For six years, San Francisco photographer Jake Ricker has shown up at the Golden Gate Bridge almost every single day, shooting the people who pass through it on 35mm film. It's not a landscape project — Ricker treats the bridge as a stage for the "diverse human experiences" that unfold on it, an interior, lived-in view of a landmark most people only ever see from the outside.

Ricker's path to this project wasn't conventional: originally from Mesa, Arizona, he moved to San Francisco about a decade ago and worked as a bike messenger, which put him on the city's streets daily and sharpened the observational instincts he later brought to the bridge. He describes the scale of the commitment bluntly: "I've walked half the surface of the Earth on that bridge."

The project has come at real personal cost. Ricker has accumulated over 1,000 rolls of undeveloped film and has taken on credit card debt trying to sustain the work, at one point running a print sale specifically to fund processing costs and catch up on rent — a detail that grounds the episode in the realities of pursuing a long-term personal project without institutional support (he notes he'd hoped for a grant that never came).

The work is headed toward a photo book titled "Strange Paradise," and the conversation situates Ricker's documentary approach alongside photographers Rubin and Fritz-Hanson clearly see as kindred influences: Jim Goldberg (raw, socially-embedded documentary work from 1980s San Francisco and Hollywood) and Mary Ellen Mark (empathetic, unflinching portraits of marginal lives). Those references suggest the episode's throughline is less about bridge photography specifically and more about sustained, immersive, documentary presence in one place over time.

Topic Outline

Intro

• Framing: why a 6-year daily bridge project is worth an episode; introducing Jake Ricker

Origin story

• Ricker's move from Mesa, AZ to San Francisco
• Bike messenger years as a precursor to street photography

The project itself

• Why the bridge — daily presence, 35mm film
• Capturing "interior" human moments vs. exterior/iconic shots

The cost of the work

• 1,000+ unprocessed rolls of film
• Credit card debt
• The print sale
• Lack of grant support

The book

• "Strange Paradise" — compiling six years of work into a photo book

Influences / context

• Discussion of Jim Goldberg and Mary Ellen Mark as documentary touchstones

Reflection

• Ricker's "walked half the surface of the Earth" quote — scale and meaning of repetition

Close

• Likely wrap-up / where to find Ricker's work

Where to see the work: jakericker.com / jakericker.bigcartel.com

Arthur Drooker spends his career photographing the quirky, overlooked corners of American culture — clown conventions, Bronies, Lincoln impersonators — treating them with documentary rigor but real affection, most notably in his project "Conventional Wisdom." He also works in more classical documentary registers, including "American Ruins" and his own bridge project, "36 Views of the Golden Gate Bridge." The episode touches on his creative philosophy — captured in his line "don't be afraid to go sideways, because it may turn out to be 'the thing'" — and situates his eye alongside photographers like Walker Evans, Elliott Erwitt, and Robert Frank.

Topic Outline

Intro

• Framing: introducing Arthur Drooker and his body of work
• Rubin's history with Drooker's "Conventional Wisdom" project

Career overview

• Drooker's documentary style: quirky, overlooked corners of culture approached with humor and insight
• How his work reveals connection and identity within niche communities

"Conventional Wisdom" project

• Photographing gatherings like the Association of Lincoln Presenters, World Clown Association convention, BronyCon
• The appeal of documenting subcultures without mockery

Creative philosophy

• Drooker's line: "Don't be afraid to go sideways, because it may turn out to be 'the thing'"
• His friend's editing mantra: "Write with fire; edit with ice"

Other bodies of work

• "American Ruins" — decayed architecture and abandoned spaces (e.g. Louisiana cottage ruins, Chichen Itza)
• "36 Views of the Golden Gate Bridge" — his own bridge project, sold out

Influences / context

• Discussion of Walker Evans, Elliott Erwitt, and Robert Frank as touchstones

Current show

• Mention of his gallery exhibition at The Image Flow Photo Center (running through April 4)

Close

• Likely wrap-up / where to find Drooker's work

Where to see the work: arthurdrooker.com

This episode is a personal, career-spanning look at Wallace "Wally" Wilson, a photographer whose surreal, staged black-and-white work — cats, ruins, dirigibles, Victorian-costumed toddlers — Rubin encountered as a kid growing up around the University of Florida's photography department in the 1970s-80s. Wilson's own account traces his start to right after graduating from the University of Texas at Austin in 1970, when he was appointed an instructor of photography in the University of Kentucky's College of Architecture. The conversation situates his work — showcased at his "Victims of Paradox" exhibition, featuring large-format prints — against the eccentric, image-manipulating photographers of that UF era (Jerry Uelsmann, Evon Streetman, Doug Prince, Todd Walker) as well as earlier influences like Ralph Eugene Meatyard and child prodigy Jacques-Henri Lartigue. It's as much a piece of regional photographic history as it is a profile of one artist. Wilson was part of an exciting time in the history of photography, as well as being a cool example of what I would describe as "haiku photography" -- although he would never have described his work that way.

Topic outline:

Today we're joined by John Lambert and William Loftus, successful tech professionals and excellent amateur photographers, who were recent students in Rubin's experimental "The Art of Composition -- Reimagined" workshop. The group discuss the difficult topic and what it means to be a photographer.

Following Elliott Erwitt's death in November 2023, Rubin and Suzanne sit down with photographer Rick Smolan — Erwitt's son-in-law and a returning guest from episode 86 — for a personal remembrance of the Magnum legend, best known for his wry, human (and canine) street photography, including iconic shots of Nixon and Khrushchev and countless dog portraits. Few have had such a close vantage on this inspiration to so many photographers today. Smolan offers intimate, humor-filled recollections (including his line about the appeal of photographing dogs: they don't ask for prints), while the conversation touches on Erwitt's late-career project of revisiting seven decades of his own archive to surface previously unseen images, published as his final book "Found, Not Lost." It's less a career retrospective than a personal goodbye from someone with rare closeness to the man behind the camera.

Topic outline:

Where we catch up and review some travel photography, the definition of photography, the passing of the great Elliott Erwitt, the nature of composition and other various rants.

We're joined by professor and photographic artist Ed Bateman, from the University of Utah, to discuss Rubin's issues with "pure seeing" and the 100-years debate about how much modification can you do to a photo before you change it fundamentally.

We're back and catching up on workshops, lessons from the summer, Rubin's new camera and, of course, Suzanne's hat.