A Q&A with Street Photographer Armando "OUTthere" Diaz

Montclair is chock full of talent. Perhaps one of the most prolific street photographers, artists, videographers, and…well…you name it…is Armando "OUTthere" Diaz. He recently took time out of his insanely busy schedule running all over the tri-state area to discuss his work, his trajectory as an artist, and all things photography. Be forewarned, if you’re not familiar with his work, you’re in for a treat!

Montclair Photo Festival: How long have you been doing photography and when did you first start?

Armando "OUTthere" Diaz: It's been nine years. I started in 2014. A friend of mine asked me to operate a DSLR for a documentary on his life and, in the process of preparing for that, I discovered how interesting photography actually was.

MPF: Can you tell us which camera you started with and what you’re using today?

AD: My first camera was a Sony a77 and I have been a Sony guy ever since.

MPF: An interesting tidbit about your work is that you’re a man of many talents - including music videos. How is it that you ventured into the world of music videos? Who were some of the early artists you filmed?

AD: The first music video I did was for a group called Conglomerate Entertainment back in 99. I did it with a Sony Hi-8 camcorder. But after becoming a photographer, my first attempt at making music videos was 2016.

I wasn't really intending to be in music video shooting or directing, it kinda just happened through artist friends who needed them. It's still mostly that way now, though I do get asked to do them from time to time. Those videos started coming in 2019 after my first exhibit at Clerestory Fine Art. I produced events to go along with my exhibit and the artists who performed for me started requesting videos after seeing how I shot their performances.

I used to do strictly one shot videos — i.e., videos just under 2 minutes — because I saw how both people’s attention spans were getting shorter and social media platforms started pushing for shorter posts. And I began working with a select group of artists, such as J.1DA, Gail Campbell, Oh Jacobs, Serenity AKA TDB, The Weirdo Party, and a few others. My most interesting work is probably Maurice Chestnut, a tap dancer and Newark Native. Our collaborations helped carve out a lane in which the work is similar to music videos, but something more.

MPF: Were there ever any crazy stories from video shoots?

AD: I wouldn't say crazy, as such. But I shoot without treatments and when circumstances permit, in the moment. That means I’m shooting wherever the location looks good, and there’s also the potential for organic interactions with passers byers. I take full advantage of the unexpected. So for example, I shot a video for Gail Campbell for a song called Victory, which we filmed at the intersection of Broad and Market in downtown Newark. It was a performance video we did as part of a series during the pandemic in which music artists lost access to venues. As a result, there were no live shows, so we would show up to various places and Gail would perform like she was on stage. Between the police being parked on the corner, buses and traffic whizzing by, and pedestrians stepping into the shots, it was a beautiful, semi-chaotic experience.

MPF: Victory is a really great video! Aside from COVID forcing artists to be much more creative in showcasing their work, how have you seen photography and videography change over the years?

AD: Of course, technology has advanced and become more accessible for people who are just starting up. Besides that, there's no need to have elaborate setups to give off the optics that you're a professional. Meanwhile, phones have advanced and become more accepted as alternatives.

The editing side has also advanced to the point that almost anyone can produce pro or pro-looking videos on their desktop and phone through their main programs. There are also more services that provide assets like special effects, transitions, music, and more. Also, the nature of content has become more geared for social media.

MPF: What type of photography are you most known for?

AD: Initially, I was known for my street, photo journalistic, and behind-the-scenes work. I used to come across fires, accidents, crime scenes, and other events while simply walking down the streets, but I also got into being on set for music videos and other productions. Now I’m doing a lot more event photography, which I try to shoot using a street photographer frame of mind.

MPF: We all know it is not easy taking pictures of strangers. What’s your secret

AD: I used to have a lot of problems socially, so I would keep my distance. But when I found Montclair Center Stage, I used that experience to ease into becoming more social. Shooting at community events is the best way to get used to it. People are expecting to have their photo taken, and even if they don't want you to, most folks will tell you so, at which point you smile, acknowledge them, and keep it moving.

From there, my go-to thing is to wander within a space I want to shoot and take random pictures so people can see me, and you eventually become kinda’ invisible. Then when I see the shots I want, I will approach a person or persons and shoot. If the shot is meant to be candid, I will just take it and immediately smile and thank them. Sometimes I will give them direction after explaining what I'm trying to capture.

In any case, these days people are much more comfortable with photographers than when I started. The red flag for people tends to be having too much gear visible because people then perceive the purpose of you shooting differently. If I approach someone with just the camera, maybe a small lens bag, they'll be more at ease — though it's hit or miss how much more. The number one rule, though, is to make sure you're comfortable and confident. You always have to look like you're supposed to be there. Some shooters give off creeper vibes and people will call you out.

MPF: With the emergence of smartphones, we tend to think that everyone is a photographer in their own rights. In your estimation, how have smartphones and social media changed the world of photography?

AD: As smart phones have become more advanced, it's been very handy to be able to use a phone when needed. And as long as you keep all the composition rules and camera settings, it's perfectly fine to shoot with a phone.

As for social media, it has been a blessing and a curse. It's been a blessing for accessing and and distributing my work, but the rules of engagement are very annoying. I shoot what I shoot without considering formats and the adherence to social media algorithms. I pay a cost, of course, in that my posts aren't as visible as other people's and if you operate with a social media mindset, users may interpret low numbers or engagement being less prominent or credible. I’ve always used Instagram as a journal or portfolio. It makes it easy to track my work and see my evolution over time. It’s also a platform where I can speak about my experience of being a photographer with respect to my mental health.

MPF: What’s the single best piece of advice you’d give to aspiring street photography?

AD: Although certain standards may apply to shooting professionally, don’t confine yourself to them before you need to. Find your voice first, if possible, then work the standards in so you will stand out, assuming you wanna’ go pro. If you do it for the love then shoot what you love at all times, and don't look back.

In both cases, with time you will develop a uniqueness that people can identify on sight. Don't be gimmicky out of desperation. Don't be in such a hurry to advance that your work becomes generic or overly derivative. Always focus on shooting and advancing your technique, but Let the universe determine when you're supposed to achieve the things you're after. There will always be another day, another event, another show, and another opportunity, so long as you don't give up.

Also, just like every other field, there are rules and politics. If you concern yourself with them too much, you will find yourself at the mercy of them — which will leave you jumping through hoops for opportunities that may meet your professional desires, but will complicate things with all manner of distractions that sap your creativity or have you questioning your abilities.

Also, don't try to force inspiration and progress.

In my case, I started with the typical concerns facing photographers, but I found that when I just did the work with the passion I have for it, everything I needed presented itself at the right time.

MPF: What's your favorite piece you’ve ever done, and what's the story behind it?

AD: I don't have a favorite piece, but I do have a favorite period of my work. I come from the music world, first as a DJ, then as a producer, then as an artist. All of my work is informed by those experiences, and they lead me to a two-year period in which I was trying to get into the art community in Newark. I didn't really know anybody, and I was going through some bad times with my family, substance abuse, and mental health.

I also gravitated to the art world because it was the most open and receptive to the work I do. It has its own requirements, but it's the most open to my experiences and perspectives and with respect to photography.

After a few years of trying to follow the rules of photography and to be taken seriously enough to be hired by people, I threw it all out and just made my way into all kinds of events, cliques, and communities, as a weirdo with a camera, a stranger in everybody's house until I finally wasn't.

That period has most of my best work as it exists now.

Newark can be seemingly insular and uninviting if you want to gain entry into any of the different cliques and communities. But you’ll do just fine if you’re just being yourself. Allow Newark to do what Newark does, which may include not accepting you at all.

By this point, I’ve shot more than 500,000 photos, many of which I gave away to the subjects of that work. If I thought you were talented or special in any way, I documented you and I made some great friends and some great enemies in the process.

Newark attracted me to the energy of community in a way that Montclair couldn't. I have been a guest in the house of politicians, community leaders, artists, hustlers, and overall super interesting people. My attraction to them helped me create a lane for myself that solidified my credibility as an artist and my dedication to the history I try to record. It also taught me that I'm just a guy with a camera if I limit myself to this idea of being a photographer. But when I use photography to express my perspective and concerns, and record the realities of my little piece of the world, I become something more.

That said, I've also learned that no matter what my plans are, I have to remain open to change. This is especially important to me if I ever hope to grow, to stay true to my craft, and to honor and respect the magic that is photography.