Alley Tree |
Contrails Can Suppress Daylight |
Shadowy Alley |
Echoes of Japan |
Sunny Day |
Alley Tree |
Contrails Can Suppress Daylight |
Shadowy Alley |
Echoes of Japan |
Sunny Day |
Dynamic Legacy Ladder |
I strongly urge you to visit the exhibit and engage with the diverse approaches that employ a single medium to interpret the theme of color. It is a honor to join this legion of creatives.
You can find my image if you scroll halfway down the exhibit.
View the Exhibit |
I have been working on a series of digital in-camera multiple exposures since 2007. See these Reality-Based Abstractions.
I broke new ground with Dynamic Legacy Ladder by choosing to make one exposure in color and the other in black and white. This new direction can be traced directly to my recent collaborations with photographer Jaypix Belmer. Big thanks to Jaypix for the inspiration!
Dynamic Legacy Ladder in F-Stop Magazine |
Pacey Foster from the Massachusetts Hip-Hop Archive at UMass Boston connected me with Jaypix Belmer, as Belmer was curating an exhibit on Boston Hip-Hop at Black Market Nubian in Roxbury, MA.
During our initial phone conversation, Belmer and I hit it off. We discovered a mutual love of creating multiple exposure photographs. We also both find inspiration in the work of photographer Eugene Richards.
I was honored to have my 1980s images of the Boston Hip-Hop scene on view along with Belmer's contemporary images. The exhibit coincided with Hip-Hop's 50th anniversary.
Photo by Jaypix Belmer |
The Boston Globe's James Sullivan attended Moment of Focus and wove vignettes from the event into his article: In the early days of hip-hop, Boston made its own history.
He made mention of me and my work:"His photos from various venues around the city were a prominent feature of the recent “Moment of Focus” exhibit, and they made up the bulk of “Hip-Hop: Seen/Unseen,” an exhibit that ran from August until mid-November in Dewey Square on the Rose Kennedy Greenway.
“When I see my photos, it’s about the youth,” said Nordell, now a professor at American International College in Springfield. He recently donated his negatives to the Hip-Hop Archive."
My images were used to illustrate the article.
A history of Hip-Hop in Boston without acknowledging Rusti Pendleton, shown above scratching with his toes, would be woefully incomplete.
Photo by James Bynum |
A scant few of my Boston Hip-Hop images were published in the 80s. The rest would still be unseen if record store owner and historian Brian Coleman had not tracked me down to find out if I had more. Thanks again Brian!
A big thank you as well to Jaypix Belmer for including my work in the Moment of Focus Hip-Hop Exhibit.
Professor John Nordell teaches courses in the Arts, Media, and Design Program at American International College in Springfield, Mass. He blogs about the creative process at CreateLookEnjoy.com and teaches online Zentangle drawing workshops.
I infuse teaching the creative process into my Arts, Media, and Design courses at American International College.
As several of my students play on the men's soccer team, I set out to engage in the creative process myself, aiming to increase my chances of successfully capturing key moments from the game against New Haven.
Vying for corner kick (or maybe a free kick). |
I researched tips and techniques for photographing soccer to build on my expertise of fifty years working as a photographer. (I am only 64, but was first published as a teenager.)
I found 11 Tips for Breathtaking Soccer Photography from Digital Photography School somewhat helpful in guiding my approach to the challenge. However, Sports Illustrated photographer Peter Read Miller's video Tips for Shooting Soccer proved to be an invaluable resource. His advice was clear, precise, encouraging and empowering. I knew what lens, aperture and shutter speed to use, optimum vantage points and angles, as well as key game moments to anticipate.Shot List: includes the jersey numbers of my students. |
After deepening my knowledge, I generated a shot list of types of images to focus my shooting. I also emailed Coordinator of Athletic Communications Seth Dussault, inquiring about the logistics of covering the game. He got back to me, "Basically, just don't cross the yellow lines. Other than that you're pretty free to do as you please."
A tackle. |
I enjoyed the challenge of working to capture the types of images from my shot list.
A header. |
This is as close as I came with a header. I wanted the moment of a head making contact with the ball. In many shots, the ball was 10 or more away from the point of contact.
Soaring. |
At one point I noticed a hawk soaring above the field. I took a short break from the game and photographed in the majestic bird. I marveled and the apparent confidence and freedom of the bird, took a deep breath, and tried to infuse these qualities to my photographic efforts.
Manuel Schwarz shoots to score his 3rd goal of the day. |
Schwarz's teammates swarm to celebrate with him. |
Though I watched Miller's video only once, it was as if he was coaching me via a headset as his voiced explanations lingered in my head.
The Professor at Work - Photo by AIC student Jalen Jordan |
In the video, Miller demonstrated photographing from a lower angle to enhance the perceived stature of the players. I wish that I had the kneepads he was wearing!
Arty. |
I experimented with using a slow shutter to create an impressionistic rendering of the game.
Pain. |
Looking at the images later on my computer, I reveled in reaching the photographic goals outlined on my shot list. Not all the images are perfect examples, but it was exhilarating capturing what I could.
Ah... the power of the creative process.
Below is one of my first published images, shot when I was thirteen.
From The Harvard Bulletin |
Fly Like a Tern |
The Festival call for entries describes the toy camera aesthetic: "Celebrate the flaws, the quirks, the accidental genius that lousy lenses can create! Images of any subject matter, made with a “toy” camera (or any low-tech camera with no or very limited exposure control, such as pinhole, Holga, Diana/Diana clones, Brownie, Ansco, disposable cameras) are eligible. Key criteria are plastic lenses and lack of reliable exposure control."
My Holga 120 film camera, purchased used for 10 dollars and held together with tape. |
With my college students, I constantly infuse teaching the creative process. Here is the story that led to me capturing Fly Like a Tern.
One evening, while playing drums in my basement, I took breaks and randomly pulled books off of shelves. I am blessed with a bounty of art-related books, many bequeathed to me by my art loving and art collecting parents. One title was Route 22, with photos and text by my friend Benjamin Swett. The book includes his contemporary photographs of buildings paired with historical images of the same structures. Another chanced upon tome was Drawn to Art, shown below. While I have not read much of this 1985 book, the images of historical buildings and scenes prompted me search out the contemporary locations. I bet that stumbling across Route 22 inspired this approach.
Drawn to Art - A Nineteenth-Century American Dream by Diana Korzenik Blackboard 1877 by Winslow Homer |
l’m taking the above picture with my iPhone and a woman in the third-floor window of a building across from Prang, asked me if there’s a picture of the building in the book I am holding. I say, "Yes, they used to do color printing there." She says, "Oh yeah they used to do printing in this building. The neighborhood is really interesting. The old church up the street, Paul Revere rode his horse down here, and they built a mosque over there." I pointed Roxbury Community College and say, "This is new." And she says, "Yeah that’s all new since I’ve been here. I've been here 20 years."
The Prang building at right. You can see the "P" at top right. In the background is the minaret from the Islamic Society of Boston Cultural Center's mosque. Shot with my Holga. |
Quadruple exposure of the Prang building taken with my Holga. |
Normally while shooting film photography you want to avoid double or multiple exposures. The design of the Holga is missing a safety stop thereby allowing one to easily take unintentional multiple exposures, or, as in the case above, easily take intentional multiple exposures.
My series of intentional multiple exposures taken with a digital camera is called Reality-Based Abstraction.
I recently experimented with a mirrorless digital camera: Deconstructing Digital Precision and Predictability to Achieve Analog Uncertainty and Variability.On my way to the next location featured in the book, I stopped by the studio of friend and mentor, photographer Lou Jones. I lamented "the one that got away" as I recounted just missing a photo of the Muslim woman. After briefly commiserating with me, Lou explained the in and outs of photographing women at a mosque, noting the layers of cultural norms he had to navigate to capture the assigned imagery.
Speaking of "the one that got away," I once photographed a fisherman with my Holga and we realized there are many connections between photography and fishing. Read more about this.
The front door of the yacht club was locked. I walked around the side and found some workers on the pier waiting for access through a locked gate to work on a boat. One of them saw me struggling in the strong wind trying to hold the book while taking a picture with Point of Pines in the background. He volunteered to hold the book for me.
"The Pines Historian," self-proclaimed. Looking East towards the point. Shot with my Holga. |
Chris texted me some images from his historical collection. He thinks we met just beyond the boat houses at top left. Looking North toward the point. |
Looking East towards the point. Perhaps the location of the beach shanty. Panorama shot with iPhone. Click image to enlarge. |
"The Coney Island of The East" Another gem image from Chris's collection. 1890s. We met at the point at the far right. Looking West. |
After Chris texted me these amazing images, I replied, "Thanks again Chris! Maybe you are more than self-proclaimed! He replied, "Still self proclaimed. Just nice for someone to appreciate it."
Connecting to Spirit. Shot with my Holga. |
After saying goodbye to Chris, I walk down the beach back to my car. It is blustery with a hint of thunderstorm in the air. I feel fully present in the moment, exhilaration coursing through my body.
Fly Like a Tern |
A few feet from me terns are diving into the ocean to catch fish. I catch one of the terns flying in the sky with my Holga. This image is later accepted for the 2023 Somerville Toy Camera Festival.
***************************************************************************
In the 80s and 90s, I shot film as a professional photographer. These days, working as a professor, I shoot film to explore the intersection of art and technological change. Thanks to The Darkroom for their excellent processing and scanning of my film.
Part 1: Shooting Film After All These Years - Process
Part 2: Shooting Film After All These Years - Pick Hits
Professor John Nordell teaches courses in the Arts, Media, and Design Program at American International College in Springfield, Mass. He blogs about the creative process at CreateLookEnjoy.com and teaches online Zentangle drawing workshops.
Having my images from the 1980s included in the Hip-Hop: Seen/Unseen exhibit is a highlight of my creative life. I recently donated prints, negatives and writings to The Massachusetts Hip-Hop Archives at UMass Boston. My hope was that the community and scholars could benefit from access to my work. This Boston exhibit is near South Station, in Dewey Square Plaza on the Rose Kennedy Greenway. The following images and curatorial statement are from the opening reception. The exhibit runs through October.
FEATURING
The Massachusetts Hip-Hop Archive at Mass Boston, the personal collection of Chico Silvera, and select photography by John Nordell, John Brewer, Gabriel Ortiz, and more.
Curated by: Liza QuiƱonez @streettheorygallery, Edo G @edogpics, Chico Silvera @chicosilvera77, and Pacey Foster @libraryofvinyl
Visitors examine my photographs on the left panel. |
In honor of Hip-Hop's 50-year golden anniversary, Street Theory and The Greenway Conservancy are proud to present Hip Hop: Seen/Unseen, showcasing a carefully curated collection of early concert flyers and rare photographic archives from 1979 to the present. This mini-exhibition, nestled within the Dewey Square Plaza on The Greenway, is a tribute to the raw, captivating allure of Hip-Hop and its deeply embedded roots in Boston's social and cultural tapestry.
T. Nyne looks on as curator Chico Silvera points to T. Nyne's younger self in one of my images from The B-Town Rap Battle held in 1986 at The Institute of Contemporary Art. |
Hip-Hop: Seen/Unseen explores the rich cultural heritage, historical journey, and pervasive influence of Hip- Hop in Boston, thereby exposing the vibrant yet often hidden heartbeat of the City.
So thrilled to be part of this historic event. Note the Boston Bruins logo manhole cover. |
A panel discussion was held at the base of Problack's mural: Breathe Life Together |
The show flyers trace the roots of the movement by capturing the genesis of the New York and Boston Hip Hop scenes, while the photographs transcend mere portrayal of iconic figures. Instead, they spot daily life, jam sessions, and gatherings through the lens of the five core elements of Hip-Hop: MCing, DJing, breakdancing, graffiti, and knowledge. These artifacts reveal how Hip-Hop has been intricately woven into the fabric of Boston's everyday life, profoundly influencing its language, fashion, and communal spaces.
The event featured vendors, break dancing, an expert panel discussion, free food, graffiti artists at work and giveaways. |
A SPECIAL THANK YOU TO OUR SUPPORTERS
The Greenway Public Art Program is exclusively funded through grants and private sources, Hip-Hop Seen/Unseen, 2023 was made possible through the generous support of The Barr Foundation, The Greenway Business Improvement District, Goulston & Storrs, and G. Ortiz Photography.
Trailblazing Rusti Pendelton stands between me and curator Pacey Foster. He was known as Rusty the Toe Jammer as he scratched records with his feet. A set of my images documenting him performing was in offered in Sotheby's first ever Hip-Hop Auction in 2020. Click and scroll down to view. |
FOR MORE INFORMATION, PLEASE VISIT:
The Massachusetts Hip-Hop Archives at UMass Boston - www.masshiphoparchive.org
Located across from Boston's train station on busy thoroughfare, the exhibition garnered attention from passersby. |
I had a chance to meet and connect with another featured photographer John Brewer. Of course, we were talking technique and cameras. Find him at @jbrewerphoto |
Mad Mike of The Floor Lords poses with archival images (not mine). Curator Pacey Foster remarked, "It's magical seeing grown adults turning back to teenagers when they see themselves." The Floor Lords, a Hip-Hop Breakin Crew since 1981, performed at the event and posted a wonderful video collage. @floorlordsboston |
Shawn Peete then and now. He poses in the middle of the lower photo that I captured during Maurice Starr's 1986 Hollywood Talent Night. |
Professor John Nordell teaches courses in the Arts, Media, and Design Program at American International College in Springfield, Mass. He blogs about the creative process at CreateLookEnjoy.com and teaches online Zentangle drawing workshops.