Two Way Lens

Monday, May 28, 2012

Greg Friedler

What inspired you to start taking photographs, and what have been some of the most important milestones in your career up until now?

When I was 17, I went away to school and my Dad gave me his old Olympus OM 1, 35 mm film camera. I took a photo class and was totally hooked. It came so naturally to me. Milestones… well the release of Naked New York, in 1997, sort of started it all off and was a huge milestone as this project was my thesis project for graduate school. Since then I have had four other monographs published and have been included in over 9 anthologies across the world. Two of the biggest milestones, by far, were having two feature length documentaries made about my work. Naked London, was a documentary about me shooting Naked London in the Summer of 1999, and aired on the BBC in December 1999. Stripped: Greg Friedler’s Naked Las Vegas, was made over a month in Las Vegas in August 2007. It aired on Showtime from March 2010 to March 2012. This has been vitally important to getting my message and work across to a global audience. I believe that the next great milestone will come in the form of a monograph I am doing with Alexander Scholz, of Galerie Vevais in Germany, called: Greg Friedler: HUMANITY.

How do you approach editing your work, and what advice would you give to others about evaluating their photographs?

I shoot very few frames. Even if I am shooting with a DSLR, I most likely will only take 4 or 5 images. Fewer if shooting with 4 by 5 film. As a photographer or any visual artist, one needs to spend a lot of time on their craft and learn from every mistake that is made, and then this informs what one does in the future. I think if photographers are still trying to “find their eye” they need to shoot a lot to see what works and what does not work. But in general, you have to go with your gut. If you are looking at a photograph you made and are not sure, then chances are that it wont make the cut. As photographers we want to make indelible images that will not soon be forgotten, this does not come easy. Meaning that if an image does not move you, strike you, or challenge you from the onset of seeing it, chances are that it was not stick with your audience. I think the best advice I can give others, looking at their work, is to stick to the “gut” thing, but also look at the photos a few times before deciding. I don’t believe in Photoshop, I shoot images exactly as I want to see them printed on the page. Hence, even though it is done millions of times a day, I advise staying away from dressing up a “mediocre” photograph in Photoshop to try to make it something it is not. I am rambling a bit, but anyways I lets say you are photographer “George” from wherever and you shoot 20 images of a certain subject matter. Chances are that even upon, first glance at your images, one of them will stand out and pop. That is your gut speaking, that is the image to run with!

How do you decide on new projects to work on? Do you always shoot with a concept in mind or do you wait to be inspired as you go?

I am always open and see what I encounter or can conceptualize. It is always in flux. I am certainly not a photographer who sticks to one subject matter, with one camera, with one vantage point. I draw on whatever I need for the given project. For instance, right now I am shooting two very different projects. One on very close up abstracts of graffiti tags and another of formal portraits of bathers at a local hot springs.

What ways have you found successful for promoting your work and finding a receptive audience for it?

Not sure Michael. I think all the books I have done, in addition to the films, have given me priceless exposure. The “art” market is totally different with far too many factors at play to mention. Do they like the work? Do they understand the relevance of the work? And sadly, especially now, can they sell the work? I am getting my work into the proper art galleries slowly, but they have to be the right fit. It does not make any sense to have a random gallery offer me a show, spend $8000 to print, frame, and ship the work, and then basically get nothing out of it! One has to be patient to find the right fit with the right gallery owner or art dealer.

from the series Still Lifes

from the series Portraits

from the series portraits

from the series Lalaland

from the series Portraits

from the series Abstracts

from the series Exquisite Colors

Friday, April 27, 2012

Jesse Burke

What inspired you to start taking photographs, and what have been some of the most important milestones in your career up until now?

I got my photographic start as a twenty-something skateboarder. I was shooting that lifestyle- my friends, action shots, landscapes of pools and ramps, stuff like that. It was a totally natural way for me to incorporate my new interest in photography into my existing life. It was very exciting. That spark really ignited a deep desire to become a photographer. It allowed me to see the world in a new more specific and meaningful way, shooting very personal subjects. Since those days two major things have guided my path as an artist, moving back to New England from the desert of Arizona where I found photography and having my 1st child. The landscape of New England and becoming a parent were really instrumental in who I have become as an artist. I consider those career milestones in a way. But also having my first solo exhibition at ClampArt in New York and the publication of my book, Intertidal, would be my more concrete milestones.

How do you approach editing your work, and what advice would you give to others about evaluating their photographs?

I started this pattern of shoot, shoot, shoot, and edit later. Shoot every and anything, even things that initially seem disconnected. For me relationships between images often occur back in the studio, during the proof-printing process, once everything was up on the wall. Relationships that I was unaware of at the time and couldn't have possibly seen in camera. This way of working has become part of my core process and allows me to create the installations that I eventually exhibit. The process of acquiring the images in a free form way has also allowed me to shoot various types of pieces (portrait, still live, landscape) and exhibit them seamlessly together. I guess I'm editing all the way through, just in different ways. So my point is be open during the editing process to things outside of your expected comfort zone.

I'm a big believer that getting as many eyes on the work as possible can be great when editing. Share your work at all stages of the process with peers and friends. Let go of some the control and see what happens. I know this sounds elementary but print out the images, hang them on the wall, and look at the bigger picture. In the digital age I feel that more editing is done onscreen. Sit with things for a while and really look at what you're doing, look for connections.

How do you decide on new projects to work on? Do you always shoot with a concept in mind or do you wait to be inspired as you go?

I've had the fortune that most of my projects organically rise to the surface, sort of fall in my lap. I am always thinking about various concepts that interest me and how they can be related to my art making process and how I can implement them into my life. So there is stuff buzzing around all the time, then every once and a while I'll make some work about a topic. I float around between a few projects at once so I can spread out my attention, which keeps it fresh. I would say my practice is made of 50% of work that is preconceived and produced with an idea in mind and 50% on the fly as I go. but in the end all of the work will fit into the same project. for example, right now my daughter and I are driving around waiting for things to appear or happen, but at he same same time we are focused on shooting planned things. It's a really nice way to work because it allows me to be open to chance encounter but also make sure I have something solid happening that's ready to go.

For Intertidal I moved home to New England and was awaked by what I saw. The landscape, my friends and family, etc. I was coming back east after being away for 10 years. I became a visual artist while I was gone, so returning was crucial in creating that work. The move sort of dictated it in a natural way. Blind was sort of a commission in the early stages. I was invited by a friend to go down south and visit a hunting farm with him to hang out and possibly make some new work. When I arrived I knew that my next project was at hand.

The project I am currently working on really fell into my lap. I was on a road trip with my 5 year old daughter to explore nature and photograph what we encountered and before I knew it I was deep in the throes of a serious art project. Maybe the most complete one I've attempted in terms of what interests me the most at this point in my life.

What ways have you found successful for promoting your work and finding a receptive audience for it?

I think making the rounds on the portfolio review circuit is important. It's a great way to show your work to the right people all in one place. It can be expensive but in my experience it has paid off. Review Santa Fe is the one of the best and has been integral in my career. I would definitely recommend it. Being a good self-promoter is crucial, emailing, social media, blogging, all of that keeps people aware of you and you're work on a daily basis. I'm on the grind all day, everyday. Just ask my wife.

Rapper Rick Ross says it best "Everyday I'm Hustlin'" It's funny, but 100% true.

Also, having the right dealer and agents is important. Everyone wants a gallery and a commercial agent, but the key is to find the right ones that are a perfect match for you and your work, then to work as a team. I took my time in finding the right gallery and agent to work with. Sometimes it's hard and scary to make the right decisions. But if you have a vision for how you see your future and what your team should be then don't settle for anything less. I'm not saying hold out for Gagosian, be realistic. Figure out where you fit and who you really want to work with and then go for it and give it your all. I feel like I should say, easier said than done right here, true, but getting the audience, collectors or jobs that you want comes from the right team. I've been incredibly fortunate to have a great team of people to work with. It makes me happy everyday to know that I can trust them and their vision of my work. Together we get the work in front of the right audience.

Franconia Hoop

Old Spice

Bloody Nose

Tree Farmer

Father, from the series Intertidal 1

Cannon Mountain View

Hidden, from the series Blind

Open Country, from the series Intertidal 1

Nectar Imperial, Nils, from the series Intertidal 1

Push Up, from the series Intertidal 1

Silver Bullet, from the series Intertidal 2

Postgame, from the series Intertidal 2

Wilson, from the series Intertidal 2

© copyright all images Jesse Burke, all rights reserved.

Monday, March 26, 2012

Chris Anthony

What inspired you to start taking photographs, and what have been some of the most important milestones in your career up until now?

As a teenager I was really into music and so I started a fanzine and of course we needed pictures so I started photographing the bands. The first few shows produced horrible results, but after awhile I started to get a bit better at it, and then fell in love with the process.

Photography studies followed, and I started shooting professionally for music magazines all over the world. Then at the ripe of old age of about 17 I gave it up and moved to Florence to study art history.

After that my love of film took over and I started working my way through the Swedish film industry and then began directing shorts which led to TV work and commercials, music videos etc.

The irony is when I ended up moving to Los Angeles, I gradually dropped out of film making and I picked up a still camera for the first time in over ten years and was utterly enchanted.

I've been shooting still photographs now full time for about 7 years and although I do the occasional campaign or album cover I mostly concentrate on my own work which is shown in galleries.

Just being able to make a living is the milestone, I think!

How do you approach editing your work, and what advice would you give to others about evaluating their photographs?

Much of the editing is done before I even shoot, because I mostly use large format film and shoot very

few images.

I try to prepare as much as possible, so when the film is processed there's not much variation or much to choose from. Now that I've started working with wet plate, there's even less editing involved.

On the other hand, not everything comes out good, and knowing what to put out into the world is an art unto itself. I go with my gut, which isn't always right!

How do you decide on new projects to work on? Do you always shoot with a concept in mind or do you wait to be inspired as you go?

It usually begins with an awful lot of ruminating and brooding! Coming up with good ideas is the most difficult part of the process.

If I'm lucky I'll think of something decent once a year.

Then all the art direction / locations / costumes. Making costumes and/or masks. Perhaps renting or buying certain elements. Deciding on whether any type of crew is needed (I prefer to do as much as possible myself if I can get away with it).

The shoot itself is usually quite quick and painless if I've prepared properly. Unless of course the location is tough due to the elements.

I've done a lot of shooting in the Pacific ocean on cold, wet winter mornings and it's usually pretty tough on the models.

What ways have you found successful for promoting your work and finding a receptive audience for it?

My website is really the only platform I have. Sometimes I send out e-mails.

VENICE 1

VENICE 3

VENICE 7

VENICE 20

REGINA PELAGUS

SPICULUM

JULIANA

NOMAD

TERRY FX MACGILLARCUDY

Friday, February 24, 2012

Ruben Natal-San Miguel

What inspired you to start taking photographs, and what have been some of the most important milestones in your career up until now?

RN-SM

On a personal level , that my work is already appreciated and in hands of very good and notable art collectors. It is important to me that the work sells and that it goes into the right hands. Being an art collector myself specialized in Fine Art Photography to me that speaks volumes of the work , that had been creating for the past 8 years. I never expected that publications like The Atlantic Magazine September 2011 issue) will contact my art dealer to publish one of my photographs , tilted ''Wonder'' and not only publish it also , pay me an editorial fee for it. During 2011, my work was published in 4 different publications ( Urban Italy, Wink , The Atlantic and Aperture Magazine) . I thought that was pretty amazing considering how competitive this field can be. My photographs had been shown in galleries, art fairs nationally and overseas so you can say, sort of still pinching myself about. Also being able to do public speaking about photography and my work as such venues as School of Visual Arts and Photo Plus 2011 at the Javitz Center were great highlights as well.

How do you approach editing your work, and what advice would you give to others about evaluating their photographs?

RN-SM

Being a photography juror and portfolio reviewer for many years for organizations such as Photolucida, Woodstock Center for Photography, En Foco, American Society of Media Photographers NY Chapter and had conducted my own as well , I will highly recommend everybody to have a pair of good second eyes to help edit your work. Editing is a storytelling factor in a body of work or series. There are photographs that stand on its own but, if they are to be told as part of a narrative with others , its placement and sequence matter the most . On my case , I make the work , I edit it and post some on Social Media with a narrative with it an see the reaction of the public and my own. I have a very transparent and democratic way to approach my work and like to share my own personal experience of how I become of it. Since , I already have a trained eye, just present the work to my art dealer and together we decide what to show and why. I always take in consideration what can be ''sellable'' and what it is just other images that provide ''support '' to the rest of the body of work .

How do you decide on new projects to work on? Do you always shoot with a concept in mind or do you wait to be inspired as you go?

RN-SM

I like to do work that inspires me and moves me in such a way that no matter how much danger is involved , still gets done. I had been photographing in the Inner City areas of NYC for over 8 years and counting because, my sole purpose is to bring out the best of it, that endearing element that most people simply ignore because its geographical/ social-economic location. There is a constant gentrification in these areas and with that includes shifting in race demographics, economic, class, values and tradition. Every time , I go out there and hit the streets , I long and look for a NY that is constantly evolving and disappearing in front of my eyes by the minute. I had the pleasure of documenting Architecture, people, places and traditions that are almost extinct and great number gone already. After many years of capturing street life as it evolves in front of my eyes as a witness/voyeur now, I am focusing on the interior aspect or soul of the Inner City, their businesses and their life right at home which it is a more heartfelt, personal, intimate and human approach.

What ways have you found successful for promoting your work and finding a receptive audience for it?

RN-SM

I am a true believer that Social Media works if you represent yourself and your work in a respectful manner and if there is true and strong message to communicate to the public. In my case due to my positioning in the photography business, it is very hard to separate my public persona in the photography business vs. my labor of love as a Fine Art Photographer. It is a tough act to balance and one that I still juggle with on a daily basis. I did get my first solo show out of someone seeing some of my photographs posted on Facebook so, that tells my story.

About this Blog

Two Way Lens is a project designed to inform and inspire emerging photographers wanting to focus their creative output in a way that enhances their chances of finding an audience, being included in exhibitions and ultimately achieving gallery representation. The journey from inspired artist to successful artist is one that is often difficult to negotiate and hard to control. On these pages, I will feature the experiences and opinions of other photographers who I have found inspiring, and hopefully the knowledge they have built in their own experiences will be valuable to all of us finding our own way to sharing our creativity with the wider world.