It’s been one year since my initiation to alternate universe that is Burning Man. Burning Man, the convocation of 50,000 souls committed to radical self-expression. Self-expression that looks an awful lot like Halloween.

In case you’re new to the Burning Man concept, a crash course is in order. You’ll find it on my blog post from last year: Memoir of a Burner. More photos from last year are here.

But first we had to get there. After a long two-day drive, my road-trip partner, Tony, and I arrived on the Playa. Since we had a themed camp - Camp Photon - we got to set up a day before everyone else arrived. Most of the sites were completely vacant and the madness had yet to start. The first morning, was perfect. Cool with a light wind.

Things went downhill from there. We set up in the wrong spot so we had to load up the RV and move it. Not only was it a lot of work, but we lost the benefit of setting up in the cool morning air. Instead, we got stuck setting up in the full heat and sun.

By the late afternoon, the winds picked up. Setting up the big carport shade structures wasn’t easy for two guys struggling against the wind. The rest of our gang wasn’t scheduled to show up for another day so the work fell on myself and Tony. The worst part was that we set up one the wrong way so we had to take it down and set it up again. We didn’t actually get anywhere til around 2:00 in the afternoon - after starting at 6:00 in the morning.

By then, the wind really started to blow and the dust kicked up. A whiteout soon followed. It wasn’t to be the last either.

Then the rest of the gang showed up. Parker Pfister from North Carolina drove in with a friend.

I thought that John Michael Cooper wasn’t going to show after his motorhome conked out at him back at home in Las Vegas. But he rallied and drove out by himself. Nick Adams - who kept us entertained with his guitar - playing drove up from Southern Utah. (Nick was the guitar player in the 80’s punk band MIA.) Photographers Chris Becker and Keats Elliot came up from Southern California.

Here’s JMC before I handed him a couple of my patented tequila playa ghetto margaritas. He had a good time until he went down for the count.

I was eager to pick up where I left off from last year so out onto the playa I went in search of interesting people to photograph. It’s fun scanning the endless parade of ravers, hippies, tatooists, nudists, freaks, and plain ol’ normal people to see who would make for an interesting portrait.

It was this boy’s fourth (or fifth) Burn.

Business casual at Burning Man.

Before too long, the wind picked up (again) and the dust clouds grew so I wrapped things up. Instead, I shifted to just roaming the camps looking for a good time. And a pair of long legs.

I love this image. It captures so perfectly the free-spirited party atmosphere that’s around every corner.

This image reminds me of photos from the summer of love. It’s 1969 out on the playa every year.

Time on the playa moves at a different pace from home. Not only was it hot - the dust this year kicked up pretty much every day. After an hour or two in the unrelenting sun and inhaling playa dust, it was time to relax in the shade to cool off. Unfortunately, the wind was blowing most afternoons which meant that we retired to the decadent comfort of our cluttered, but air conditioned motor home.

Looking back, I felt like I didn’t see a lot or do that much. The problem is that it’s hard to always be doing something in the heat and dust. This is the man to be burned in the midst of yet another dust storm. He’s about 60-70 feet high for perspective.

One of the highlights of last year’s Burning Man was Thunderdome - a big cage where combatants pummel each other with foam covered bats. This year, I made it in time to catch the final fight of the night. Unfortunately, I never made it back.

One of the highlights of the trip was heading out onto the playa with Parker Pfister. We traded off getting shots. He’s a kindred spirit in the creative department. He set this shot up. As he was shooting from another position, I saw this angle. Once he was done shooting, I moved the light and got the shot. I guess you can say it was a collaboration.

Parker and I both shot this scene. His take was completely different than mine. You wouldn’t even recognize the two locations as being the same. That’s what’s great about shooting with someone who has their own point of view and doesn’t try to imitate others.

Then there’s nighttime on the playa. The esplanade becomes a shantytown Las Vegas - the fantastic structures come to life with light and color.

Then there’s the temple. Not sure what its a temple to. I think we just give it our own meaning. It’s a fantastic construction of pre-cut wood that’s joined on site. Like everything else, it’s temporary. On the final Sunday, it gets burned.

Sunrise on the playa. As the raves shut down, the all-night partiers head over to the temple to catch the sun’s first rays. Here’s my buddy Joe “Photo” Paulsevic at first light.

This woman standing motionless provided the symmetry that I wanted to make this shot work.

Visitors left inscriptions all over the temple. Many were to loved ones - both dead and alive. This to me was the most moving. It’s short but it it opens up all kinds of stories.

That’s it for this year.

John

I’ve been interviewed by WPPI Radio in anticipation of my seminar at the WPPI show in Vegas. I talk about my seminar “How to Book Weddings” and other Photographer’s Toolkit related stuff. My seminar is sold out but you can get a taste of it here. It’s on iTunes with a bunch of other interviews so scroll down to find mine: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=293620128

John

Today, I had an opportunity to do something different while giving back to the community. I’ve been hired by the San Diego Food Bank to do their promotional photography for the coming year. “Hired” isn’t exactly the right word since I’m doing everything pro bono. Today was our first day of shooting. To get acquainted with the people and their process, I spent the morning at a church where they distributed food to all comers.

I’d planned on shooting adults, but most were not happy with me photographing them. There’s a great sense of shame in standing in a food line. Many folks hid their faces or refused to allow their picture to be taken. There’s many people who’ve never stood in a food line before - from middle class folks who’ve lost their jobs to folks struggling to hang onto their foreclosure-bound houses to military families who can’t make ends meet on a government salary. Hopefully, in the days to come, I’ll be able to tell their stories.

In the meantime, I photographed some of the kids. Parents are okay with me taking pictures of them so it was easier for me to get my shot. These are a handful that I liked. I’ll share more as I shoot more.

John

Like a proud father, I’m happy to announce my first ever video for professional photographers. It’s a no-nonsense video on the process of booking clients - from initial inquiry to the final “yes.” You can check it on the Toolkit website. I’ve got an intro special of 20% off which will be good for the next couple of weeks.

John

My inspiration for this shot came from an old photo of me as a baby chomping on my grandfather’s shoe. He didn’t wear Stuart Weitzeman however. At least not in red…

One of my past wedding clients gave baby boy just over a week ago. I love getting photos when the baby is still fresh and newborn. I decided to play around a little with this one. The client laughed when they saw it - they said something about me being “really creative.” Actually, I can’t take credit for this look. I did this as an homage to Nadav Kander. It’s similar to a look he uses for many of his editorial photos. I just thought it would be fun to play around.

John

I always like to test new looks and work with new people. For this day-long shoot in the studio, I teamed up with new hair and makeup stylists to try out different looks. Let me know what you think of the results.

John

This is the third year that I’ve been out on the boardwalk of Pacific Beach/Mission Beach in San Diego. What can I say, I love it. The scene has changed over the years. Unfortunately, drinking is no longer allowed on the beach. The big public party scene is over. Gone.

Instead, the private parties at the beach houses ruled. So, in pursuit of documenting this important day in the life of thousands of San Diegans, party crashing I went. Actually, half the people that I met were from Arizona. (Thank you AZ for keeping the patriotic beer bong spirit alive.)

There are those who party, and those who watch.

Everyone has a story. This fellow was sitting on the wall that separates the boardwalk from the beach. He was looking at everyone partying and having fun. He’s from AZ but going to school at the University of San Diego. USD is kind of San Diego’s version of USC - wealthy and white. So I asked him about that. He said that he’s there on a basketball scholarship.

Seeing him watching the partying going on seemed like a metaphor for something bigger. Why was he sitting on the sidelines watching? I don’t know, but I have my guesses.

Do I need to say how much I love this shot? I mean, a tongue, a tattoo, two girls and the American flag all wrapped into one decisive moment.

I have to say that this isn’t as easy as it looks. Getting these images takes dedication, hard work and tequila. I showed up with my van at 6:30 in the morning to grab a parking spot. Then I engaged in a steady diet of Newcastle beer followed by tequila. Which was in turn followed by plenty o’ cheap party beer. I generally start training in May so that I’m ready for the big event.

I like to go by myself. It’s easier to crash a party when you’re just one guy with a camera. If I was with a group of guys, I don’t think people would be so welcoming. Besides, I like to just float around and not have to worry about whatever anyone else is doing. I sort of feel like this Zelig character melding with my surroundings and the crowd. I’m fortunate because I look young (enough) and can fit in (sort of). In reality, I’m probably as old as some of their parents.

This is me with a girl who confused me for the guy from Girls Gone Wild. (I didn’t have the heart to tell her that he’s in jail.)

I can’t do my craft and create my art without people willing to open up and allow me to photograph them. To all of you, thanks! I’m also thankful to everyone who let me crash their party. To those that kicked me out, screw you.

John

Before I became a photographer, I was a rock climber. It was my life. I traveled around the country in search of the ultimate climbs and even to France where I lived for a few months. To this day I never feel as home as I do in the mountains. Although I don’t do much climbing anymore, it still defines who I am.

My photographic career actually began with me photographing my friends as they attempted some of the best and hardest climbs in the world. Often I lived in a tent or in a house with a dozen other climbers. Looking back, those moments were some of the most blissful in my life. Today, when I show up in Camp 4 in Yosemite or traipse through the oddly rounded boulders of Joshua Tree, I may not know a soul, but I still feel as though feel surrounded by long-lost friends.

In years past, when I’d aim my camera towards climbers, I’d focus on the steep rock and physical beauty of the scene. These days, I’m more interested in the people. It’s what I call the other side of climbing. Even though I don’t climb much anymore, I’m still a climber through-and-through. It’s part of my essence and my language. This album of images tries to capture that.

The following images are presented in the context of the printed book in which they appear.

The guy on the left is John Bachar. The impact he’s had on my life is indescribable. He was at one time the undisputed best rock climber in the world. In college, I had posters of him climbing - without rope - vertical granite walls that I only dreamed of. Awhile back, the sport changed and John went in his own direction. Still he remains an icon.

Which is why it’s fitting that I placed his portrait next John Long’s, another giant in the world of climbing. (The first one day ascent of Yosemite’s El Capitan ranks as one of his great achievements.) I first ran into him when I was just starting to climb. My partner had taken a long fall to the ground - screaming the entire way down. Fortunately he was mostly ok, though shaking and babbling.

Largo - as John Long is known - came over to see if he was okay. Jeff, my climbing partner, still scared from his experience quickly perked up at the sight of this climbing legend. Jeff mumbled  something about this being the end of his climbing career. Largo responded in his trademark booming voice, ” Ho man! Don’t give up the sport!”

Those words still ring in my ears whenever giving up begins to feel like an option.

These two fellows are brothers, Alex and Thomas Huber. Understanding what great climbers do is difficult for nonclimbers to even comprehend. These two climbed the 4,000 feet of vertical to overhanging rock of El Capitan in Yosemite in two hours and 45 minutes. To put this in perspective, it takes most people about four hours just to hike that distance. Imagine climbing a 4,000 foot ladder with most of the rungs missing (and death the certain consequence of screwing up) and you’ll have an idea of the stamina and fearlessness required for the feat.

For those interested in the technical details, the portraits were all shot with my 4×5 view camera using a 150mm lens. The film I used was Polaroid Type 55 - now discontinued. The borders you see are inherent in the film - they’re not some digital effect. With a 4×5, there’s no ability to focus when shooting. I instruct he subject, who’s about two feet from the camera, to stay absolutely still while I load film, close the lens and snap the shutter. The focus is so shallow that any slight move will ruin the image.

Still, there’s a look to the images that can’t be duplicated with anything else. The Polaroid produces a negative which I scan and then print from the digital file. The other images were either shot with my 1d MII or my 5D.

John Mireles

In the midst of all my getting ready for WPPI in Vegas, we spent the afternoon in Balboa Park for a little fashion shoot. We tested out the eyelashes that Jeffrey created - he did the hair and makeup - for another shoot that he’s doing.

I liked all the lines and tones of this scene. When I set the shot up, the back wall was lit up by the sun. By the time we started shooting, a cloud rolled in and softened up the light.

I’ve shot a few wedding ceremonies at this spot. Usually, they’re in front of the well, not on top of it. This one’s my favorite…

Jennifer, the model, was freezing at this point. I suggested that she put on 30 lbs. Guess that’s not really an option…

John