BIRGIT BUCHART
Birgit Buchart is a New York based, Vienna-born photographer whose dreams of moving to New York as a child stem back to when she was drawing pictures of the NYC skyline in class. Inspired by her father and grandpa to get into film photography, Birgit has been a solid supporter of the film community within NYC, Europe and across the states. She recently has been taking multiple road trips across various parts of the U.S. with a crew of photo-friends. We caught up with her to talk about all things film, road-trip-spontaneity and what it means to take a respite from New York City.
What were your earlier attractions to photography?
I’d have to give my dad credit for that. I believe his father, my granddad, was really into photography and had taught him the basics. One day, it must have been around the time my grandfather passed, my Dad handed his SLR to my older sister and I wanted in on the bonding moment with them. So my Dad bought another Revueflex SLR off ebay and then taught us both how to use them.
I think what I always really enjoyed about photographing on film, is that neither myself nor anyone else could judge and rate my results right away. In any other sport or hobby, this happens instantly. I was always anxious about having someone look over my shoulder, but when taking pictures it was just me in my little viewfinder world, no one else could see what I saw. And when shooting on film, I could take pictures without this pressure, in the moment of creating you’re alone with the creation process and not the result. When I receive my photos from the lab, days or weeks later, no longer being in the state of creating, rating my results becomes a much easier process. It’s already done, what I get is all I have, I don’t have the option of changing anything. You’d think that makes film photography more high stakes, but to me it actually removes a lot of the pressure.
In July 2023, you and a group of friends started going on a series of roadtrips across the U.S. What were the inspirations for your roadtrips? Was it to escape the city or an intentional
photo-trip (or combo of both?).
It’s definitely first and foremost an intentional photo trip, although to me traveling always feels cathartic. I love New York, but in order to keep this love alive I need to leave and miss it sometimes. Two of our friends had already been doing these photo-road trips for a while together. They both have film photography YouTube channels and document their trips (Grainydays & Bad Flashes).
When the four of us met at a photo-community event in Joshua Tree a few years ago, we somehow came up with the idea of going on a trip all together. The first one was definitely a test run of some sorts, we didn’t know each other that well, and traveling in a bigger group is not always easy of course. However, all of us being really excited about chasing the sun and finding the best spots for photos, made it all surprisingly easy. And I think we all learn a lot from each other, which is awesome.
photo-trip (or combo of both?).
It’s definitely first and foremost an intentional photo trip, although to me traveling always feels cathartic. I love New York, but in order to keep this love alive I need to leave and miss it sometimes. Two of our friends had already been doing these photo-road trips for a while together. They both have film photography YouTube channels and document their trips (Grainydays & Bad Flashes).
When the four of us met at a photo-community event in Joshua Tree a few years ago, we somehow came up with the idea of going on a trip all together. The first one was definitely a test run of some sorts, we didn’t know each other that well, and traveling in a bigger group is not always easy of course. However, all of us being really excited about chasing the sun and finding the best spots for photos, made it all surprisingly easy. And I think we all learn a lot from each other, which is awesome.
I noticed a lot of your images were focused on these quiet Americana details (a lone firetruck, a motel glowing at night). These images felt very timeless (like they could transport the viewer back to the '70s or '80s). What drew you to these locations/moments?
Being from Austria, this whole Americana thing is of course somewhat new and exciting to me. It’s sometimes hard to know what really the draw is, other than it standing out to my foreign eyes, but I think it has a lot to do with the contrast. The 1960/70 designs are so flashy, colorful and bold, so full of hope, like everything about the US and the American Dream. But then finding these designs in very rural, almost abandoned little towns, it turns the scene into something so ironic and quite sad.
Plus there’s nostalgia, of course. I think as photographers (film photographers maybe even more so), we have this emotional, probably unhealthy obsession with the past. We’re trying to freeze moments, make them last, hold on to what used to be. We’re afraid to forget. Photographing these places that are souvenirs of past times simply matches this feeling, that’s probably a big part of what drives me to shoot in the first place.
Were there any landmarks or locations that surprised you on this trip? Something you stumbled upon that you really loved?
When it comes to photography, my favorite places on these trips are always the places we come across spontaneously. Of course, I love seeing magical places like Bryce Canyon at sunrise, but even more exciting was for example discovering a charming old town or an abandoned gas station on the way. I love exploring small towns, abandoned or not, and kind of document little things that stand out to me as descriptors of their way of living.
You traveled with a total of four other photo-friends. What is the perk of traveling with other photographers?
It’s truly a completely different way of traveling and it is nice to be on the same page about what the purpose of the journey is — taking photos is really the main focus. We are ready to pull over at any moment and will only get back on the road when the last of us is done shooting, there’s no rush, nowhere else to be, nothing else to do. We plan our days out based on the light, always make sure we’re in a special place for sunset and sometimes plan in a sunrise shoot as well. On a normal vacation, I would maybe try to find a nice place to stay and google the best restaurants in town. But on these photo trips we stay in cheap motels and share rooms to save money, we have snacks in the car or eat in random diners.
My favorite thing about traveling in general is always being on the move, I don’t like being in one place for too long (I am not made for lying on the beach all day). That works out for the photo trips, hunting for the next shot, we’re always on the go, hardly ever staying two nights in one place. All that to say, I think the perk is that we’re all on the trip with the same purpose and understanding that we’re not here to chill, but to be shooting as much as possible.
When it comes to photography, my favorite places on these trips are always the places we come across spontaneously. Of course, I love seeing magical places like Bryce Canyon at sunrise, but even more exciting was for example discovering a charming old town or an abandoned gas station on the way. I love exploring small towns, abandoned or not, and kind of document little things that stand out to me as descriptors of their way of living.
You traveled with a total of four other photo-friends. What is the perk of traveling with other photographers?
It’s truly a completely different way of traveling and it is nice to be on the same page about what the purpose of the journey is — taking photos is really the main focus. We are ready to pull over at any moment and will only get back on the road when the last of us is done shooting, there’s no rush, nowhere else to be, nothing else to do. We plan our days out based on the light, always make sure we’re in a special place for sunset and sometimes plan in a sunrise shoot as well. On a normal vacation, I would maybe try to find a nice place to stay and google the best restaurants in town. But on these photo trips we stay in cheap motels and share rooms to save money, we have snacks in the car or eat in random diners.
My favorite thing about traveling in general is always being on the move, I don’t like being in one place for too long (I am not made for lying on the beach all day). That works out for the photo trips, hunting for the next shot, we’re always on the go, hardly ever staying two nights in one place. All that to say, I think the perk is that we’re all on the trip with the same purpose and understanding that we’re not here to chill, but to be shooting as much as possible.
Any tips for others on how to preserve and organize all your film when you are traveling throughout so many different climates?
That’s a really good question and I’m sure I should do better myself. The first thing that comes to mind is of course going through airports, which can often be a challenge. Sometimes asking for handchecks on film bags can result in a bit of a discussion, so I’ve been using
Sissi Lu’s Do Not X-Ray pouch, which has helped a lot — especially in the US. Secondly, I try to get better at estimating how much film I’ll actually going to use, to not overpack. So instead, I usually mark some film stores on the map, to have a peace of mind that I’d be able to get some extra rolls in case I shoot more than anticipated. And finally, you can always leave some stock you don’t need for the day in the motel instead of having it all in the car, which can get hot sometimes. At the end of the day you can’t keep it all in perfect condition constantly, that’s simply part of shooting film, but being mindful about it where possible is already helpful.
Do you have any advice to other photographers interested in taking a cross-country road-trip?
I think the most important thing is to go with some kind of a kindred spirit. Being in a car together for several hours a day, you want to be comfortable, not getting annoyed or frustrated. Stay together, just to be safe, and talk to people you meet. When you see something that catches your eyes, ALWAYS pull over — that’s what a road trip is for. :)
That’s a really good question and I’m sure I should do better myself. The first thing that comes to mind is of course going through airports, which can often be a challenge. Sometimes asking for handchecks on film bags can result in a bit of a discussion, so I’ve been using
Sissi Lu’s Do Not X-Ray pouch, which has helped a lot — especially in the US. Secondly, I try to get better at estimating how much film I’ll actually going to use, to not overpack. So instead, I usually mark some film stores on the map, to have a peace of mind that I’d be able to get some extra rolls in case I shoot more than anticipated. And finally, you can always leave some stock you don’t need for the day in the motel instead of having it all in the car, which can get hot sometimes. At the end of the day you can’t keep it all in perfect condition constantly, that’s simply part of shooting film, but being mindful about it where possible is already helpful.
Do you have any advice to other photographers interested in taking a cross-country road-trip?
I think the most important thing is to go with some kind of a kindred spirit. Being in a car together for several hours a day, you want to be comfortable, not getting annoyed or frustrated. Stay together, just to be safe, and talk to people you meet. When you see something that catches your eyes, ALWAYS pull over — that’s what a road trip is for. :)
To see more of Birgit’s work click here