MARIA: Hey Steve Sweatpants!
STEVE: Hey Maria from B&H!
MARIA: How's it going? STEVE: All right, not too, bad you know.
A little drizzly, but it's all good.
MARIA: I heard you were on your stoop hanging out, so I wanted to ask you 21 questions.
Yeah, talk to me. Dígame!
MARIA: So, tell me who you are and where are we!
I'm Steve Sweatpants, also known as my real name is Steven Irby
My mom gave me that name because I used to be lazy and never liked to, like, do any kind of chores,
but I like to be comfortable, and there's, like, a way of life.
So, Steve Sweatpants is, like, me being comfortable with everybody and also being comfortable with my work.
I'm born and raised from New York. I'm currently in Bed-Stuy.
Been out here for, like, 12-13 years, and like this is easily my favorite place about, you know,
my favorite place about New York.
MARIA: Awesome! So, what do you do for a living?
I am a photographer. I'm also a director.
And I run a magazine and a creative agency called Street Dreams Magazine.
So, um, I'll be doing a bunch of stuff all day.
MARIA: Cool!
And times have been a little crazy these days. How have you pivoted your photography and your business?
No, it's been insane. Actually, this has definitely been the craziest year of my life.
I think for all of us, honestly.
Um, but I've always really prided myself on adjusting.
Um, I've worked a bunch of different jobs my whole life.
I worked as a custodian. I worked at GameStop.
I worked as an electrician's helper.
You know, pretty much everything under the sun.
So, this is what I actually want to do and I love to do, so I just
just changed the cadence of my work to find things that connected more with my life and my love.
And I was been able to really, you know, appreciate the benefits from that
because I'm enabled to be more honest with my work
and write my own kind of pain in a way and communicate it, so.
It's been working out really dope for me.
MARIA: Cool, and so what's your go-to camera and lens?
My go-to camera and lens is my Sony a7r III, um, and my 85 1.4.
But I do like to shoot a lot of street stuff,
so, um, right now I'm using my Contax T2.
And this is my baby. I love using this bad boy.
Oh, we're gonna walk actually and take a little dip. MARIA: Cool!
STEVE: See the neighborhood.
[groans] I'm old...
My back!
MARIA: So what got you started in photography?
Man, uh...
Yeah, I'm a college dropout, so I never really, uh,
thought I was going to be doing anything with photography, more or less.
When I first started off, I was about, like, 25 years old, actually.
Uh, I used to really just love playing video games, and I loved watching films and, like, directing--
and loved watching, like, these directed films and stuff.
And I wanted to figure out how I could be a part of it
and how could I, you know, document something like on my own terms.
And I didn't want to be electrician like my dad and, because it was really just hard work.
So, I tried to figure out, like, the good medium for it, and photography was that for me.
So I could use my hands like my pops, but at the same time I can create on my own terms.
MARIA: And what drew you to portraits and street photography?
Ah, that's a good question. Uh...
Hey what's up boss.
Uh, what drew me to portraits and street photography in the first place was
uh, it's real, it's intimate, you know?
Something about, uh, you know, just something about portraits.
I think Van Gogh said it. Not to get all deep and stuff.
But, like, you can actually see the emotions and you could get a real sense of time.
And I'm definitely paraphrasing what he said, but
I feel the same way about photos, you know?
I'd rather take photos of people, and,
and, you know, the expression sometimes
because I can actually dictate and see what's going on
during that specific time period, so.
Portrait photography is important, like, people are important, so.
You know, I love taking photos of buildings and landscapes, but at the end of the day
people are the ones that are way more of a, like, a short-term kind of thing, so.
I'm just with the people.
MARIA: Are there any photographers that inspired you?
[Steve mumbling] Let's do this real quick.
I'm sorry. Um...
My favorite photographer that inspires me? Oh man, there's a bunch, honestly.
There's like--I look at it as, like, contemporary photographers
and, like, the old school, like the legends.
And, I've been siding more with the old school photographers as of late
because they have way more, like, long-form work, so.
Um... my favorite photographer right now is Joseph Rodriguez and Jamel Shabazz.
Uh...
Joseph Rodriguez is probably the coldest photographer of all time in New York City.
Uh, he's been documenting New York from the 70s and 80s, and
he's documented LA Eastside stories, like, he's...
he's lived the craziest life. He's also documented some of the most important things, and...
Um, that's like, he's like my ultimate mentor. So I'm trying to be like, you know,
I'm trying to be like him, uh, with my work.
And also Jamel Shabazz's...
I could, you know, speak about Jamel for, you know, forever, but...
One of the things I love about Jamel that, like, you know he's fighting for love in his work
and the representation of our, you know, of our community,
especially me being born and raised from New York, so.
You know, I take all that stuff really seriously, and.
And Jamel and Joseph is...
Those are, like, the upper echelon of like people that I really aspire to be.
MARIA: And, can you tell me a little bit about Street Dreams Magazine?
Yeah, hell yeah! So, street dreams magazine...
Street Dreams Magazine is my baby, um...
Street Dreams Magazine--we conceived this child [laughs]
about six or seven years ago now.
The reason why I started actually is because of my barber--so shout outs to AJ.
My Filipino barber from Staten Island, um,
whose father actually passed away from COVID, which is actually some, um...
You know, it just shows you how crazy this year has been, but...
If it wasn't for AJ, I wouldn't have linked up with Eric, and Eric's from Vancouver.
And Eric and Mike, both of my fellow co-founders out there,
they came up with this idea for Street Dreams as a tumblr page that they've been using.
Um, but I've been linking with a bunch of people in New York, and
When I finally met Eric through AJ, uh
when we had the conversation about talking about Street Dreams,
actually walking over the Williamsburg bridge,
Um, I told them it'd be really dope if we included, you know, all the homies,
and all the other people that I've been shooting with and learning with.
Like the Jay Sylves of the world, uh...
Wrong Rob was a really, uh, Rob McCarthy was a really big photographer.
Uh, and
you know, just a lot of incredible people in those first issues of the Street Dreams Magazine issues
that were really ground level people that we built this with, so.
The whole point of Street Dreams, I know it sounds a little long-winded, but...
It's, um, the whole purpose of Street Dreams is, you know, waking up and doing what you love
and creating a platform that we all could share that didn't have this weird pretentiousness to it
so we can actually just share the work and see for what it was
and without you know your social clout status.
Um, it was our big anti-thing to the industry and now it's our baby.
MARIA: So what's your goal for the future of Street Dreams Magazine.
Goal of Street Dreams Magazine in the future, um...
Honestly, I want to do everything, uh.
It would be really dope if we can really start producing movies, um,
and directing movies. I really want to do that for Street Dreams.
We've also been working on a bunch of not-for-profits.
And starting up the Street Dreams not for profit,
so we can actually be involved in our community and in setting up curriculums.
And just amplifying and making everything more with the cadence of some worldwide global things
[car horn beeps] that we've been doing for the last six seven years but...
It's kind of getting crazy out here. You ready to go? Like it's...
MARIA: Let's go inside! STEVE: I need to get out of here.
STEVE: All right cool.
So now, we finally got back inside. It was crazy out there.
It was raining way harder than we expected.
But, um, what are your other questions, Maria?
MARIA: So, what other projects are you working on?
Uh, other projects that we're working on right now is actually issue 16 of Street Dreams.
We released issue 15 with Joseph Rodriguez and Jamel last year in Tokyo, which was an incredible experience.
And since this year has been so heavy,
especially as a black photographer and a black director,
um, I think is, um, is our obligation honestly
to have this issue talk about a lot of the...
The issue of the magazine talk about a lot of the issues in the world, honestly.
Especially when it comes to the Black Lives Matter movement and,
um, just, you know, the whole police brutality and the excessive force and,
you know, all the things that are going on with that, as well too, and our political climate.
There's a lot of things that we need to address with photography and art that,
you know, issue 16 is going to be a really big deal for us
to really put a lot of these issues into the, uh,
the forefront with art. Um...
Because I feel like, you know, with art this is something that we can actually,
you know, control and have something--a real voice into it, so.
Especially as a black photographer, um, this is everything for me. This issue, um coming up
Besides, that we are working on a couple of other books as well, too.
I'm dropping my first book called "How You Holding Up?"
Um, it's going to be a three-part series that's, you know, talking
That's going to have a lot to do with everything that's going on with the world,
as well too, from the coronavirus to the protests to, um,
a lot of our perspectives as human beings in this world right now, so.
I think this is the time to, like, for us at Street Dreams and myself personally
to, you know, not only build our digital real estate, and--
because we just dropped our website that we've been really hyped for
and we're adding way more features to our website--
but also to do way more tangible things in the world as well too,
so we could live in both, uh, you know, both sides of everything.
MARIA: Cool
And I know you've done different photo labs and educational things.
Why is education so important to you?
Education is so important to me because it's about access.
Um, and the biggest thing for me, uh, when I first started off with photography,
is meeting other photographers that were willing to talk to you.
That were willing to communicate and not act like this is a competition all the time.
Um, if anything this is a platform where all of us can thrive.
And I really want to see people with the most honest and true perspectives.
Um, if you're gay, if you're Black, if you're Asian, if you're Spanish, if you're a poor white person,
like whatever it is, I really think those perspectives and those stories are important, so.
Through online education and through all these different kind of teaching tools,
um, I'm just trying to be as honest as I can about my experiences,
so that it could actually help benefit someone, so.
You know, if I were to die tomorrow,
nobody can say that I wasn't trying to help people out.
Um, I think it's really crucial to the experience to
not try to keep everything to yourself, and to share as much as possible.
MARIA: I love that!
And, social media has become a new business tool.
How has it helped you?
[Steve drinking] Mm!
Social media as a business tool is actually insane and, um,
It's one of the most important things to remember: it is a tool.
Um, it's so easy to get caught up in
you know, just the wide array of things that are going on on the internet,
but I feel it's so crucial to find, um, what do you want out of the app,
and not what the app gets out of you.
And I try to find... I look at my Instagram like a rolodex, like a OG rolodex.
And I'm going through the different photographers, and different photos, and different art pieces,
And I'm just storing all the ill stuff
My grandma always says "bad association spoils useful habits."
So, I take that same cadence when I use like my apps and all that stuff, so.
Um, yeah, because if you go on twitter for more than 20 minutes, you'll be depressed sometimes, so...
Like I definitely stay very aware of that as possible.
MARIA: And is there a specific photo or project that really helped you get noticed in the industry?
Um, recently a lot of the work that I've done during the protests
has gotten me a lot of, uh, a lot of recognition that I...
That I didn't think that I would be getting in the first place.
Um, I am aware that I do have somewhat of a social media following,
but I'm also really not into the numbers game.
And I really am concerned with the work that I'm producing and the substance of it.
So, uh, when it came--when the protests and the biggest civil rights movement in the history started happening
I needed to make sure that not only I could represent my family and
you know, the thoughts of my mother, the thoughts of my father, the thoughts of my sister,
but also like the thoughts of myself.
So, when I created the work during the protests,
I tried to take the angle of empowering people rather than just show, like, exploitive situations.
It was crazy to see how much people gravitated towards the work.
Um, and then I was been able to work with,
you know clients like GQ and The New Yorker and, um, and the list goes on and on, honestly.
And all those opportunities that, you know,
are, you know, arose from those occasions
is because of me stepping outside and really trying to do my thing, but on my own terms, and
I'm really appreciative of that.
MARIA: So you have a pretty unique style on your different pages and social media.
I've noticed lately on Instagram, you've been very monochromatic lately.
Why has this style interested you?
Um, black and white has been a very, uh, a strong cadence with me, uh,
for a couple of reasons. One of the reasons is, I'm...
I think there's an art in consistency.
And black and white photographers have such a strong consistency to their work
that I just really admire, that I wanted to do something that
was a bit more controlled with my work, but at the same time gave it a cohesiveness.
So that was the first part of it,
and then honestly, with the deaths of Nipsey Hussle and Kobe Bryant,
and being a black person in general, I felt that not only that the marathon continues
but that I have a mama mentality with my work, and.
I really want to keep that same cadence with it as long as I can.
Um those two, those are the two of the coldest brothers of all time to me
and I--really really influential and really empowering black people.
And it's just sad to see them go, and... But at the same time I could definitely honor them
in my own way by doing something like that as well too, so.
Um, it has a little bit, all of that, to do with my black and white work.
MARIA: So, switching up a little bit.
What are some tips for someone looking to start a creative and artistic career like you?
I think the biggest thing to start a career in the arts is have, like, a really
having, like, these senses of self-discovery that you can actually go through
and figure out what you want to achieve with your work and what you're going to document.
I tell everyone every single time that
if you consistently do anything, there is going to be an art to it.
So, like, say if you were just taking photos of a bunch of different apples and oranges.
Over time, it's going to actually look kind of sick.
So, if you understand what you're trying to communicate,
whether it is from food to people to places,
I feel that you--it has to come from a unique perspective.
And as long as it's unique and honest,
it will translate 100% because we live in a day and age where everybody's smart.
And you can't just fake the funk with a lot of people.
You have to come from a place of purity, wherever place it is.
And i think art is a perfect place to do that, um.
And you shouldn't take it for granted.
MARIA: so if you could use one lens forever which would it be?
Damn, one lens forever?
Honestly, uh [laughs]
Sorry, Oliver I definitely should have returned this lens a long time ago...
But it's definitely that 70 to 200.
That 70 to 200, even though I love the 85 1.4,
and I love the G Master series in general because I'm usually a prime guy,
the 70 to 200 just is the all-purpose. It does everything.
I can take photos of your nostril hairs from anywhere that I'm at, pretty much.
[loud truck in the background] And I find that, especially in street photography,
Sorry there's a crazy--there's always some crazy sanitation trucks passing in the hood.
Um, but I find like with the 70 to 200 with the street photography,
it's not, like, the lens you probably would think to use, um, on your everyday basis.
But for me, it's--I love the challenge and at the same time, I get a level of intimacy,
uh, that's--not to say that you can't get it with other lenses--
but that lens is just really cold when it comes to that.
And, um, yeah I'm sorry guys I need to send you that lens today! [both laughs]
MARIA: What has been the most interesting shoot you've ever been on?
Man, the most interesting shoot I've ever been on?
That's a good question.
I think the most interesting shoot I've ever been on is this activation I've done for Cartier.
Three... two, three years ago.
Um, Cartier flew me out to San Francisco.
Um... And working with Cartier in the first place is crazy because i'm a street photographer,
and I'm like "I can't believe they'd be reaching out to work with me."
But at the same time, um, they actually--that whole experience
they--it showed me that luxury wasn't just a metric.
Luxury was an understanding
Luxury was, like, a cohesiveness, if you will.
MARIA: And what has been the most challenging shoot you've been on?
Um, the most challenging shoot I've been on.
Oh man...
Honestly, they all have their own kind of level of challenge to them.
Uh, but I guess the most challenging shoot I've been on is...
[sighs, mumbles] Oh man, that's a really good question.
Not to sound, not to sound conceited or cocky, anyway,
but I, maybe it's because I play a lot of video games, I really accept all challenges.
If the difficulty is on the hardest, I'm gonna be hyped for that.
So there's nothing that really defers me ever as a challenge.
There might be things that--there might be a lot of things happening in the day,
but I bring all of it on. I'm the person that runs straight towards the fire.
So I really don't see it as a challenge, honestly.
MARIA: And, if you weren't a photographer what would you be?
If I wasn't a photographer, what would I be?
[sighs]
[laughs]
I would definitely, probably--I would definitely be working in video games already by this time.
If I wouldn't be--I wouldn't be a game developer,
but I would be like on some Cory Barlog
like, making God of War kind of thing.
I would probably be making like, the next, like, hood God of War game or something like that.
Um, it's either video game development, or I would have probably just been in music, um...
I'd be an A&R or something like that for music
because I love hip hop, I love jazz, I love classical.
Um, and I love trying to figure out ways to incorporate music in my life, and...
So, if it's not video games it would have been music
because those are pretty much the only other things I like. [laughs]
MARIA: What's the best piece of advice you've ever received?
Oh, I will say it to my grave.
The best piece of advice I've ever received is from my dad.
My dad told me "don't live to pay your rent."
And to me, "don't live to pay your rent" means, like don't,
uh, spend your life doing temporary things.
Um, and that's why I take the cadence of my work so serious
because I'm trying to do something that lasts a lifetime every single time.
MARIA: Tough question: if there were to be a movie about your life who would play you?
[Steve swears under his breath]
Ah...
If there was a movie about my life, who would I want to play it?
It would have to be somebody dope, you know? I mean, it can't be...
Not gonna throw anybody under the bus [laughs]
Um, it would, it would have to be...
We got the same skin color but it still counts.
It has to be Idris Elba!
Like, Idris Elba has to be Steve Sweatpants.
Just play my life.
It was--that's the only person.
If it's not Idris, like, don't even hit me up.
So Idris, hit me up! [laughing]
MARIA: And last question: who should we interview next?
Uh, I think you guys should interview either...
Jeremy Cohen because Jeremy's hilarious
and he's probably having the best year out of any photographer that I've known.
Or one of my really good friends, and
I always make fun of him, Raheim Simon aka Black Soap.
He's one of my best friends to the core.
I love that guy like a brother, but don't tell him that.
Um, he's an incredible photographer as well too.
So he definitely deserves, uh, his time to tell a story.
MARIA: Awesome, and that's all I got!
STEVE: That's not bad! MARIA: Thank you so much for answering all my questions!
[Maria laughs] STEVE: We didn't--not that wet either.
That's not bad! Not that bad!
MARIA: Alright, thanks! Bye.
Peace!