria community from Redding, California. He was in town to partake in a Bear Dance in relation to the murdered and missing community members.
“He was very kind but said the following to me: ‘You know, so many of you come here, but nothing ever happens…but I will give you a chance.’ He then talked of how Native communities are bringing their support to Round Valley. He said, ‘We are one feather of the same eagle.’
“My approach was to try and understand the situation as much as possible, and be gentle and respectful while needing to make compelling images that may in some small way effect change with the tragedy of missing or murdered Indigenous persons.”
GREGG SEGAL, “A NEVADA TALE: TESLA, GOOGLE, AND THE MUSTANG RANCH,” ISSUE 25
“For this story, the original plan was to photograph Lance Gilman, owner of the Mustang Ranch, outside at the entrance of the brothel with Jennifer Barnes, the brothel’s manager and Lance’s partner, along with a handful of ‘courtesans’ (as Lance calls them).
“But the exterior was pretty nondescript. And the shoot was in August, when temperatures were close to 100; I knew Lance, Jennifer, and the courtesans would be uncomfortable in the hot sun. I convinced Lance’s team to bring his Harley into the brothel’s bar, which, with its red neon lighting, has more of a vibe and sense of place than the exterior.”
TOD SEELIE, “THE JOY OF A GREAT DESERT BIKER BAR,” ISSUE 22
“One of my favorite parts of being a photographer is meeting new people and going places where you wouldn’t ordinarily find yourself, and this story, celebrating the biker bars of Southern California, was a great example of that.
“All of these new encounters require inserting yourself into strangers’ spaces to photograph, which can be received in a myriad of ways. There were moments at a few bars where some patrons regarded me with palpable suspicion; however, the bar owners and managers were all incredibly hospitable. At one point, a group in matching vests came over to question me about who I was and what I was doing. After we had a chat, apparently satisfied, they let me on my way.”
ALEJANDRO CEGARRA, “LETTER FROM MEXICO CITY,” ISSUE 25
“I enjoy assignments in Mexico City, particularly because they provide me with the opportunity to explore the city—although I am not originally from Mexico City or even Mexico itself. I’m from Venezuela. I left my home country due to the humanitarian crisis unfolding there, so I arrived in this city seven years ago. When I read the description, I felt delighted because I’m in love with this country and this city. And I feel that’s why these pictures work so well together, because this is how I see Mexico City: through the eyes of someone deeply in love with this place that I now call home, and I’m really happy for other people to feel that love through the pictures.”
CHRISTINA GANDOLFO, “‘ACTS OF LIVING,’” ISSUE 25
“I knew with this assignment that the creative spaces I was entering were nearly as important as the person I was photographing. Within each space, I felt like I was gaining access into a wider canvas for each artist’s perspective. For instance, Teresa Tolliver’s home studio in South L.A. was as ‘wild’ as her Wild Things sculptures—with decades’ worth of artwork filling nearly every square foot. Conversely, Kang Seung Lee’s tidy studio space was a near mirror reflection of the labor-intensive yet seemingly economic drawings and textiles he creates. When I entered Michael Alvarez’s garage studio in Whittier, I felt like I was stepping into one of his beautifully pastel-hued murals of everyday scenes in Los Angeles that subtly force us to understand the city just a little bit better.
“Having this kind of access to the spaces that inspired each artist told me volumes more than I could suss out in the short time we had together.”
PENNI GLADSTONE, “HOW TO GROW GOOD HOUSING,” ISSUE 24
“As an experienced photographer, I understand the importance of letting the subjects speak for themselves. I wanted to know from them how they survive, and photograph how they live. When the subjects are relaxed over conversation, they are freer to be themselves, so I am able to capture key aspects of their lives. It is only then that I am able to make a compelling photograph.
“I often work beyond what the reporter finds. I bring more questions to the story and find additional angles. This couple takes pride in building their own home. My photograph captured them supporting each other as they build their future together.”
JOHN LOK, “TRAILBLAZER: MATTIE MOONEY,” ISSUE 24
“For Mattie’s portrait, I was excited to try a lighting technique where everything that was not lit by my strobe would have a bluish cast. This was achieved by setting the camera to a tungsten white balance and gelling my flash head. The location provided some great background opportunities, and when Mattie arrived wearing a vibrant red lipstick color, I knew it would all come together for a striking image. As a photographer, it’s important to go into a shoot with a vision but also to embrace, and work with, the unplanned elements that always make their way in front of the lens. Those are often the things that really elevate the work and experience.”
DUSTIN SNIPES, CBC AUTHOR PORTRAITS, ISSUE 22-25
“Being a part of the California Book Club series has been an incredible experience. Over the past few years, I’ve had the fortune of meeting and photographing some of the most interesting and talented individuals. It’s been a delight to get to spend a few hours with them, getting to know them and learn more about their stories.”
