After my internship, my first assignment for National Geographic was a story about the Zinacenteco Indians in the highlands of Chiapas. The subject was interesting but very challenging. As a woman, my access was mostly limited to other women who only spoke the Maya language I was struggling to learn. Once I traversed the language barrier, it was still very difficult to gain permission to photograph because it was a culture that traditionally believed that taking one’s pictures meant taking one’s soul. Each photograph was the result of a protracted pre-negotiation. While I was struggling to make pictures there, I started dreaming of photographing in a place where people actually liked being photographed. I started to think about the prospect of documenting a culture that I understood, where my perspective and understanding could actually make a difference in my seeing.
I found an old copy of Bret Easton Ellis’s Less Than Zero, a groundbreaking novel about the jaded alienation of the young and rich in Los Angeles, on the bookshelf of our rented house in Chiapas. As I reread it, I thought about how people around the world were fascinated by the depiction of Los Angeles kids in the popular TV show Beverly Hills 90210. I realized that the world I grew up in, Los Angeles, was worthy of the same kind of sociological and anthropological study, that as photographers, anthropologists and documentarians, we customarily turn on the other rather than on ourselves.
So I came back to my hometown and started documenting kids in Los Angeles, the place that fabricates the popular culture that is exported around the world.
—Photographer and documentarian Lauren Greenfield writing in Time. Greenfield studied film and anthropology in college and had initially planned to spend her career “documenting the exotic [and] the other”; instead she returned home to Los Angeles and turned the lens on the world she’d grown up in. Those photographs ended up becoming Fast Forward: Growing Up in the Shadow of Hollywood, her acclaimed first book. That was nearly two decades ago. Since then, Greenfield has become a renowned chronicler of youth culture, gender and consumerism, and is perhaps best known for her 2012 documentary The Queen of Versailles.