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Original author: 
David Walter Banks

Florida isn’t like other places. In fact, in some ways, Florida isn’t even like Florida. For centuries, from the time the 16th-century Spanish explorer Ponce de León first landed in Florida on his (perhaps apocryphal) search for the Fountain of Youth right up to the present day, people from the world over have looked to that large, water-logged peninsula jutting toward the Caribbean as a kind of fathomless fantasy land. Or, as photographer David Walter Banks nicely phrases it below, as “an epicenter of escapism.” Of course, no state as large and as diverse as Florida (or, for that matter, as small and as seemingly homogeneous as, say, Delaware) is ever just one thing. But again, as Banks suggests, the myth of Florida — the Florida of our tacitly agreed-upon collective imaginings — endures not because of, but despite, the state’s colossally variegated landscapes, cultures, communities and attractions. In his at-once fond and forthright portraits, Banks manages to illustrate much of the Floridian myth, while deepening the mystery of the Sunshine State’s singularly odd appeal.

A long-standing interest in escapism and seeking the surreal in the every day led me to train my lens on the manifestations of those ideas in American society. Eventually and inevitably, this practice led me to Florida, an epitome and epicenter of escapism in the United States.

In 2012, 1 in 4 Americans, or 89.3 million people visited the state of Florida, bringing in over $71.8 billion in tourism spending to an industry that directly employs well over one million individuals. Even after the economy crashed in 2008, Florida’s tourism numbers continued to climb in what is estimated as the most popular tourist destination in the world.

I am interested in the people who comprise these statistics, the environments in which they immerse themselves and the altered realities both the people and places project. I seek not to make a critique, nor to create a comprehensive factual documentation. I aim to create a vicarious experience–that of a tourist seeking fantasy.

My fascination with Florida started at a young age. Like so many Americans, my family would load up our wood-paneled Chevrolet station wagon every year and head down the highway toward the ‘Sunshine State’ for our annual Summer vacation. We would stay in a stereotypical stucco condo building on the beach called the Summerhouse. It was there that I produced some of my fondest childhood memories. It was there that I built sandcastles with my mom and dug giant holes with my dad for no apparent reason. It was there that I first met an older girl and hitchhiked to a club before I was laughed away at the door for my prepubescent appearance – I was 12, after all. It was there that I snuck off to smoke cigarettes stolen from a friend’s parents during my height of preteen angst.

These family trips were something that I looked forward to every year. I eagerly awaited the escape from our everyday life, even if only for a brief while. It is the memories of this escape that keep luring me back.

The theory of collective memory refers to the shared pool of information amongst a group of people. As Americans, our collective memory of Florida has become almost as much of a folk tale as it is based on reality. My recollections from childhood and adolescence are not necessarily how it actually looked and felt, but instead the world that I constructed from those fragmented memories. Such is our collective idea of the state, which has been fed and fueled by the masterminds of advertising and marketing.

Reality, on the other hand, is a different matter all together. Perhaps our fantasized version of Florida does exist, but if so, it is masked under layers of lines and litter, overpriced tourist traps and drunk teens who would steal the shirt off your back – This literally happened to me while photographing Spring Break. If anything is my charge while on the road for this project, it is peeling back these layers.

David Walter Banks is a conceptually based documentary and portrait photographer living in Atlanta. Follow him on Twitter @dwbanksphoto.

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Daytona Beach, 1999

In 1999, award-winning Magnum photographer Eli Reed set off to document spring break in Daytona Beach, Florida. Having watched the white kids getting hysterically drunk and “trying to crawl up inside the backside of uncaring contestants” in wet t-shirt competitions, he moved on to the black spring breakers who were doing much better things, like driving around with albino pythons and stuff. Here are some previously unseen moments from his series.

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A little shy of a year ago—with the world’s attention focused on a change of power in North Korea—a photo of Kim Jung Il’s funeral, released by KCNA (North Korean Central News Agency), sparked controversy.  The image had been manipulated—less for overt political ends, more for visual harmony. The photo’s offending elements, photoshopped from the image, were not political adversaries or top secret information, but a group of photographers who had disturbed the aesthetic order of the highly orchestrated and meticulously planned occasion.

KCNA/Reuters

Dec. 28, 2011. A limousine carrying a portrait of late North Korean leader Kim Jong-il leads his funeral procession in Pyongyang.

In an age where seemingly every occasion is documented through photography from every conceivable angle—an estimated 380 billion photographs will be taken this year alone—it’s not only North Korean bureaucrats who are wrestling to keep hoards of other photographers out of their pictures.

Photographers frequently appear in news photographs made by others. Banks of cameras greet celebrities and public figures at every event; cell phones held high by admirers become a tribute in lights, but a distraction to the viewer. Amateurs and professionals, alike, appear in backgrounds and in foregrounds of images made at both orchestrated events and in more candid moments. The once-invisible professional photographer’s process has been laid bare.

On occasion, photographers even purposefully make their fellow photographers the subject of their pictures.  The most difficult picture to take, it seems, is one without the presence of another photographer either explicitly or implicitly in the frame.

Everyone wants to record their own version of reality—ironically, it turns out, because by distracting oneself with a camera, it’s easy to miss the true experience of a moment. At a recent Jack White concert, the guitarist requested that audience members stop trying to take their own photos. “The bigger idea,” his label noted in a statement, “is for people to experience the event with their own eyes and not watch an entire show through a tiny screen in their hand. We have every show photographed professionally and the pictures are available from Jack White’s website shortly after to download for free.”

The abundance of camera phones and inexpensive digital cameras has changed the photographic landscape in countless and still-incompletely understood ways, and it’s not just the North Korean government trying to find ways around the hoards of photographers making their way into everyone else’s shots. Here, TIME looks back on the past year to highlight an increasingly common phenomenon: the photographer in the picture.

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