Interview with Phil Adams Photographer ,Columbus Ohio

This week I reached out to Phil Adams, a talented fine art photographer based in the vibrant south end of Columbus, Ohio. Phil’s work beautifully captures the essence of urban life through a diverse range of subjects, including streetscapes, found objects, and abstractions. His unique perspective aims to foster a connection with the community and document the nuances of the human experience. I’m excited to delve into his artistic journey, explore his motivations, and learn more about how he sees the world through his lens.

 

What inspired you to become a photographer, and how did you get started?

My maternal Grandfather was a semiprofessional photographer, who lived in Northwestern Indiana, and worked in the Loop in Chicago at a print shop. I grew up in West Central Indiana, and we would drive up north to visit at least a couple of times a year. He shot exclusively with a twin lens reflex, and did his ownprinting and developing in a darkroom carved out of the eaves in the second story of a Cape Cod. I was fascinated with everything about it from the beginning, and I still have distinct memories of the smell ofthe developing chemicals.

Can you describe your photography style and what you aim to capture in your work?

I would say that my style is somewhat eclectic and difficult to pin down, but can be most easily organizedby subject matter fitting into one of four categories: streetscapes, landscapes, found objects, and abstractions. I also very rarely photograph people. I would say that universally, I am always seeking to capture the essence of something we all have in common. I never know what that is when I’m looking for it, but I’m pretty sure when I find it. I tend to focus a lot on the ephemeral nature of existence, and how things change over time. In the process of creating these images, I go through complex mazes in my head, or maybe webs of information, fleeting memories, vague feelings—when I find a way to put them together (usually not involving explicitly verbalized concepts), I click the shutter. This formulation of an idea continues when I work with the image in the editing process, but for me, 98% of the work is selecting the subject and composing the shot.

 

What do you most find most fascinating about street photography, and what draws you to it?

Well, I don’t really identify with the traditional street photographers, who typically document the lives of people interacting with each other, in the context of busy urban environments. I would say that what I find most fascinating about the work I do is the ephemeral nature of it, that is, my subject matter. I often photograph the same subject many times, and am always quite curious about just how different a place can appear from one moment to the next. I have pretty much walked the same streets and alleys of the South End of Columbus for the last seven years or so, and never get bored doing it. There is always something new for me to experience every time. What are some aspects of the local Columbus art scene that you particularly enjoy, and how do you feel it has influenced your photography? I have been grateful, from the beginning, to find some outsider artists who don’t particularly identify with the mainstream art culture of the city. By nature, I’m a person who enjoys being with others, but finds himself quickly exhausted from being with groups. I prefer to not give too much conscious thought to influences, but I know that the work of some of my art fam in Columbus has had an impact on my own development.

 

How has being autistic influenced your creative process and perspective on the world, particularly in terms of the details you notice that others might overlook and how you visualize and capture moments?

Well, I think you’ve said it, but I can elaborate a bit. Autistic brains tend to be “bottom-up” thinkers, instead of starting from the big picture. We tend to put pieces together as we go, and the big idea congeals from that—at least that’s my experience. I also have a strong sense of the impact of my place in the world has had on my work; more specifically, what I refer to as “otherness.” I don’t think Autistics have cornered the market on this, but it certainly is predominantly universal experience for us as a community. I take delight in the discovery of this “otherness” as a recurring theme in my work, and it manifests itself in a variety of ways.

 

Do you have any favorite locations in the area where you love to shoot? What makes them special to you?

I really love the neighborhoods of the South End of Columbus, basically anything south of Livingston, north of 104, East of the river, and west of Lockbourne Road. It was here that I experienced a sort of artistic awakening in the summer of 2017, when I began to develop a visual vocabulary, pieced together of the streets and alleys of these neighborhoods, usually fairly early in the morning.

 

Can you tell us about a memorable moment you’ve captured that really stands out in your mind?

This is a difficult question to answer for a couple of reasons. I first of all, experience memory in an unusual way due to a condition known as aphantasia, combined with Severely Deficient Autobiographical Memory. The best way I can describe it is that I am aware that I have visual memory, but am unable to consciously access it—in other words, I have great difficulty making pictures in my head. Over the years I have developed skills to help me compensate for this, and I actually believe that without realizing it, from the beginning I chose photography as my primary media for this reason. Philosophically, I also have a strong belief in the uniqueness of every moment, and therefore that embodied in it is the possibility of greatness we cannot understand. The photographer William Eggleston  said “I had this notion of what I called a democratic way of looking around, that nothing was more or less important.”  This sort of perspective resonates very strongly with me.

 

How do you decide on the stories you want to tell through your photography?

 I often don’t have a sense of consciously deciding this. As I said earlier, autistics tend to be “bottom-up” thinkers, and I often let things develop organically. Sometimes when I see a subject, I have a sense of narratives that could grow out of it, but often nothing concrete. What role does spontaneity play in your work? Do you often go out with a specific idea in mind, or do you let the moment guide you? This is usually how I work, completely spontaneously. Maybe with a general idea of what I want to accomplish, but only very general. I like to let each moment join another, and allow the work to build itself over time. How has your approach to photography evolved over time? I think that as time passes, I become much less concerned with creating work for others. I am happy when my work helps me to connect with people, and it’s wonderful when others want to own it. My primary motivation from the beginning, though, has always been to literally save my life, and this position has only grown stronger as I’ve progressed.

 

Are there any challenges you face while photographing in public spaces? How do you usually overcome them?

The worst challenges I have always have to do with others’ suspicion about what I’m doing, especially when I am working in environments where people feel particularly vulnerable, disregarded, and neglected. It’s understandable when people respond strongly to me sometimes. The camera around my neck automatically draws attention. Over the years, the people who are more permanent in the neighborhoods where I walk have become more aware of me, and that is a benefit for everyone involved. It’s important for me to guard my safety, and there have been particular areas I have avoided after feeling threatened. I would not say I was in grave danger at any given point, but there have been a few interactions that have scared me pretty badly. I’m better at interacting with people than I was when I started this work, but some days I just don’t possess the necessary emotional capital to successfully navigate those episodes

Who are some photographers or artists that inspire you, and how have they influenced your style?

Quite a few years ago, a friend introduced me to the work of the photographer William Eggleston, and at a philosophical level, I identify with his approach. Aesthetically speaking, I have always loved the work of Edward Hopper, Thomas Hart Benton, and many artists from the Ashcan School. I love the simplification of forms in the work of some of the American modernists—Georgia O’Keeffe, Charles Sheeler, and Charles Demuth. I have lots of local artists whose work I find deeply compelling. In photography, my friend Paul Wilbur has always been a standout for me, and I have told Josh Arnold that in the realm of photography, I have often felt like he was a brother from another mother.

 

What advice would you give to someone looking to start their journey in street photography?

Get out and click that shutter. The best way to get better at anything is to do it. I do a lot of it. It is nearly a daily practice for me. Some physical issues have slowed me down a little over the last couple of years, but I still take a walk just every day that I’m able. Also, it’s good to have good equipment, but there are so many things that are more important than the cameras, lenses, etc. I have often told other photographers that I feel the most important piece of equipment is the one between your ears. If the work you are doing in your brain exceeds the capabilities of the equipment you use, it’s time to invest in better equipment. Otherwise, keep working that brain.

Looking ahead, do you have any upcoming projects or themes you’re excited to explore in your photography?

I love being part of the 83 Gallery community, and contributing to group shows regularly. I’m still engaged in the Magnet Project, which I started in 2021. I’ve had lots of friends who help and support that work. This past year I finally got a website up and running, which helped to accomplish the long-term goal of creating a permanent home for a few larger projects I have completed, as well as giving the general public more access to my work. I am still obsessively posting content to Instagram, which also includes some of my home life with my husband Anthony, our three cats, and my baking shenanigans. What can I say, life is art! I’m sort of in limbo at the moment in regards to any bigger projects, but the way my brain works, something is always simmering on the back burner.

Every time I talk with Phil Adams, I am reminded of his unique approach to photography. His work not only documents the subtle changes of urban life but also reflects his journey of self-discovery as an artist on the autism spectrum. Phil's passion for capturing the ephemeral beauty in everyday scenes invites us to appreciate the rich tapestry of human existence and the details that often go unnoticed

Don’t forget to check out Phil Adams on Instagram at @phil64justlookingand. And if you’re feeling generous, why not treat him to a coffee?