It’s not a book, it’s not a blog, this is both, and I am calling it a blook™.

I am dedicating this blook™ to Kurt Vonnegut — this is a portrait I took of him a couple of years ago — actually six months before he passed away. He has always inspired me.

Boobs, jockeys, boobs, jazz, boobs. That works right? That’s a nice title, right? Right Kurt?

Like, if that was a poker hand, like it pretty much is — a poker hand I dealt myself — a poker hand I bet on, bluffed and shot for the over 8 years I have been shooting in the city, what would you call that hand? Is that hand a winner or a loser — or a lifestyle?

I’ve always believed that you have to write your own life. And when I look at the life I have now, well, it really looks like a life I have to get creative with. As in, if you were in a creative writing class and your teacher gives you a story that you have to finish as an exercise. A story like this:

What have you done? You’ve become a photojournalist in New York City. You call yourself lensjockey™. You shot jockeys (and jazz, and more) for 8 years already, you thought you could make jockeys stars, like the stars you saw them as. Then you thought you could make some underground jazz performers stars too, hahah you are pretty funny. It’s amazing how forceful irrational dreams can be. We’ll see what happens with the irrational dreams… and…

your whole thing in fact, for years, as lensjockey™, was that what you did was ride the unknown longshots/subjects you thought would be great winners someday. You rode the jockeys, you rode the jazz, but somehow the jockeys and the jazz just were not getting you where you wanted to be, and where you wanted to be was the winners circle, the winners circle of pop culture pop-photojournalists. And very recently you looked at this one shot you took, (a very nice set of tittage) racking up the hits all day one day (like very few portraits [of anybody] do) while you were at your sittindown-for-10-odd-hours job… and you saw the big picture. And that picture was the story you wanted to write your life to be.

I THINK like a jockey. LENSJOCKEY™ wants to be the source for the view to invisible worlds unknown to most. I think like a jockey with an eye for pictures who likes jazz and shooting boobs. That’s what you are gonna get from me. Boobs, jockeys, boobs, jazz, boobs. Well, and alot of other stuff too of course. But I wanted to make a point. LOOK! hahaha.

BTW:

Boobs are the period at the end of the sentence that every burlesque performance is.

GRAND CENTRAL JASON

It made me so jealous. When I saw it in the "contact" sheet of pictures that you get in flickr, I just wished I'd taken it soooo badly. I have been trying to get something like that of Grand Central Station's gods and goddesses for so long! And there they were! 

The colors are exquisite and the composition and framing are perfection. The Gods have spoken.

Jason is a lensjockey who covers the city and shoots the real city. His eye is simple, direct, subtle, clean, energetic, and it is no wonder that his pictures are often used by those who wish to show a simple yet eloquent idea about the city.

Readers of gothamist, CURBED, THE NEW YORK OBSERVER — web sites about this awesome city — are familiar with his images. 

Images like:







...images like these, with their smart poetry and clean lines — these are images that describe the simple truths of the city — the beautiful truths of the city we all walk around in each day. I often imagine Jason Kuffer walking around the city with his eyes forever opened to the delicious tidbits any real New Yorker cannot help but nibble.

It took me awhile to appreciate his images, they are so unlike my own. Jason Kuffer's images whisper where my own images are more aggressive. It took me some time to understand his own language, but now that I know it I love it. His pics are like sushi to me, little raw tasty elegant portions of the city.

*smacks lips* hahaha

have a taste! It's on Jason!

(that's him!)

Sometimes he sees something like this that is just so freakin unbelievable though, he definitely has range...



I mean look at that! He can go from a whisper to a proclamation about this city. Effortlessly.

As lensjockeys go, "Digiart2001 | jason.kuffer" deserves attention. He's active and has a great sense of style and humor, and he gets around. I suggest that you follow how work. You will see the small and the monumental... in ways that embrace you. And this beautiful city.

http://www.flickr.com/photos/digiart2001/

Thanks Jason for your pictures of this city I love so so much.
lensjockey

FROM JOCKEYS TO LENSJOCKEYS

By Holly Van Voast

Boy am I burned out. What a week!

Issue 2 of LENSJOCKEY magazine was about struggle and love and pictures and people — photographers. At The NY Photo Festival 2009 — just last week! I got reactions ranging from disgust and meanness to genuine feeling and encouragement. All those things came from the same group. (And some of the genuine feeling and encouragement came from the top — William A. Ewing — just sayin.). I met people who listened and people who didn’t. I saw my nightmare and my triumphs. I triumphed over the fear of putting myself and my own ideas out there in front of the hip tough crowd of New York City photographers.

I’ve done it before. 

When I went to the racetracks in 2002, and started my seven year involvement shooting candid portraits of the jockeys riding in New York City, I had no idea what it would really lead to. And that crowd is a tough crowd too, that was good training. I went to the tracks cold, just like I did to the NY Photo Festival in 2009, seven years later. Cold and unknown, and not looking like much to so many. I really went from jockeys to lensjockeys — really. 

If I don’t tell this story, it won’t get told.

These are the pictures I took of those jockeys — 

I saw them in a way that was exclusive of the horses they rode. 

Over seven years I collected a group of portraits that were never-before taken of the men who I loved who rode the horses at 35 mph, and exploded from big metal banging gates on those horses in search of a win. 

There’s a TV show now, and the races get alittle more press these days, but when I started going, it was a ghosttown of a world, totally forgotten and insulated from the city around it. Totally.

God, I loved jockeys. 

I’d go to Aqueduct racetrack – sometimes on both weekend days — a 2 hour ride on the subway at least — just for one or two shots for a high. 

I never bet on the horses… 

I bet on jockeys — I thought they deserved way more attention than they got.

I still do. I can't shoot as much there as I used to — the magazine work takes up so much time and I got involved with a completely different scene for a time, but there are more and more people shooting jockeys now. Raymond Haddad — who shot the author photo for the second issue of LENSJOCKEY #2, was a friend of mine when we worked together at BMG/Columbia House - years ago, and he started to see what I did with the jockeys then. He saw a book I wrote, he read what I wrote online and off about the jockeys that I loved, the ones that I portrayed — and he saw my pictures. He loved my pictures. He can shoot there now more than I can, and that hurts, but he has become known in his own way for doing what I started in 2002. I see people shooting from the spots that I shot from, places where no professional would want to shoot from... now it is common, when I did it, I had it all to myself. I really felt like I had it all to myself. I have a priceless collection of men who rode from a time that doesn't exist anymore at all. I have the best collection of Norberto Arroyo Jr. portraits, a great collection of Edgar Prado portraits — John Velazquez, Pablo Fragoso, Alan Garcia, Mike Luzzi, Channing Hill — it seemed like such a golden time to me.

This is a picture I took of Alan Garcia in 2005 where he rode in a stakes race — The Gotham — at Aqueduct. He rode most of the race with his right foot completely out of the stirrup. That's what a jockey means to me. Just bombing down the track even if your foot is out of the stirrup. He almost won that race. It was pretty spectacular. he wasn't winning the race here though, I just wanted to shoot him because he was in the Paraneck Stables silks and he was a favorite jockey of mine. If that is the only racing shot I ever get, that would make me happy.

And that's how I feel about LENSJOCKEY magazine. I'm riding with one foot out of the stirrup and I might not win, but that is how I'm riding my life.

you can see my collection of jockey portraits on flickr:

http://www.flickr.com/photos/lensjockey/sets/72057594063826614/

and even earlier pictures:

http://finalturngallery.com/g2/main.php —scroll down to the bottom! To the album titled 

"The Woodless Wood Day" I posted my portraits there for years before going on flickr. It's disorganized, but those pictures are to me the soul of the start of interest in jockeys exclusively, there was nothing like that, noone had ever followed these men with a camera like me. I feel so lucky to have shot what I got at all the tracks I shot at. It is in the spirit of jockeys that I conceived of LENSJOCKEY magazine. Truly.

I started something at the tracks just focusing on jockeys, and I want to start something now with the photographers I see in New York City now. It's the same thing for me. Eric Brown is just like a jockey to me. He just uses a camera. btw - he's about to enter a contest in Alaska with his spectacular mutton chop sideburns. Good luck Eric!