Stefan Heyne

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

SH

My first steps as a photographer are inseparably connected with the, at that time, divided Berlin. I was a student in East Berlin and lived very close to the wall. Beyond all the social symbolism which the Wall had for me first of all it had the effect of being a very present, physical view blockage. There was something, something behind it, that I couldn’t see. So for me it was succinctly connected with the uncertainty about, and only vague idea of, what lay behind it. On the other hand, the Wall was also something abstract for me, a big installation, which because of its monotone surface and endlessness appeared to be a big contrast to the pulsating chaos of the capital city. This was so fascinating to me that I absolutely wanted to take photos of it. Because it was forbidden to take photos near the wall, it was only possible under difficult circumstances, but mostly it was not possible at all.

And so today I am engaged with the narrow edge between the real and the abstract, between recognisable and unrecognisable conditions, between the habitualness of viewing and visual irritations. Greyzones and walking close to the border are still interesting subjects for me, so also the boundaries of photography.

The amazing thing about this is that only these boundaries lead into the centre, they come to the point of photography, what its own and unique reality actually is. If photography isn’t about these questions and is only used as a vehicle to transport content or subjects, the photographer doesn’t meet its uniqueness or potential.

Beside these more conceptual questions it’s always about the approach to the perfect image. This is my driving force.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

SH

From my point of view it is essential that photography itself - the making of images, the thinking about images and the viewing of images - is a basic need for the photographer. If you deal intensively with your own images, you quickly realize what is good and what is not going to stand up. A good image has to speak for itself and doesn’t need an explanation. If you still have the feeling that you have to enrich or support your own work with comments or explanations, this is a clear sign that the image does not speak for itself and isn’t ready yet. A good image burns into your mind so that even after you have seen many others, you don’t forget it, and even if you do, you would recognize it again immediately. This is of course the same for every gallerist and collector.

A second, essential point for finding your own position is uniqueness. The images have to have their own incommutable style.

In this context, I find the following quote from the German gallerist Gerd Judy Lübke most applicable: You always have to be searching for the stars and if you are good, the market will find you!

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

SH

In retrospect, this is hard to answer. I think one thing lead to the next. For me, it was important that I certainly always believed in myself and in the power of my images. Besides this, it was certainly helpful that I sought out the first publications very early on. More important was that I looked for allies with whom I could reflect upon my own position and strengthen it.

Stefan Heyne, Strasse / Street, 2004, 138 x 92cm / 54,33" x 36,22"

Stefan Heyne, Rummel 1 / Carnival 1, 2005, 126 x 190cm / 49,61" x 74,8"

Stefan Heyne, Fach / Shelf, 2007, 120 x 180cm / 47,24" x 70,87"

Stefan Heyne, Szene 1 / Scene 1, 2006, 50 x 75cm / 19,69" x 29,53"

Stefan Heyne, o.T. 3330 / Untitled 3330, 2009, 180 x 120cm / 70,87" x 47,24"

Stefan Heyne, Auslage Display, 2006, 160 x 106cm / 62,99" x 41,73"

Stefan Heyne, Fünf / Five, 2007, 140 x 92cm / 55,12" x 36,22"

Stefan Heyne, o.T. 5913 / Untitled 5913, 2010, 120 x 180cm / 47,24" x 70,87"

Stefan Heyne, Gebäude / Building, 2007, 180 x 120cm / 70,87" x 47,24"

Stefan Heyne, Turbine 3 / Turbine 3, 140 x 93cm / 55,12" x 36,61"

Stefan Heyne, exhibition view

Stefan Heyne, exhibition view

© copyright all images Stefan Heyne, VG BildKunst Bonn

Tema Stauffer

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

TS

I spent much of my childhood with my head buried in books or roaming my neighborhood for adventures and places to daydream. I collected baseball cards and wore cowboy shirts and pitched tents in my backyard.

Most of my friends were boys or tomboys. I was a thief for a while and stole coins from my mom’s purse and candy from the corner store. I took naps on the branch of a lilac tree and cried when I read That Was Then, This is Now by S.E. Hinton.

I was fascinated with stories and was determined to invent my own path. Among some of my early fantasies of what I might be when I grew up were a writer, an artist and the leader of a motorcycle gang.

My mother enrolled me in my first photography class at an art center while I was in high school. I took pictures of my friends in fields and cemeteries and jumped out of the car with my camera for the right stranger on the street - someone who looked as restless as I felt.

Photography was license for adventure and storytelling. I liked it even more than drawing, painting and practicing my violin. Taking pictures gave me an adrenaline rush. Photography was sexy and subversive.

If you merge a writer, an artist and the leader of a motorcycle gang, you might come up with someone who explores people and places in America and returns to a Brooklyn railroad apartment to share photographs and thoughts about those experiences. I love driving and searching. I also love nesting with a keyboard and a computer screen.

Photography transforms how I look at the world. Things that are sad, mundane, ugly or beautiful become more interesting and poignant. Both taking pictures and writing stimulate and deepen my perception of reality. I become more engaged in my experiences and capable of reflecting on the most difficult ones. If I stopped taking pictures and writing, I am sure my world would fall flat.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek a broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

TS

During my twenties, I was involved in a number of shows organized by peers in alternative art spaces. We were eager to show work and commercial galleries seemed out of our reach. Shortly after I finished graduate school, I curated an exhibition of work by twelve photographers at a warehouse space known as The Butcher Shop in Chicago. This kind of show was good practice for resolving work, getting feedback and building relationships with other artists. My first exhibition in New York was organized by a collective of women photographers called NYMPHOTO in a loft in Manhattan, which led to a series of exhibitions at Jen Bekman Gallery.

Artists develop their careers in part through their involvement in a community. Going to openings, supporting other artists, recognizing where one’s work fits in, looking for mentor figures and reaching out for advice are all important steps in this process. I wrote to a number of artists and writers whose work I admire, often with the result of forming lasting relationships.

The Internet has expanded the notion of an arts community, and it is critical for young artists to make their work visible in this environment. One of the most important steps I took was starting a blog, PalmAire, which gave me a place to share work-in-progress and develop my thoughts about photography and the photo community. Many of my opportunities have arisen organically through personal contacts and exposure on the Internet. My relationship with Daniel Cooney, who is currently representing my work, resulted from a friend mentioning my name to him and Daniel discovering portraits on my blog.

The efforts I made to write about photography on my blog furthermore lead to a position for an arts website called Culturehall, whose mission is to support the careers of a community of artists. Culturehall is an online resource where selected artists can share their work with curators, gallerists, collectors and other artists. My role as a curator gives me the opportunity to help artists create online portfolios of work and promote their exhibitions and events. Culturehall’s director, David Andrew Frey, and I also invite guest curators to bring artists to the site and write about their work.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

TS

When I first read this question, I laughed out loud and squirmed a little. The notion of a “successful, professional photographer” conjures a mythic figure with a studio, fancy cameras, interns, magazine assignments, and a substantially greater income. Of course there are many versions of a successful, professional photographer, but still, it isn’t the most appropriate definition for me.

It is more accurate to describe me as an artist and teacher whose life is deeply invested in the arts community. What constitutes “success” is subjective. I am driven and passionate about the arts, and my efforts and involvement have led to some significant exhibitions, recognition from my peers, and a relationship with a great gallery, which are some of the most satisfying forms of success.

On a day-to-day basis, I feel acutely more aware of my “struggle” than my “success.” Feelings of accomplishment are rewarding but also fleeting. When the high of one accomplishment fades, it creates an opportunity to work through a set of more challenging feelings towards the next one. For most artists, developing a career in the arts is a series of small steps over a long period of time. It demands the ability to experience rejections, creative blocks, financial constraints, self-doubt and anxiety. And then to brush off the dust, strategize, produce work and move forward.

Family, close friends, therapy, swimming, biographies of artists and writers, steady correspondence and supportive relationships with other artists are crucial to my own survival. I think there is good karma in helping others and I try to keep that principle at the forefront of my relationship to the art world.

Alberto and Jessica, Austin, TX, 2009

Car Skeletons, Highway 163, AZ, 2008

Teenage Boy, Austin, TX, 2007

Burning Brush, The Hill Country, TX, 2007

Jacob, Red Brick Wall, Binghampton, NY, 2008

Red Curtains, Dreamcatchers Sleep Lab, Dripping Springs, TX, 2007

Frye, Dreamers Adult Video Store, Austin, TX, 2009

Bedroom, Dreamcatchers Sleep Lab, Dripping Springs, TX, 2007

Annist and Rena, Kalamazoo, MI, 2009

Pit Bull, Chicago, IL, 1997

© all images Tema Stauffer

Russ Martin

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

RM

I grew up around cameras and photography. My father was a part time professional photographer and had a studio in town until I was about 12. When the building that he occupied was going to be torn down, he moved his business to our house. That included constructing a darkroom and using the living room for a studio. In high school, I wanted to make a name for myself. I tried sports, but I knew that was not going to be my claim to fame. Then I noticed another student who took pictures of school events was getting some notoriety. Having access to professional equipment, and a darkroom in my house, I said "I can do that!" My father loaned me one of his Rolleiflex cameras, showed me the basics, and I was on my way. Once I started, I was hooked. I loved looking through the camera and took pictures of everything and everyone. I came from a family without much extra money, so my father said he wasn't going to support my new found hobby. I think he wanted to teach me to be resourceful. Anyway, I had to find a way to pay for film and paper. I did that by taking pictures of all my friends and anyone who said "take my picture". I sold them for 25 cents to one dollar each. Back then, a roll of film was 80 cents and a box of 100 sheets of 8X10 paper was $8.00, so the income paid for my supplies. I went on to become the primary photographer for my high school yearbook. I photographed every school event as well as teams and activities. About half of the pictures were mine. Once I graduated, my photography career might have ended though. I went on to college and became a chemistry major. If I had been a little better mathematician or chemist, I would have stayed with that. However, when I ran into difficulties, I looked around for another major. In the meantime, when I applied to colleges, since I was involved with photography, I wanted to attend one where I had access to a darkroom. A tour guide where I ended up said that they had one students could use. Little did I know that she didn't know what she was talking about. So, once enrolled I discovered the truth and I wrote a letter to the editor of the college newspaper to complain. To my surprise, he called offering a position as a photographer. The fringe benefit was that I could use their darkroom any time I wanted. Now, being on the college newspaper had it's benefits as well. I got into concerts and other events for free and I was popular since I could get pictures published in the paper. This clinched the deal. I was having a lot of fun being a photographer and I wasn't having any being a chemistry and math student. So, knowing that I could be an art student and take photography courses, I made an appointment to see the chairman of the art department to ask if I could transfer in. I had never taken an art course in my life and didn't know anything but Picasso and Leonardo DaVinci, were famous artists. That didn't matter, I went for it based on my portfolio of photographs. Well, he evidently could see how intent I was, and that I had some decent photographs, so let me in. That was the beginning and it established the course for my life.

Since the beginning, I have loved everything about photography. I especially remember looking through my camera at everything. Though I didn't make pictures a lot of the time, I just liked how things looked through a lens. I also liked composing images and visually played around frequently. That love of images is still present. Today though, I don't photograph everything. I work on one project, usually involving one subject, over a long period of time. I do this to achieve something which is new and meaningful and that usually takes time. The challenges inherent in each project are what keeps me going. "The Hosta Project", which I am still working on after three years, was a challenge to myself to try to make "good pictures" from a subject that seems unimportant, or even boring. That is the kind of challenge that keeps me going.

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

RM

They should to try to take a detached view of their work and compare it to that of photographers who are known or famous. If their work resembles anyone well known, my advice is to try something else. I frequently tell people to be yourself. Nobody wants another of anyone. Also, some subjects are already staked out. Ansel Adams was known for his pictures of Yosemite National Park. Anyone who takes a Yosemite picture will have their pictures compared to his. Better to photograph somewhere else. But, it goes further than this. A photographer shouldn't work in the style of another photographer either. Today, I'm seeing a lot of photographers who imitate Michael Kenna. Some of the pictures are even better than Kenna's. However, they will never become as important as Kenna. One person gets known for the, subject, style, or technique, and the rest are clones.

One vital action I recommend that photographers undertake is to network. Get on Facebook and learn to use it. It is a wonderful tool that didn't exist when I was young. Today, anyone can contact anyone. Not only that, it is free! I have become represented in three galleries through my Facebook contacts, and my "friends" include some of the most important people in the photography world. Not sure how much they pay attention to what I post, but they are seeing my name. Eventually, I become a person to them. That is important.

I also recommend entering the biggest and the most important competitions. See if you can win top honors. It is the people who win those honors that sometimes become important. If you can't win them, then that tells you something. On the other hand, if you do, it can really jump start things for you. Everyone has small competitions and exhibitions on their resumes. If a resume is important, then it will only be as important as what is on it.

Last but not least, your work is the main thing that will get you attention. It has to be wonderful in some way. It has to stop people in their tracks and make them sit up and take notice. I sometimes tell people that the work is everything. It is almost everything. Awards are important, but a long resume and well written artist statement won't save weak pictures. And nobody will care much about the supporting material if the pictures are great. I personally know of photographers who were unknown a few years ago and are now selling a lot of prints. They had short resumes, no college degrees, and 25-50 pictures. It didn't matter. The galleries loved their work.

I once was interviewed by the Picture Buyer of ABC TV. I asked what I had to do to get into his file of preferred photographers? He said "make great pictures". That is all he cared about. When pictures are hanging on a wall in a gallery or published in magazines, nothing else is important.

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

RM

First there are all the things that I did to prepare myself. I read everything about photography, looked at thousands of pictures, and went to galleries and museums. I tried to perfect my craft and become the best photographer I could possibly be. I also became an art and photography major in college and earned both a bachelors degree and a Master of Fine Arts degree in photography. This education broadened my perspectives and I became knowledgeable about art and fine art photography.

Then, there were two periods when I achieved success. The first was in the late 1970's when I was represented by a good gallery in New York City. At that time, I was one of the few fine art photographers who specialized in color. Not only that, but it was different in that it wasn't documentary. It was tied to the traditions of art. When I approached the gallery, I believe it was obvious that it was unique and my work was accepted. Unfortunately, my gallery closed after three years and I had to find another source of income. I then became a photography teacher in a number of high schools and dropped out of trying to exhibit. Remember too, that this was before computers and the internet. It was very difficult to get your work seen, let alone represented. You had to send physical portfolios prints or take them around to places like New York, Chicago, or Los Angeles. I was not in a position to be able to do this. With the internet, this has now all changed.

Fast forward to 2005. This began my rebirth as a fine art photographer. Approaching retirement, I decided to enter B&W magazine's first portfolio contest. I was fortunate to win a Spotlight Feature with my "Flowing Water" series which was created 35 years prior. With this win, I was inspired to create new work and to enter it into international competitions and submit to magazines. Luckily, I have won quite a few awards and been featured in other respected fine art photography magazines. This has led to representation in galleries.

Wilted Hosta and Oak Leaves, 2007

Hosta Flower and Leaves, 2006

Dappled Sun, 2006

Silky Leaves, 2007

Reclining Leaf, 2007

Rococo Leaf, 2008

Wilted Group, 2008

Green and Blue Wilted Hosta Leaves, 2008

Blue Wilted Hosta Leaf, 2008

Torn and Wilted Hosta Leaves, 2008

© all images Russ Martin

Scott Pasfield

MW
What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?


SP
Actually it was a love affair that my father had with photography that first inspired me. He took classes in college and was always into it as a hobby when I was growing up. I remember him taking it very seriously and using great care in composing his photographs, even if they were just family snapshots. He did look at it as an art form and even had a darkroom for a little while when I was a kid. But what changed things for me, was when he got a Polaroid SX-70 camera for Christmas one year from my mother. The whole thing was so magical to me. I mean Polaroids had been around for ever I thought, my grandparents had albums filled with their land camera peel apart type pictures with the ruffled edges. But this new motorized pop up SLR camera was so modern and even sexy to me. It was wrapped in the most beautiful brown leather that was soft and smooth to the touch and it shot out these amazingly saturated little colorful photos that magically appeared before your eyes. Those first pictures were soooo cool to me. I can still vividly remember all of them that my father shot that Christmas Day. I soon had my own little point and shoot camera and was hooked. Although I went to school for architecture, I ultimately decided to pursue photography as a career after a near-death avalanche experience that shook me up a bit and forced me to reevaluate my life. I enrolled in photo classes at a local college for a couple of years and moved to New York in '96 to pursue my photo dreams. While I have have had some success, I still feel like I am just beginning and that I finally have the necessary tools and knowledge, to not only take the pictures, but to do much more in the process.


MW
In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?


SP
That is a question that I ask myself all the time, so I'm not really sure I'm in a position to offer the best advice. Times are quickly changing in the industry and who knows how it will continue to transform. The internet makes getting to people easier than ever, it's just knowing how to play the networking game right and having the goods to back it up that's important. And one is ready when they have a very strong body of work that is presented well. It doesn't have to me much, twenty amazing images, a strong online website and a couple of kick ass portfolios is enough to get you going. But understanding the market and your role in it is key and once you know enough about what you're selling, finding your audience shouldn't be that difficult. Online contact service lists for buyers and art directors makes it simple to contact people, it's just getting them to listen that's the hard part. And I say think outside the box on this one. Targeting your audience with creativity, diligence, perseverance, and a certain amount of humbleness helps, whether you're going after editorial art directors or gallery owners. I also think that getting representation is something that is very difficult until you are so busy yourself that you truly do need the help. When that happens, start to look. Most agents aren't interested until you can bring in money and clients for them, they rarely want to build an artist's career. But there are exceptions to every rule and no magic bullets...


MW
How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?


SP
I think that I have had some success though the years and do consider myself a professional photographer, so I'll do my best to answer that question. But quite frankly, lately I don't feel very successful as the last two years have been transitional for me. After getting to NY, I started to freelance assist and plugged myself into a good group of people that way. I did that for two years and had a blast travelling and learning the technical side of taking pictures. I then took a job running the studio for a successful ad shooter who had always wanted to produce his own jobs in-house. He gave me a chance on a small job and soon after I was running all of his shoots. He did not have an agent, so I was involved in the whole process, from receiving layouts, putting together estimates, hiring the crew and running the productions. It taught me a tremendous amount about the business side of taking pictures. I also worked out a commission deal with him, which gave me a piece of the production fees and ended up making me some great money. After two years doing this, I left to take some time to put together a new portfolio of work and was soon knocking on doors and getting my own gigs. I have never had an agent and have never been busy enough to warrant one actually...but maybe some day. I think it's a very tricky thing to turn one's hobby and passion into a career and something that is difficult to navigate. For me, after many years, it all became about making money and I lost some of myself in the process. And in an attempt to find me again, it was crucial to follow a new very personal path that combined my love of photography with making a difference somehow in the world. I closed my studio about two years ago, stopped doing many jobs just for the money, and started working on a new photo project called "Gay America", documenting out and proud gay men across America, sharing their stories and photographing them in their world. And for the first time in my life, I finally feel that I am using the talents that were given to me in the right way. And it feels really good.


all images are from the series Gay America

Michael - Atlanta, GA

Jakoury - Chester, VA

Jacques & Abi - Sacramento, CA

Sam - Driggs, ID

Alex - Seward, AK

Bob - Scottsdale, AZ

Kevin & Mark - Kearney, MO

Ted - Peaks Island, ME

Roger & Scotty - Tulsa, OK

Henry, Scott & Cameron RIP - Minneapolis, MN

copyright all images Scott Pasfield

Tierney Gearon

MW

What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?

TG

I used to model and when I was working I started document everything with my camera ! I am a very visual person . When I discover photography it changed my life . It calmed me down and gave me something and somewhere to put my energy ...

I love documenting my life and my children . They are my inspiration and of course light and the amazing way a camera catches it !!

MW

In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?

TG

My biggest advise is to just start documenting something they love that is in front of them take it one step at a time soon they will have an amazing body of work . If one has the courage most people art galleries and magazines etc... Are always looking for something new and interesting so just start calling and seeing people ! Not everyone is going to respond but if you can find one person that likes your work then you made it !!! Then keep up that relationship with that person and use them as a inspiration to go further and then keep seeing people .. The next thing you know you will be achieve some of your goals !

MW

How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?

TG

I had quit commercial photography and went to see an art director that believes in my work he encouraged me to start documenting my family I was bored with commercial work ..... Then I met Charles Saatchi and he fell in love with my photos and then did a huge show .... What happened to me is not the regular way of things it just happened then one thing lead to the next .....

all images are from the series EXPLOSURE

Frame 13, 2008

Frame 18, 2008

Frame 19, 2007

Frame 8, 2008

Frame 22, 2007

Frame 1, 2008

Frame 68, 2008

Frame 70, 2007

Frame 11, 2007

Frame 12, 2008

Frame 16, 2008

Frame 49, 2008

© all images Tierney Gearon