Rediscovering Old Photos of Forgotten Americana — An Interview with Legendary Photographer Troy Paiva

Chinook With a Limp
Essex, CA, 2002
Photo by Troy Paiva

If you already know who Troy Paiva is and have seen his wonderful night photographs, then you are well aware of how important his work has been to the genres of light painting, urban exploration, and Americana photography. If you don’t know who Troy is… well, you will soon be initiated, and you can thank me later. “Every once in awhile an artist bursts forth with such a profound impact on a genre of art that it forever alters its course,” photographer Ken Lee stated in a Photofocus article. “Troy Paiva is one such artist.”

What Troy is most known for is nighttime light-painted photography of abandoned, forgotten, or neglected roadside Americana. He visits abandoned buildings and old junkyards and even airplane boneyards during full-moon darkness, capturing long-exposure images using artificial lights to add pops of color that aren’t naturally there. His striking pictures have been displayed in art galleries and museum exhibits, and printed in magazines and books, including a couple of Stephen King covers.

The Star in the Window
Rhyolite, NV, 1997
Photo by Troy Paiva

My introduction to Troy Paiva came through an unusual book: Weird Arizona. He was a contributor to it (plus some of the other books in that series), and it had a little Route 66 writeup by Troy that included a picture of an abandoned gas station with a strange red glow on the ceiling. Later, I found Troy on Flickr, and even corresponded with him briefly on the location of one of his photographs. I’ve been a big fan of his photography for over a decade; however, he’s been doing this whole light-painting thing since the late-1980’s, well before I stumbled across his fantastic images.

I interviewed Troy recently, and I’m very excited and honored to share it with you. This is a very important article, because I’m certain that many of you can relate to it—I know that I can! Perhaps, like me, you have piles of old slides and/or negatives stored in a box somewhere. Nobody ever sees those pictures. What do you do with them? They can’t be any good, can they? Are they worth the trouble to dig through and scan? Will anyone care about them if you do? Are they even worth keeping? What will eventually happen to them if you do nothing? Those are questions that Troy Paiva recently wrestled with, and I think his answers are both fascinating and inspiring.

Salton City Trailer
Salton Sea, CA, 1992
Photo by Troy Paiva

FXW: Troy, I love your photography—your pictures and your process! I noticed that you have been revisiting your old analog images lately—daytime photos from the late 1980’s, 1990’s, and early 2000’s. What made you dig out your old slides?

Troy: Earlier this year I bumped into a set of my images on Flickr—The Mojave Carhenge from 1992—that I had scanned ages ago. They looked bad, with low resolution and converted to B&W. I wanted to find those slides and rescan them, but I put it on the back burner. Later, I needed to re-up on the long-dormant software for my film scanner to do something for a friend, so I used that opportunity to finally dig out those slides—scanning and processing them using 2022 software and skills.

I was surprised by how my perception of those pictures had changed over the course of 30 years—how old and rare and cool the cars in it were. It was weirdly timeless, like it could have been shot in 1982 or even ’72. I put them on Facebook and I got a response that supported these feelings. I looked through a few more boxes of early ’90’s daytime slides—pictures that even I hadn’t seen since the early ’90’s—which seemed to generate the same level of surprise. It didn’t take me long to realize that I should keep going. 

Welcome to Nephi
Nephi, UT, 1996
Photo by Troy Paiva

FXW: What camera gear did you use back then and what do you use now?

Troy: I’ve always shot with Canon cameras. In the early ’90’s it was a ’60’s vintage FX, an all-manual (broken) match-needle relic for night work, and A-1’s for metered shooting. I switched to the T90 in the late ’90’s—it was a great night shooting camera. I had several running different films. I used the FX forever, right up until 2004. Digitally, I went from the 20D to the 60D to the 6D. Once you night-shoot from a knee-high POV with a swivel screen, you never go back! All the film cameras were used—cheap. I’m pretty cavalier with equipment, and night photography has a way of wrecking and breaking your gear anyway.

In the ’90’s my lenses were constantly changing. All of them were purchased used, and lots of 3rd party junk. They’d fall apart, or get stuck on f/2.8 forever—especially the wide lenses from the early ’90’s, which were loose and wiggly in your hands and the focus fell off hard in the corners—and I’d buy another one for $25 at the flea market. All part of the character of the work: shooting junk with junk.

I used a mix of Ektachrome and Fujichrome, and a little Agfa, too. I would shoot with whatever slide film was on sale.

The Islands of Yucca
Interstate 40, AZ, 1996
Photo by Troy Paiva

FXW: What drew you to your subjects back then?

Troy: A lot of the signage imagery stems from my MCM graphic design background. At the time I was working as a designer at Galoob Toys, making Micro Machine-sized gas stations and car washes. I was already obsessed with abandoned roadside long before I ever got to Galoob, and taking pictures of it—day or night—was a natural part of the headspace I occupied.

N’
Fresno, CA, 1995
Photo by Troy Paiva

FXW: What is your process for digitalizing your slides? What challenges have you encountered?

Troy: I’ve had a Nikon IV ED film scanner since about 2001, which I’ve always used to scan my night work to put online. After moving into the digital era (in 2005), it sat largely unused. There was even a long period where it was unusable because Nikon stopped updating the software. Luckily, 3rd party software appeared at some point—I use the one from VueScan. The raw scans are not even close to right, but good enough to get them into Photoshop where I use MANY tools to make them presentable: masked sharpening/noise (grain) control, major HSB adjustments, white and black point shifts—the whole bit. Some also require perspective adjustment, cloning scratches out, creative cropping. Some mix down in a few minutes, some take a half hour to pull together.

The Yuma Cabana
Yuma, AZ, 1995
Photo by Troy Paiva

FXW: What differentiates your daytime pictures from your night ones? What is surprising about it?

Troy: My daytime work was more about scouting locations to potentially come back and work later that night. Many of these subjects would have been impossible to do with my full moon technique because they’re bathed with sodium vapor streetlights. Or sometimes I’d get chased back to the car by dogs or some nut racking a shotgun. In many cases, the day shots are the only record.

The daytime work always took a back seat to my experimental night work, so I rarely showed it to anyone. It just sat in storage for 25, 30 years. Occasionally I’d pull some night work for a fresh scan, completely ignoring the daytime work. Why? I wish there was some smart-sounding “I was consciously playing the long game” answer, but, apparently, I was playing it unconsciously.

It’s a part of my photography that longtime followers of my night work have never seen. It mirrors it in many ways, yet doesn’t fall into the trap of having the “light-painted night” aspect take over what the picture is about. They are just “normal” pictures of things, and that makes them easier to conceptually digest.

Also, I’m still scanning. There’s a lot I haven’t even looked at yet. I am intentionally not going through everything at once. I grab a few boxes, or all the work from one trip—cull, scan, and process. Only then do I look at the next few rolls. The picture of my slides (below) isn’t even all of it—there are about 10 carousels full, too. A lot of it is personal things of no interest to anyone but me. Several boxes have nothing worth scanning, but some… every slide gets an “Oh, wow!” when I put it on the light box for the first time.

Troy’s old film slides, mostly from the 1990’s.

FXW: What did you discover through this project?

Troy: I discovered a body of work that almost feels like someone else shot it! Sometimes memories come flooding back as I look through them; for others, it’s, “Where was that again?”

My MO was to specifically shoot the once-loved things that looked like they were on their way out. Most of it was abandoned and heavily weathered, steeped in Wabi-Sabi feelings of accepting loss and finding beauty and nobility in decay. It turns out that my hit rate was good: it seems like 90% of these subjects are now irrevocably changed or just gone. I perform Google searches on most of the sites—looking for them on street view, images, etc.—and in many cases, there doesn’t appear to be any other “intentional” pictures of them made before they disappeared. I’ve run across a couple of motel signs where the only other picture that I could find is in the John Margolies collection in the Library of Congress. It seems like everybody shoots this kind of stuff now, but in the early ‘90s, it was rare and—frankly—kinda weird. 

I haven’t parsed out what any of it means. I’m still in the middle of the scanning project, so I’m not ready to sit back and figure out what to do with it yet, except share some of it online and get it seen.

Mom’s Motel
Fresno, CA, 1995
Photo by Troy Paiva

FXW: How important is it to revisit your old pictures?

Troy: Once I started to see how much of this rare imagery I had, I began to think of Vivian Maier and Charles Phoenix. Imagine finding this motherlode of daytime and weird night photography of the long lost American roadside in a dumpster behind a Salvation Army! If I didn’t scan and share it, someday when I die that mountain of boxed slides would either end up in the dump, or a thrift store to be found and exploited and re-contextualized by someone else. The 99.9% reality is that it would most likely end up in a landfill, never to be seen by anyone. Once I realized what I was sitting on, I didn’t want any of that to happen.

Time has a way of making ALL pictures better. They’re a record of a moment in time. That moment often seems inconsequential when it happens, but someday you may not be able to experience anything like that moment again because the place or people are gone, and the picture suddenly takes on different meanings that were hidden before. Ever notice when you look at really old magazines you tend to gloss over the articles and spend most of your time looking at the advertisements? The things we don’t think are important or historic now have a tendency to be the ones that end up being more interesting later.

Liquor For Health
Yuma, AZ, 1995
Photo by Troy Paiva

I want to give a very big thanks to Troy Paiva for taking time out of his busy day to allow me to interview him and publish his words and photographs on Fuji X Weekly. Thank you, Troy! Many of these pictures have been shared on his social media pages, but a couple of them have never been published before, and you’re the very first (aside from Troy and now myself) to see them! To say that I feel honored is such an understatement.

My hope is that this article has encouraged you to take another look at the pictures you captured years and years ago. Maybe they have a different meaning today than the last time you saw them. Perhaps you’ll be inspired to do your own project similar to Troy’s. It could be time to dust off that old scanner, or even buy a new one. I think this article also illustrates that the photography you’re doing right now is important, even if it doesn’t seem so at the moment. Keep at it, and in time you’ll see the significance of the pictures you captured today.

Please visit Troy Paiva’s website: LostAmerica.com. Find him on Facebook and Instagram. Buy his six books on Amazon: Lost America, Light Painted Night Photography: The Lost America Technique, Night Vision, Boneyard, Night Salvage, and Junkyard Nights (seriously, pick up one or more of those books—you’ll be glad that you did!).

More of Troy Paiva’s daytime photography:

Have a Cuppa Kofa at Ern’s
Parker, AZ 1994
Photo by Troy Paiva
Silver State Bowl
Hawthorne, NV, 1994
Photo by Troy Paiva
The Smelly Mirror
Bombay Beach, CA, 1992
Photo by Troy Paiva
Barstow Texaco
Interstate 15, CA, 1992
Photo by Troy Paiva
Virgies West
Gallup, NM, 1992
Photo by Troy Paiva
The Squirt Fade
White Sands NP, NM, 1991
Photo by Troy Paiva
The Pigeon
Convair 880, Mojave, CA, 1991
Photo by Troy Paiva
MMM, Diesel
Interstate 15, CA, 1990
Photo by Troy Praiva
The Astro Burger 
Kramer Junction, CA, 1990
Photo by Troy Paiva
Truxton Garage
Route 66, AZ, 1989
Photo by Troy Paiva
Yard Sale 
Monument Valley, AZ, 1989
Photo by Troy Paiva

All photographs © Troy Paiva

Abandoned Location: Hugh’s RV w/ Fujifilm X100V & Fujicolor Reala 100 (Video)

I had the opportunity recently to photograph the abandoned Hugh’s RV in North Salt Lake, Utah, with Fuji X Weekly reader Ryan from Oregon. The last time that I was there I used my Kodak Portra 400 film simulation recipe. This time, both Ryan and I used my Fujicolor Reala 100 film simulation recipe on our Fujifilm X100V cameras. Two photographers at the same location using the same camera with the same settings, but with different perspectives. Check out the video!

I had a great time shooting with Ryan! It was a good opportunity to talk cameras, recipes, photography, and more. I want to give a special “thank you” to Ryan for participating in this adventure, for allowing himself to be filmed, and for sharing his pictures in the video. Please check out his Instagram account, as his pictures are great!

Let me know in the comments what you think of the video. I appreciate the feedback!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Gear:
Fujifilm X100V  Amazon  B&H
Fujifilm X-T20   Amazon 
Fujifilm X-T30  Amazon  B&H
Fujinon 10-24mm   Amazon  B&H
Rokinon 12mm   Amazon  B&H
GoPro Hero 8 Black   Amazon  B&H

Film Simulation Review: Abandoned RV Dealer with Kodak Portra 400

Journal – North Salt Lake, UT – Fujifilm X100V – “Portra 400”

I recently stumbled upon an abandoned RV dealership in North Salt Lake, Utah. It’s been vandalized. Broken glass and graffiti abound. Nature is doing its thing, too. It’s significantly dilapidated.

Hugh’s R.V. apparently hasn’t been closed for very long, I believe less than two years, but the building looks like it has been abandoned for a decade or more. One of the reviews I found for this place stated that it looked dilapidated—this was when it was still open!—so it was already in a state of disrepair prior to abandonment, and that partially explains why it looks so bad now. Perhaps more than anything, people have just trashed it since it closed.

I captured Hugh’s R.V. with my Fujifilm X100V using my Kodak Portra 400 film simulation recipe. I love how this recipe looks for many things, including structures. Really, it was an easy choice! This particular film simulation recipe could be many people’s “only” recipe. It’s good for such varied situations, and an abandoned building in afternoon light is no exception. This Portra 400 recipe on the X100V is an especially great combination, and a one camera, one lens, one recipe philosophy could be embraced. I appreciate the film-like aesthetic of my Portra 400 settings.

My challenge to you is for one week (or at least one day if that’s too much) use one camera with one lens and one film simulation recipe. If you don’t have an X100V, that’s no problem, just use what you do have. I think the restriction will empower your creativity. Limitations improve art. If you accept this challenge, let me know in the comments which camera, lens and recipe you plan to use, and also report how it goes. I look forward to your feedback!

Hugh’s R.V. – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Hugh’s Graffiti – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Closed Circuit – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
ERNL – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Open Door, Broken Window – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Trash in the Shadow – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Tubes & Tablets – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Out of Office – North Salt Lake, UT – Fujifilm X100V – “Portra 400”

See also: Film Simulation Reviews

Video: Abandoned

I created a new video entitled Abandoned, which features my black-and-white photographs of abandoned places that I’ve captured over the last five years. I used to do a lot of “urban exploration” type photography, but I don’t venture into that genre much anymore. I do think that it’s important to document these forgotten and neglected structures, as they’ll crumble away someday, either by man or nature, and the opportunities to record them are fleeting. The photographs also serve as commentary to how society deals with what’s unwanted and unneeded. The decay speaks of our values, and how we handle change.

The main purpose of this video, however, is not the photographs, but the music. I have a six-year-old son, Joshua, who loves music. You can tell that he feels it deeply, like he connects with it at soul-level. He’s learning piano, and it’s impressive the songs that he makes up. He’s not a child prodigy or anything like that, but he’s much more musical than my other kids. He is music smart, and we’re trying to foster that.

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My kids like to make songs on an app where you mix samples. It’s kind of like being a DJ. It’s called “live loops” and you can select different sounds and beats, and record it as you go. There’s a lot that can be manipulated and customized. My kids record all sorts of different songs. Last week Joshua came to me and excitedly said, “Daddy, listen to this song I made!” He played it, and I was impressed. It sounded like an actual song! It was pretty well done.

Being a proud father, I wanted to share his creation with everyone, so I made a video. I hope that you enjoy the photographs, but I hope you especially enjoy the music that my six-year-old son mixed. I think that the music and pictures compliment each other, and together they tell a story. I hope that we’ll have many more opportunities to collaborate. I can say for certain that Joshua loves music, and he has many more creations stirring in his heart and mind right now.

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