Stephen Vanasco, From 90s Skate Culture to LA Aerials: The Story of Van Styles

Stephen Vanasco, also known as Van Styles, and Paris, discuss the evolution of 90s skate culture, shooting exclusively on film, and capturing a decade of change across the Los Angeles skyline.

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Paris Chong sits down with photographer Stephen Vanasco, also known as Van Styles, to discuss his creative journey from '90s skate culture to fine art photography. Vanasco reflects on how his background in skateboarding instilled a strong "do-it-yourself" ethos, enabling him to build a successful career on his own terms without relying on traditional agencies or managers. He also breaks down his daily shooting approach, explaining why 99.9% of his current work is shot on film using his Leica MP cameras.

The conversation delves into Vanasco's standout commercial and personal endeavors, including his permanent 25-print exhibit at the Kith store on Sunset Boulevard and his aerial workshops with Leica Academy USA. Stephen shares details about his main long-term project—a photo book cataloging over ten years of aerial flights above Los Angeles since 2014. Through these aerial views, he captures the changing face of LA’s architecture, landmarks, and urban development in the lead-up to the 2028 Olympic Games.

Looking to the future, Chong and Vanasco explore ideas for upcoming exhibitions at Leica Gallery LA, brainstorming pairings between high-altitude aerial shots and ground-level street photography. Vanasco finishes with practical advice for emerging creators, encouraging young photographers to experiment with different mediums, avoid rigid routines, and utilize new digital tools to chart their own path.

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Episode Timestamps

00:00 Show Intro
01:09 Meet Stephen Vanasco
02:30 Film Leica Daily Carry
04:48 Aerial Work And LA Book
16:05 Leica Connections Worldwide
17:47 Pop Ups And Olympic Plans
18:34 Portraits Versus Landscapes
20:43 Zines DIY And The Book
25:35 Finding Your Voice And Wrap Up

Links to Stephen Vanasco

Stephen's Website
Stephen's Instagram
Stephen's Linkedin
Harlowe Ambassador
Artsy - Article
Leica Gallery LA - Buy a Print

🎵 Music by Andrew Raiher

📸 Shot & Edited at Visible Audio Studios

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Paris Chong: tall girls for the dancers. You could dance." And I'm like- "I don't know if I could do that." And she was like, "You make so much money, Paris." And it was good money. And I was like, "Uh, I don't know." And she goes, "Just go to the audition." And I was like, "Really?" And my mom's like, "Go, go, do it." My mom thought it was great.

She was like, "Oh, that'd be great if you were sugar." "I don't know, Mom." So I went to the audition. You had to wear, like, black tights, and they're like, "Okay, everybody take off your shirt." I'm like, "Bye-bye."

Stephen Vanasco: See you guys.

Paris Chong: I just, that's the end of my audition at this place. I'm not doing that. I'm like, "Oh my God, I totally did it in my shirt."

And she's like, "Well, it's topless, Paris." I told my girlfriend, "How dare you make me go to that stupid audition?" She's like, "Well-

Stephen Vanasco: Topless with

Paris Chong: pasties or just like- It's topless. No, topless Okay She's like, "It's topless." And I'm like- That's fine ... "I don't wanna do that." Yeah. Okay. Tell us- Good ... are we ready? Okay, so we're here.

We're ready. We're ready to go. Oh my gosh, I'm so excited today. Welcome back to The Paris Chang Show. Um, I'm very excited for my next guest 'cause he's a good friend of mine. He's become a better friend of mine, and we've been all over the world together- ... uh, through Leica and, and fun events. Uh, this is my friend Stefan Vanasco, who's also known as Van Styles.

He's a New York-based, New York born, LA-based photographer. He's, uh, does a lot of street, a lot of aerial, uh, and, and really was, uh, kind of known for his skate culture, uh, uh, work back in the '90s. So, uh, welcome Stefan Vanasco.

Stephen Vanasco: Happy to finally be here.

Paris Chong: Yeah. You know what's really funny, um, is that I asked you to be on the show a month ago, and Stefan, uh, got back to me, like, where I said, "Can you come on the, the podcast on Thursday?"

And like, immediately he writes me back and says, "I can't. I'm gonna be in San Diego on that day." And I'm like, I, and I go- Well- ... "You already know what you're doing in a month from now on a Thursday?" And he said, "Oh, no, not this Thursday?" I said, "No, in a month from now. And if you don't wanna be on this show-"

just say so. I won't get offended." "I won't take it personal." But he goes, "No, no, no. I wanna be on the show. I'm just not gonna be here." Are you gonna keep your glasses on the whole time?

Stephen Vanasco: Should I take 'em off?

Paris Chong: Yeah. You have such a, you're, why, do you get nervous on these things?

Stephen Vanasco: No. Just,

Paris Chong: I don't

Stephen Vanasco: know how- I'm not used to- I didn't know how bright it was gonna

Paris Chong: be in here with all these lights I'm, it's, I hate it.

If I could wear my glasses, I would. I would wear my glasses too, but then I look- Yeah, let's have the eye contact ... I look weird. But I like, I like to wear my glasses. So what camera do you have here?

Stephen Vanasco: Um, my Leica MP film camera.

Paris Chong: Mm-hmm. Well, how many cameras do you have?

Stephen Vanasco: At this point, maybe three.

Paris Chong: Three?

Stephen Vanasco: Four.

Yeah, I don't have a ton.

Paris Chong: What's on your hit list for the next one?

Stephen Vanasco: I don't know.

Paris Chong: You don't?

Stephen Vanasco: Yeah. I've been really content with my film bodies.

Paris Chong: Yeah, no, I like that. So- And you shoot film?

Stephen Vanasco: Yeah. Primarily film, like 99.9% of the work that I do these days is film.

Paris Chong: Yeah.

Stephen Vanasco: You- And so I just realized I got the len- focal lengths that I like.

I got, you know, a couple film cameras. You're set

Paris Chong: up.

Stephen Vanasco: One for color, one for black and white, and that's kind of it.

Paris Chong: And that's your go-to?

Stephen Vanasco: Yeah. And- This is my

Paris Chong: go-to. This is like- Do you have it on every day?

Stephen Vanasco: I, yeah, bring it out with me just about every day- Do you- ... 'cause I just don't know what's gonna present itself.

Paris Chong: Do you wear it around at home?

Stephen Vanasco: No. Don't wear it around. Too heavy at home, so. Oh, no. I gotta get my neck a brace

Paris Chong: Well, you're such a good photographer, and you have so many awesome things happening right now. And I know you just did, like ... Well, he was st- he, he's, uh, uh, Stephan showed at the gallery before.

He's done very well. We had a really great, uh, client that loved your work last year. We had some ... Uh, oh, thank God for you because- ... it was slow last year because of the fires, but someone saw your work and called and, uh, bought a lot of beautiful prints from you. And then you also just got a big project at the store on Sunset Kith, right?

Stephen Vanasco: Uh, Kith.

Paris Chong: Kith. Yeah. Kith. See, I'm not- Yeah, Sunset and La Cienega ... I'm not trendy enough to remember that. K-

Stephen Vanasco: Kith. Yeah.

Paris Chong: Yes, my girl- that's right, my girlfriend's, uh, daughter works there in New York.

Stephen Vanasco: Mm-hmm.

Paris Chong: So how did that come about?

Stephen Vanasco: Uh, just through friends of mine. Mm. They were getting ready to open up the new store.

They needed LA-centric photos. A buddy of mine who's done photos for their Chicago and New York store, they reached out to him, and he said, "I don't really have that much LA stuff." Mm-hmm. "But if you need LA, this is the guy you gotta reach out to." Is-

Paris Chong: Yeah ... is there still, is it easy to go in there and see the show?

And now- Well, I

Stephen Vanasco: mean, it's, yeah ... 'cause there's lines

Paris Chong: all the time, right?

Stephen Vanasco: Well, I mean, the, at first when they have special releases and drops, there's lines, but for the most part, it's, it's easy at this point to walk into the store. Um, 25 prints that they bought, um, the only artwork featured throughout the whole store.

That's

Paris Chong: so cool.

Stephen Vanasco: Um, so it's, yeah, if you're in LA and you wanna check 'em out, check 'em out.

Paris Chong: Yeah. That's, so they're gonna keep that forever.

Stephen Vanasco: Yeah, that's a staple. That's not like an

Paris Chong: art thing. Yeah, they bought it, and it's up. It's a- That's so, you're so lucky you got that. That's, like, an amazing gig. Yeah, really amazing.

While, while a lot of photographers aren't working right now, you're just, like, selling the l- lot of it. You get up in the, uh, helicopter quite a bit.

Stephen Vanasco: Yeah, I just did, uh, got back from Boston. I did a workshop with Leica Academy USA.

Paris Chong: I saw that. It was some beautiful photographs. In

Stephen Vanasco: Boston out there, so.

Paris Chong: Are you not scared of heights?

Stephen Vanasco: I am, but when I'm with a camera up there, that distracts me.

Paris Chong: So- Does it? Yeah. 'Cause I'm terrified of heights. I don't know how anybody gets up there and ... I, I, even when I'm watching movies- Mm-hmm ... when they're climbing up high, I start sweating.

Stephen Vanasco: Yeah.

Paris Chong: Did you see that movie Fall?

Stephen Vanasco: No, I have

Paris Chong: not. About the two ... Do you know what I'm talking about?

No. The two girl- You have to watch this movie. I think it's on Netflix. I don't know. I, that's, it was scary 'cause it, I'm scared of heights. But these two girls decide to go climb this, uh, TV tower. You need to watch it. But yeah, so you're scared of, you're scared of, uh, heights, but you get in the helicopter- Yeah

quite often.

Stephen Vanasco: Yeah.

Paris Chong: Are you buckled in real good?

Stephen Vanasco: Yeah, it's just, like, a regular old seatbelt, like Chase Unlocked. Oh,

Paris Chong: a regular old seatbelt.

Stephen Vanasco: Yeah.

Paris Chong: That doesn't sound safe.

Stephen Vanasco: It's safe. You just check and make sure it's locked.

Paris Chong: Oh, so you have to go up there with people you like.

Stephen Vanasco: Uh, pilots that I know aren't wasting time.

Paris Chong: Have you taken, um ... Uh, 'cause you ta- you teach classes. He teaches classes through Leica Academy. And are there any f- and do you teach at- Just- ... just Leica? Mm-hmm. Good, you're loyal. He's a loyal guy. Uh, loyal like loyal like a guy. And, um, do you, um, always feel safe with the people that you go up there with?

Stephen Vanasco: Yeah, if I ever have, there's been a couple times over the years where if I just feel like the pilot's not confident or the pilot doesn't really understand photography, then I'll just say, "Just turn us around and land us," like-

Paris Chong: Oh, really?

Stephen Vanasco: Yeah.

Paris Chong: Will they get you a new pilot?

Stephen Vanasco: Uh, yeah. I just have to request, you know, sometimes they'll try to put a, a, a pilot with not as many hours under their belt.

Paris Chong: Ugh, forget it.

Stephen Vanasco: You know? But if I can sense that, it's like, "You're not giving me what I need for my photos, and there's no point for this flight." And then I'll land and talk to the company and just say, "Hey, I really need someone that knows this."

Paris Chong: Yeah. You know? That doesn't sound good. Do, have you ever gone up with somebody that started panicking 'cause they're scared of heights?

Stephen Vanasco: Uh, no. All the people, I think when they do the workshops or people I've gone up with, they kind of like, they know what they're getting into. They know.

Paris Chong: Yeah, 'cause you wouldn't wanna go up there with me. I'd ruin the whole shoot. Yeah. I'd be starting

Stephen Vanasco: to like- I mean, you, you take the doors off and-

Paris Chong: Oh, forget it

you gotta know, so. I would be, I'd be like having a heart attack right then and there.

Stephen Vanasco: Yeah.

Paris Chong: I just wouldn't make it. Scared of heights. So, uh, what projects are you working on right now?

Stephen Vanasco: Right now it's just continuing- Mm-hmm ... just building the bodies of work, planning, uh, more workshops with like Academy for next year.

Um-

Paris Chong: What are you doing? More aerial?

Stephen Vanasco: Yeah, more aerial at the time right now, but, you know, it's just other cities that we haven't done it in. Miami's in the works. Uh, Bellevue. Uh, wanna bring one back to LA again, one back to New York. Boston wants to do another one, so Chicago would be great with the new store that opened, so.

Paris Chong: I know it sounds so long a- away, but, but probably like 20- 27 ... 20, 20- 27 ... 28, 2020... Wait,

2028 you can come back to show at the gallery.

Stephen Vanasco: Oh,

Paris Chong: yeah. But then think how fast this year went by.

Stephen Vanasco: Nah.

Paris Chong: Because next year's nuts. Next year's been gone for a while. And then 2028 is the- ... that's gonna be a good year because it's the Olympics.

Stephen Vanasco: Yes.

Paris Chong: You know? Do you have anything for the Olympics?

Stephen Vanasco: I mean, I've been curating, um, my LA a- specific aerial photography work for a proper book.

Paris Chong: Okay.

Stephen Vanasco: And the whole point of that is, so I'm going through, starting from 2014, so I've been starting from 2014, going through every flight that I've done- Wow ... and re-cataloging every shot, and just seeing the city change over it. So,

Paris Chong: um- That's your next book?

Stephen Vanasco: Well, the first proper book, yeah. Oh, I love that. So I have a, a publisher th- who's interested, and we've been talking, and he, you know- suggested, and we both agreed that I think, like, really going through that work right now, 'cause I've s- photographed a lot of LA-

Paris Chong: Yeah

Stephen Vanasco: through that time, and it'd be interesting- I

Paris Chong: know, your pictures are amazing. You have to see his, his work. It's incredible, and you've got all these, like, iconic places like, uh, uh, Griffith Park, and Dodger Stadium, and a lot of really cool stuff. Downtown LA. Yeah.

Stephen Vanasco: I mean, unfortunately too, like, going through I found, like, a lot of, uh, coastal flights where Palisades used to be.

Paris Chong: Mm.

Stephen Vanasco: So it's just all these, like, changes throughout the years of- Yeah,

Paris Chong: that's gonna be interesting.

Stephen Vanasco: Yeah, Staples Center becoming Crypto, seeing the downtown skyline c- you know, just change-

Paris Chong: Yeah ...

Stephen Vanasco: with stuff. A lot of photographs just even throughout the streets of Los Angeles, like from a helicopter. So it's an interesting body of work when you really sit through and you're comb- recombing through, because stuff that I've made selects of, you know, over 10 years ago I'm seeing other shots that I missed at that time, and now it's like-

Paris Chong: That's great that you- Yeah

could do that. Yeah. Pr- It's, it's probably, um, now that you're living somewhere a little bit more calm, you have a little more time to do things- Mm-hmm ... like that, right?

Stephen Vanasco: Yeah, yeah.

Paris Chong: Yeah, so, so, uh, you... Did you do any p- Do you have anything that has, that's Olympic related?

Stephen Vanasco: No. I mean, I photographed the Los Angeles Coliseum.

I mean, again, they're all just, like, landmarks of Los Angeles. Well,

Paris Chong: you've gotta get all the, um, build-up of the Olympic stadiums, right? Is, well, it's gonna be at, some of it's gonna be

Stephen Vanasco: where- It's all over. It's scattered all over. It's all over. Yeah. Like, the skateboarding that I learned is gonna be in the Sepulveda Basin.

So if you drive on the 405 and the 101, there's that mid-century dam. You could see it right there. Yeah. Yeah,

Paris Chong: yeah.

Stephen Vanasco: It's a big structure, so that's where the skateboarding events are gonna be held, so.

Paris Chong: So you are gonna take pictures of this event.

Stephen Vanasco: I mean, I'm gonna try, 'cause it, you know, when you do aerial work, depending on the event, they have what's like a TFR, so it's a restricted fly zone.

Mm-hmm. So I'm assuming most of the Olympics, like, there will be, but, you know, whatever I can get up and make photos of before the structures are finished or after, you know- Yeah ... see what I can get.

Paris Chong: Do you still skateboard?

Stephen Vanasco: A little bit when I can. Like, photography- Yeah ... replaced that excitement and feeling I got through skateboarding, so.

Paris Chong: Really?

Stephen Vanasco: Yeah.

Paris Chong: Um, who's your favorite skateboarder?

Stephen Vanasco: Oh, I mean, Kurt-

Paris Chong: I know that's a loaded question.

Stephen Vanasco: No, I mean, I think it's always been, uh, this one skateboarder guy, Mariano. Um, just since I was, like, a teenager, like his impact and influence on skateboarding. He still skates today, like, extraordinarily well.

Mm-hmm. So it's just really fun to see him at his age, like, still killing it and doing what he's doing.

Paris Chong: Well, j- I, I know I was talking to Ray Barbee, who sat there before. Mm-hmm. And he's, he's still out there all the time, he said. Yeah. And, and doesn't it get, like, um, do you get rusty if you don't go? I don't, I'm not a skateboarder-

so I don't know, 'cause it's like riding a bike, right? I

Stephen Vanasco: mean, it, it's, yeah, I think it's like anything physically active. Like, the more you do it, your muscle memory of your body's like, you know, on it. But if you don't, then you feel rusty. Yeah. So it's like, you know, if you lift weights or you go running, like, if you don't do it consistently and you gotta ease back into it.

Paris Chong: Yeah. And so you're from New York, but you live here. Would you ever live in New York again?

Stephen Vanasco: Um, I don't know. I was actually talking with a friend the other night, and he's been living there for a few years with his wife and son, and he's like, "I think I'm over it."

Paris Chong: He is?

Stephen Vanasco: And I think there's something where it's like, you know, in a city like New York- It's kind of like a young person's city.

There's a lot going on, but I think- They say, I

Paris Chong: think that he- about here too though, LA

Stephen Vanasco: And I think as you get older, you just appreciate a little bit more open space. Yeah. A little less traffic, a little bit more calm. Yeah. It's something about just human nature getting older and it's like- So

Paris Chong: that sounds like a no.

Stephen Vanasco: Yeah. I don't think, I don't know if I would. I w- I would always love to visit, but like living in the city, I would have to like, I don't know, I feel like it would have to be when my daughter was like 18 and fully doing her own thing and I, I'm just back to more doing my own thing and-

Paris Chong: Right. Finance, the finances, the photography, it's so different now 'cause it, the, a lot of the, even the, um, photo agencies are gone- Mm-hmm

that used to be in Los Angeles. It seems like there's more photo agencies in New York. Hmm. Do you think that, uh, there, it's harder to get photography work now?

Stephen Vanasco: I never dabbled with photo agencies per se, and- Coming from skateboarding, which is a very big DIY, do it yourself- Yeah ... a- atmosphere. Like, if a company is not gonna give you a shot, start your own company.

If, you know, pick yourself up and just make whatever y- whatever you want to have happen without waiting for someone.

Paris Chong: That's cool.

Stephen Vanasco: So I think photography is in this interesting timeframe now where the traditional roadmaps of how you got successful being a photographer might be disappearing, but then there's these other avenues that are popping up, whether it's creating your own YouTube, whether it's creating a Substack or a blog.

Whatever it may be are presenting themselves, and you have to be open-minded.

Intro Song: Mm-hmm.

Stephen Vanasco: Because I think some photographers, oh, starting a YouTube's beneath this area of photography, fine art or agency work, whatever it is. But that, I don't think that's the case anymore. So I think while stuff disappears, new stuff presents itself.

And as a photographer, you just have to take it upon yourself to, to create your own path.

Paris Chong: Yeah. Yeah. So you, so that's kinda cool that you never did have an agency 'cause you don't have to share your money with anybody.

Stephen Vanasco: No. I mean, I've never had a manager, never had an agency.

Paris Chong: That's cool.

Stephen Vanasco: Um, everything that I've done has really been on my own terms and merits for the most part.

Like, I'll do a collaborative project like I did with Kith, or I helped make photos of the City of Compton for the Super Bowl a few years ago. So there's been big projects that have come up, but I think it's more based on, I guess, my skill of what I can do as a photographer.

Paris Chong: So I do, and you have so many followers, so there's a lot of people who know you, who you are.

Do you think they know you from being Van Styles?

Stephen Vanasco: Oh, for sure.

Paris Chong: I mean- So that was what started it off?

Stephen Vanasco: Yeah, 'cause s- skateboarding was very big proactive mark on Instagram early on. And at the time I just had skateboard friends say, "You should check out this photo app, share your work." And at the time I was Van Styles, which was the moniker I used, especially for photographing women, you know, a lot of portraiture, stuff like that.

And so this was pre-Meta buying it. So the, if you followed someone, you saw what they were posting. It wasn't hidden. It wasn't showing up a day or two later, and accumulated, right? Mm-hmm. And I understand that I was accumulating a lot of followers because you photograph pretty people, pretty things.

Paris Chong: Yeah.

Stephen Vanasco: You know, uh, handsome men, beautiful women, cars, good dinners, like, people are gonna be interested and wanna follow you. Right. I understood that a lot of my audience was following me for, like, "Well, who's the next person he's gonna share photos of?" And that was, you know, that to me was like my own personal turning point of like, well, do I want to continue this or do I want to like just do what I want to do?

Paris Chong: So do people come up to you still and say, "Hey, Van Styles"?

Stephen Vanasco: Uh, there's a few- "Are you Harry's,

Paris Chong: are you Harry's brother?"

Stephen Vanasco: There, there, there's a few people that do still reference the name. Yeah. And I think it's, it's interesting looking back, 'cause I think that name was, for some people, an impressionable time of photography and Instagram that it's- Mm-hmm

it's still a connected thing. So I just laugh. I'm like, if you want to call me that- Yeah ... call me that, so.

Paris Chong: No, that's, that's cool. I, I'm not gonna call you that, but I- ... but I like your name. So, um, tell us about how you got involved with shooting Leicas.

Stephen Vanasco: I, around 2012 I bought my first Leica from Samy's Camera.

Paris Chong: Okay.

Stephen Vanasco: Um, was already shooting with it, then I got an M240 at the time, and was already into it. Um, and so I had a friend of mine Um, and he knew a gentleman that was working with Roland Wolf, who used to work with Leica. Oh, yeah,

Paris Chong: Roland.

Stephen Vanasco: Um,

Paris Chong: and- Did you buy the camera from Ebby at Sammy's? Remember Ebby,

Stephen Vanasco: E-B?

Not Ebby, uh, Tibor.

Paris Chong: Okay.

Stephen Vanasco: Yeah. Okay. So Tibor worked with Ebby, but Tibor- That's right ... was a staple there, right? Oh. Um, and so then he said, "You gotta meet this guy, David. He's working with Roland. They're creating something, like a side project within Leica. You ought to shoot it." So that was like the whole initiation into Leica, was meeting Roland at- Oh, that's good

Art Basel Miami, and then just keeping a conversation going, and then- You

Paris Chong: met him at Art Basel? Yeah. I was

Stephen Vanasco: out- Are you... I

Paris Chong: wonder if you were there that time I was d- there doing the Lenny Kravitz show.

Stephen Vanasco: This was 2013.

Paris Chong: No, it was right after that. I went-

Stephen Vanasco: So the 2014 one. Yeah. Oh, wow. Yeah, I was out there for 2014 as well.

Um, but yeah, so I met Roland at that point, just kept the conversation going, and then by that May or June, I did my first trip out to Wetzlar.

Paris Chong: Yeah. Yeah. And not your last.

Stephen Vanasco: Not my last.

Paris Chong: We've been on a plane back from Wetzlar. Remember that? And I had a, um, panic attack 'cause I didn't know I was claustrophobic.

Yeah. That was... was... Disco, no disco wasn't there. But yeah, we've tra- so I've seen you in Wetzlar, New York, and here, right? Mm-hmm. Anywhere else? Were you in Berlin? I think...

Stephen Vanasco: No, I wasn't in Berlin for anything Leica related, so.

Paris Chong: Yeah, w- Le- so, yeah, Leica's cool how they, you know, h- connect people around the world.

It's a very, it's a very cool thing that we do at our company. Um, and there's been so much change though, hasn't there? Like, you mentioning Roland Wolf, who's not with us anymore. Mm-hmm. And just so much change.

Stephen Vanasco: But I mean, that this is over a decade now that I've been-

Paris Chong: I know ... associated with Leica, and you, you- And I've been here 12 years

same thing, so. I have 12 years on July 28th, and I, and I've just seen a lot of change lately. Um, a- you know, and, you know, change is good, sometimes bad. I mean, it's always, it's always- It,

Stephen Vanasco: it's inevitable, change.

Paris Chong: Yeah, yeah, it is. It is. Yeah. Um, but, uh, yeah, that was a blast from the past name right there.

Stephen Vanasco: Mm-hmm.

Paris Chong: And so he kinda got you involved. Yeah, he loves skateboarding.

Stephen Vanasco: Yeah. He's amazing. And then I would go into the store, uh, met Phil, met you.

Paris Chong: I love Phil.

Stephen Vanasco: Met all the great people, James, everyone over there. So, you know, it's been a very, like relative to ska- It's like

Paris Chong: family

Stephen Vanasco: It is, and it's relative to, like, a skateboard shop feel, where you can go in- Yeah

and, like, just meet new people that are in the store and, but we're all tied to this common thread of photography.

Paris Chong: Yeah, we did a pop-up at, uh, at Mollusk, at the skateboard store. He, w- that was really fun, with Ray Barbee.

Stephen Vanasco: Yes.

Paris Chong: That was a good trip. Yeah, I like to do pop. I think I, I took a little break from pop-ups.

I think I'm ready to go do some more again- Mm-hmm ... I think, you know? But, uh, we should do another pop-up. But I'm gonna put you back on the schedule. Just give me some time. I know, it's like I have so many people. I... That's why I've been trying to, like, do a little bit more group shows, just so I can s- get everyone in and see.

But I mean, that's- That's why I was asking you about the Olympics- Yeah ... 'cause I'm doing this, uh, LA 20, uh, Leica Gallery LA '28 show for the Olympics, and it's all L- Olympics shots with whoever has what anything.

Stephen Vanasco: Yeah.

Paris Chong: So but then we'll do your show around that time too, 'cause a lot of people will be in town.

Stephen Vanasco: Well, I mean, it's, it's the landscape of where the Olympics are taking place.

Paris Chong: Yeah, yeah. So that's, like, the important kind of thing. It's gonna be fun. It's, I'm looking forward to it. Do you prefer shooting people or photographing people? I know sh- do you like shooting people? Do you prefer s- shooting, uh, landscapes or people?

Stephen Vanasco: Whatever ins- whatever's pulling my interest or inspiring me. So if I'm holding my camera up to somebody, and they're, like, photogenic, and they're... Like, you used to model, and there's something where it's like, okay, there's energy that can exist.

Paris Chong: Mm-hmm.

Stephen Vanasco: Where, okay, like, I'm feeling this photographer's energy, whatever you're wearing, like, the setting and People just present something to the camera that makes it exciting to shoot portraits.

Paris Chong: So you don't have a preference?

Stephen Vanasco: No, no. You like it all. Like, I'll shoot flowers, I'll shoot- I

Paris Chong: love your flower photos ... shadows, I'll shoot- I love your flower photos. I was so s- I, 'cause you're so, um, m- manly and macho, it was, I was kinda surprised when I saw these beautiful floral photos you took at the Huntington, um, park.

Stephen Vanasco: Well, the Huntington, Echo Park Lake. Oh,

Paris Chong: yeah, I know. Yeah. But sometimes at the Huntington I'll shoot- I was like, "Oh, I didn't expected him to take photos like this," but I think they're gorgeous.

Stephen Vanasco: I mean, that's the fun part about- Yeah ... an art like photography is that, like, you may not expect it from me, but why can't I try it at least?

Paris Chong: Yeah, no, it's ... And you do it, and you do it so well. Do you have your photo, u- uh, photographs that you make in your home?

Stephen Vanasco: Not hanging up in my home, no.

Paris Chong: No?

Stephen Vanasco: No. I try to collect other photographers' work for

Paris Chong: my home. Who do you collect?

Stephen Vanasco: I have, like, Greg Hunt. I have a couple of Ralph Gibson pieces. I have some Boogie pieces.

Um, I got a Ray Barbee print.

Paris Chong: Yay.

Stephen Vanasco: Uh, just people whose work I'm inspired by or we

Paris Chong: trade. That's great. We exchange stuff. I, I, that's weird. I, well, I would, if I were you, I'd have my art in my house, you know?

Stephen Vanasco: Yeah.

Paris Chong: I, but that's me. But I love art. I don't have any more room, uh, in my house. Mm-hmm. I'm just kind of manipulating everything.

I, there's literally n- no space for anything right now 'cause my whole house is sorted and I love it. And I love your work. Well, I wish you would've brought your zine. I forgot to tell you to bring the zine. I, I

Stephen Vanasco: was- Oh, you messaged, but I didn't have any, so.

Paris Chong: I was so slammed at work yesterday with this World Mar- thing, the w- the, the event setting that up.

Book salon? It was like nuts. I was like, I had your print, but I couldn't find a frame.

Stephen Vanasco: No worries.

Paris Chong: Yes. I'm so glad. This strange man came in here.

Stephen Vanasco: Oh, it was- Like, I put, like, I don't know if you saw, like, I put, like, Den- Dennis Illich onto the same company I use for my zines, and he just did that book.

Paris Chong: Oh, is that who...

Oh, yeah, he told me. He told me. Yeah,

Stephen Vanasco: so- Yeah, so and he said- So

Paris Chong: let's talk about the zine. Yeah. Like, no, I, I, I've, I know I gave you late notice to

bring in your zine. No worries. We have a really cool zine. Do, I think we sold out at the store too. I believe

Stephen Vanasco: so, yes.

Paris Chong: So, uh, Stefan made a really awesome zine. It's all gone. Sorry, can't get one. But we're gonna make... But at least you're gonna have a book coming out soon. And, um, do, do you think zines are super popular right now and they'll stay that way?

Stephen Vanasco: I think any avenue for a photographer who has existing bodies of work, zines You know, e- and for, for example, I'll put photos on skateboards and I'll sell those, and it goes back to the do-it-yourself idea that- Yeah ... if, you know, you're waiting on a job to come in, like don't settle, sit and twiddle your thumbs.

Like- Do something ... if you have work, do something, right? So make- Yeah,

Paris Chong: no, zines is d- zines do remind me of skatebo- skateboard culture. I, I think it kinda started around then, don't you think?

Stephen Vanasco: I mean, it was a big essence of it throughout the '80s. Yeah. It was how they all communicated, but I think like you wanna sell a print for thousands of dollars, you can do it.

You gotta find the right clientele with the wall space. But a zine, price point of like $30, $40, everyone can support you and support that work.

Paris Chong: And there's a book in it, the book's gonna come out, and that's mainly your aerial

Stephen Vanasco: work. It's LA specific for over 10 years of LA aerial photography.

Paris Chong: So that's kinda what you're gonna be showing a lot if you have-

Stephen Vanasco: Um

Paris Chong: three shows in the future.

Stephen Vanasco: Eventually, so I think the plan or the fingers crossed hopeful point is book should be ready by next fall. Um-

Paris Chong: Okay. So then, then we'll put you in the early... So if it's not ready till next fall anyways- Mm-hmm ... then we'll put you early in the year 2028. Who would you wanna show with if you could show with anybody?

Stephen Vanasco: Wow. I u- you usually do a great juxtaposition of balancing work- Yeah ... of, you know, I think it'd be interesting if I'm showcasing LA aerial ph- photographic work, someone who has very interesting LA, um, LA ground level street photography work.

Paris Chong: Okay.

Stephen Vanasco: Something like that, I feel like, 'cause if this is, like, showcasing above, then who's on the ground maybe.

I love that. Something like that. Like

Paris Chong: above and below.

Stephen Vanasco: Some- yeah, something like that.

Paris Chong: Hmm. Do, who, like, uh, who do you think?

Stephen Vanasco: I mean, I, I know-

Paris Chong: Who comes to mind?

Stephen Vanasco: The, like, as far as, like, just off the top of my head without, like, d- digging into it, I know, um, I know M- Matt Stuart has been doing, like, this, like- Oh

sunset on Sunset Boulevard project. Oh, wow.

Paris Chong: I'd love to have him back. Um-

Stephen Vanasco: I love

Paris Chong: Matt Stuart ...

Stephen Vanasco: you know, I know Adalai does a lot of good-

Paris Chong: Oh my God. Oh, that could be co- that could be cool ... good

Stephen Vanasco: groundwork.

Paris Chong: He's working on a project for his book for, uh, but it's about Ohio.

Stephen Vanasco: Hmm.

Paris Chong: Which sounds to me like, uh, I've not been there, but it's not on my bucket list.

Sorry everyone from Ohio, I just, you know, I'm really weird about my bucket list- Yeah ... places I go.

Stephen Vanasco: I mean,

Paris Chong: I- But he got a book deal with it, so how do I, what do I- If

Stephen Vanasco: we, if we, um, yeah, if I... I'll, I'll take some time and just look through other photographers' work-

Paris Chong: Yeah ... and see. Let's, let's, let's figure that.

That, that'd be good. But I think Matt Stu- I w- that's interesting that you s- I wasn't expecting him to s- you to say that, but yeah,

Stephen Vanasco: no. Well, I, I know the times he's been out here and I've seen him at the store talking. He's like, "That's a probably..." He said he's been getting up at sunrise.

Paris Chong: Yeah.

Stephen Vanasco: You know?

Paris Chong: He's very funny.

Um, I actually met Adalai Shell through Matt Stuart. Matt Stuart said, uh, "Listen, I know you do pair, you know, put people together, and I would really like to show with somebody. Have you heard of this person?" I said, "No." He said, "Okay, well, I'm gonna introduce you to him, but please do not tell him how good he is 'cause he'll just get a big head."

That was my intro. I mean, I, I- That was my introduction to Adalai. I'm like, "Okay, I won't say how good he is," and 'cause that would be horrible to have a big head. And so that's how he told me.

Stephen Vanasco: Well, I was, I walked in the day that they were there- Yeah ... for the first time. I took a photo of them together at your desk.

Oh, you have that? I,

Paris Chong: I wanna see that. Mm-hmm. I wanna p- this, I wanna post that. Um, but yeah, so I said, so I met Adalai and I said, "Oh, you're very good, uh, but I'm not supposed to tell you that." He goes, "Really? Why?"

Stephen Vanasco: This gentleman here told me. '

Paris Chong: Cause you're a friend.

Stephen Vanasco: Yeah.

Paris Chong: I... Yeah, so that'd be a good pairing. I like that.

Mm-hmm. We always want him back. He lives in Amsterdam.

Stephen Vanasco: Mm-hmm.

Paris Chong: Yeah, he's a good photographer, and he's funny. Oh, that was even- And he knows

Stephen Vanasco: how to skate too.

Paris Chong: And that's ... He did?

Stephen Vanasco: Yeah. He's, yeah, he's all, he

Paris Chong: knows all about skateboarding. I had no idea. Yeah. You know what? And that's another of, uh, things is at, uh

Yeah, that was a fun, uh, uh ... Matt and I like to joke around, and he's ... We say s- silly things and dirt, make dirty jokes, and Adalai will just ignore you. You know? Mm-hmm. He would just ignore us. And he said, "You know, Adalai has this really good, um, way of to, uh, s- he has a smut filter." He won't listen to anything that sounds- Yeah

like smut, and he really won't. He's very serious. He's like 150 years old, but in, trapped in a 25-year-old guy's body.

Stephen Vanasco: Mm-hmm.

Paris Chong: I always tell him, "Adalai, you gotta stop acting like an old man and have fun." But yeah, that's good. Okay, you picked out some good people.

Stephen Vanasco: Yeah, so you know, something- Mm-hmm ... thing, something for me to think about along with all this.

Paris Chong: So you're doing less street stuff right now.

Stephen Vanasco: It just depends what I'm into. Really? Like, I'm shooting street all the time, but-

Paris Chong: I haven't seen any ...

Stephen Vanasco: I, well, that's the beauty of film is like I get the film back. I like to try to scan stuff in specifically, sit with the photos, look at what I'm doing. It's like when I was in Boston, I walked, when I wasn't in the helicopter, I walked around making photographs, and some of it's street themed orientated.

Um- Awesome ... and then that project I did up in, uh, Santa Barbara with you, uh, the weekend visits, like that's- Those are gorgeous ... all street work in Santa Barbara, so.

Paris Chong: I don't know why it doesn't look like street to

Intro Song: me when it's in, at the beach.

Paris Chong: Do you know what I mean? Like, 'cause it's so beautiful- Yeah ... and, um, I don't know.

I d- like, beach street's different than street street. Yeah. Like New York street and, like, that street.

Stephen Vanasco: Well, I mean, you know, and, and too it's like I think for photographers, it's important to, like, look Take a step back and look at the landscape of what's going on. You know, you yourself as a pro- portfolio reviewer, curator, gallerist, you see so much work.

Paris Chong: I do.

Stephen Vanasco: And I think it wouldn't hurt a photographer to say, "Okay, well, you got X amount of people doing black and white street in New York here." And it's like, okay, like, if I'm gonna shoot these places, what can I do that will look different from- Yeah ... this work or from-

Paris Chong: Yours does, though. You ha- there's definitely, like, a quality of your work that it, you can tell it's a Vanasco.

You know, which is the most important thing. I could tell people, like you wanna look like, you want to be original and it looks like you, not, you, "Oh, this reminds me of so and so." Your work, I've never seen anything you do that I'm like, "Oh, this reminds me of a Ralph Gibson." I never see anything that reminds me- Mm-hmm

of anything. It's very you and very specific to you, which is hard to do.

Stephen Vanasco: Mm-hmm.

Paris Chong: You know, with so much s- to see and- But I- ... so many people copying each other.

Stephen Vanasco: And I, well, and I think too, again, like I will always echo lessons learned in skateboarding and in skateboarding, the biggest lesson you learn coming up is, like, if someone did a trick down those stairs, you cannot do that same trick- Yeah

'cause they already did it.

Paris Chong: Yeah.

Stephen Vanasco: Right? And you have to, like, push yourself. "Okay, I gotta do something different. What can I do?" I don't know if those rules really exist in much in photography, 'cause everyone ... But it's also in- inspiring, right? You wanna try to replicate, you know, Meyerowitz or Winogrand or- Yeah, but too

Paris Chong: many people are doing that.

But,

Stephen Vanasco: but- It gets

Paris Chong: too much.

Stephen Vanasco: That's what I'm saying. As a photographer, you have to look at yourself and evaluate your own work and say, "Okay, like, am I looking a lot like this?" Like, maybe take a step back, try a different focal length, try a- Mm-hmm ... different setting. Try shooting in color instead of black and white.

Explore these things to find your voice or find the subject matter that really speaks to you versus, "Well, I wanna be street because I think it's cool." Well, it's like you actually might be more, make more interesting photographs of, like, abstract architecture. Yeah. You don't know until you try.

Paris Chong: Yeah. What, what advice do you have for any young photographers getting into the biz?

Stephen Vanasco: Um, it's, it's a slew of advice. You, you know, have fun, but explore everything photographically. Don't put yourself in a box. Allow yourself to, like, try different things, techniques. Um, be your own worst critic. That's the best thing that you can do is be truthful with yourself of how you view your work and what you can do to improve it.

Um, but don't get stuck in routine and don't get stuck in ways, because that's how you'll just keep making the same thing over and over versus- Mm ... having opportunity to make newer work that feels different.

Paris Chong: That's good advice. Do you go out and shoot every day?

Stephen Vanasco: Just about. Like I said, I have a camera with me all the time, and if something interests me, pull over.

If something, um, there's something there, I'm not quite sure, I'll still make a photograph just to see what it looks like.

Paris Chong: Do, do some days you wake up and like, "I just don't feel like taking any photos. I just wanna, like,

Stephen Vanasco: I mean, there, there are days, but I mean, but then it's like I have my iPhone on me if- Yeah

anything. You know, it's just- You know, I think if you have a passion, it's kind of like, and you really love it, it's good to nurture it as much as you can.

Paris Chong: Yeah. Oh, I love that. Okay, so how can people see your work?

Stephen Vanasco: Uh, through my website, stephenvanasco.com, and then all social channels are just my name, @stephenvanasco, Threads, Instagram.

Paris Chong: we figured out it's two Es in the first name and two As in the second name. Took me tw- 12 years.

Stephen Vanasco: Yeah, that's

Paris Chong: all right. And, and you s- you shake your foot a lot. Is that like a ner-

Stephen Vanasco: Nervous twitch ...

Paris Chong: you have a nervous twitch? I'm

Stephen Vanasco: conversate- conversating with the great Paris Chong.

Paris Chong: Ah.

Stephen Vanasco: A lot of great photographers- The

Paris Chong: checks in the mail

Stephen Vanasco: have sat in this seat.

Paris Chong: Yeah, we've had- So ... Greg Gorman, Matthew Rolston, Eli Reed, Billy Zane. We've had some really great people.

Stephen Vanasco: Mm-hmm.

Paris Chong: Yeah, and you. And I was, I was so glad that you weren't actually trying to get out of coming on the show-

Stephen Vanasco: No, I was driving

Paris Chong: when you- ... like Adelaide Sheldon ...

Stephen Vanasco: I was driving when you sent that.

I just misread it really quick, so- Yeah.

Paris Chong: No, I'm like- ... uh ... how do you know what you're doing? Like, and it was so fa- I'm like, "Do you, c- will you come on the podcast?" Like, immediately he's like, "I'm busy that day." And I'm like- Well ... "In a month perhaps?"

Stephen Vanasco: Well, because it was, it was an event for Leica in San Diego.

That's why I, I knew-

Paris Chong: Yeah ... it was like that, but. I'm like, "How do you know what you're doing next month on Thursday?" Wow. Yeah. That was fast. You're-

Stephen Vanasco: And that month went by quick ...

Paris Chong: you're on your schedule. Yeah, yeah. No, well, see how fast it went?

Stephen Vanasco: Yeah.

Paris Chong: And what are you doing after here?

Stephen Vanasco: After here I'm gonna go try to grab some lunch, go stop by the store, say hello to everyone there, and then, uh, this afternoon I have a lot of negatives from Boston to pick up from the film lab, so excited to see what I got on those.

Paris Chong: Okay.

Stephen Vanasco: Yeah.

Paris Chong: All right. Well, thank you so much for coming on the show and not trying to get out of it- ... like I thought you were trying to. No. I'm like, "I won't be, I won't take it personal." Thank you for listening. Watch, share positive things. Say positive things. Think positive things. Thank you to this guy that just came in here again.

What's your name? Dondon Heath? Yeah. Um, my team, Neil, everybody, and for d- to Disco for being a good boy. I don't even know where he is. He's underneath my chair now. Thank you for listening to The Paris Chong Show. Bye. See you next time.

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