Charlie Grosso

MW

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

CG

I wish I could tell you a story of how a family member gave me a brownie camera for my birthday when I was 5 and I haven't been able to stop taking pictures since. Instead this is a story of contest of will and of sheer stubbornness.

The first thing I remembered wanting to be when I was little was an artist. At the time I was too young to understand the concept of medium and as an artist you had to work in at least one particular medium. At one point I remember telling my mom that I wanted to be a fashion designer in part inspired by her interest in fashion (she had attended a fashion institute and made a lot of my clothes and her own when I was young). I remember my inspiration was not well received. To be exact, "NO!" was the answer. Much of the first 11 years of my childhood was in search of an artistic medium that would not be rejected by my parents, anything from drawing to calligraphy to writing stories.

Then came adolescence. I moved from Taipei to Los Angeles and spent the next couple of years learning English and adjusting to a new world. Before long, I was back in search of an artistic medium that would win the approving nod of my parents. Theater was medium that occupied every bit of my time and energy from age 15-22. I loved all the different design elements and the narrative structure. I loved composing a visual scene with the actors and utilizing the designs to relay the subtext. Without surprise, pursuing a life in theater caused as much objection as the desire to be a fashion designer. But as time went on I became less and less concerned with winning the illusive approving nod.

I picked up the camera on a whim the summer between high school and college. I had the summer off and I thought that I needed a hobby. My grandfather is an amateur photographer and I grew up watching him photographing and working in the darkroom.

I spend the summer of 1997 with a private photography teacher who was once a student of Ansel Adams. One faithful sunny Southern California afternoon, he pulled out his Rollei Twin Lens Reflex and handed it to me. I looked down through the ground glass and I fell. Down the rabbit hole I fell and I was in love. Magic happened when I looked through the ground glass. I saw a different world. I still get the same feeling every time I look through the view finder of my Hasselblad or the ground glass of a large format camera.

Photography ended up being the perfect medium.

Some times I don't know if I have finally found the perfect medium or if all the different art forms before were in preparation for it. Did it find me or did I find it? Perhaps a little bit of both. Photography combines the compositional elements of stage direction, different aspects of design and contains the potential of story telling. I love it for so many different reasons and most of all because it is a synthesis of seemingly contradictory elements. It is technical (left brained) yet you must incorporate the artistic, give into the moment (right brain) in order to capture the decisive moment. It requires a lot of control from the artist yet the art demands an equal part of surrender as well. It is perceived to be the medium of TRUTH. What is photographed is real therefor true. Yet the moment captured is an edit of a scene, an edit of time, an edit of the total shoot. It is true and it is a lie. It can be the summation of a complicated story and yet it is only a part of the whole. To achieve mastery you must find the synthesis between opposing concepts. These are just some of the reasons why I love photography. Plus, I am also highly impatient and photography offers (nearly) instant gratification.

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?

CG

I feel the most important thing an emerging photographer can do is be very critical in editing their work. Shoot a lot and then edit, edit, walk away, have a drink and edit some more. It is important to develop a personal style and an artistic voice and that is much easier to achieve if you have a very clear idea of what is you are trying to communicate. How do you see the world? How is that particular vision articulated? I see the world with equal measure of irony, sarcasm, delight and compassion. It is apparent in all of my work, both commercial and fine art.

For a commercial photography career, I think it is wiser to show a portfolio that is diverse but driven by the same style. For a fine art photography presentation I think a very concise single body of work is more advisable.

One of the best career advise I had ever received is to never over invest in equipment. Your work is not your gear. Money is always better spend on creating new work and or promoting the work. The newest and latest gear will not make you a better photographer. Running more film through the camera or creating opportunities to shoot will.

I believe it is important to have a good understanding of the business aspect of the profession, whether be the commercial photography world or the fine art world. Aside from the act of creating something excellent there is a business and marketing reality to the life of an artist that I think is often neglected and always an after thought. Its great to create breath taking work. This amazing work that you create will do you and world at large no good unless it gets seen. To do that, you need to learn about marketing, branding and business practice in the arts in general. Artists needs to be able to develop the language to discuss their work. I don't believe it is enough to trust for the work to speak for itself. Help people understand the work you create and why it is worth their time.

If there is one vital thing that I could suggest for emerging photographers is to know your BIG picture goal. Where do you want to be and what kind of work do you want to do. To love the work you do, always ask how you can do it better but also check in and make sure that the work still brings you joy. There is 7 foot limited edition print of mine from an exhibit in my bedroom (Buying Chicken, Guangzhou, China, 2006 from Wok the Dog series). I look at it everyday and ask myself if I still think the image is good, if the work still brings me joy and how can I improve. Be true to yourself but never stop challenging yourself.

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?

CG

Success is a funny concept. I think everyone has a different definition of it. It comes slowly for some and all at once for others. There is no road map and a lot of conventions are being challenged as we speak. Only you can define what success is for yourself. I cannot say that I fully understand all that has occurred that has gotten me to where I am now. What I am sure of is the passion I have for the work. The sense of certainty I have. I read a lot about business and marketing. I am obsessive about my work and so I spend a lot of time thinking about it, researching different opportunities and finding ways around existing conventions. I don't take no for an answer and I simply try try and try again. Sometimes I think success can be as simple as having the sheer human stubbornness to keep on showing up.

Never underestimate the power your passion has to inspire other people, move mountains and create amazing things.

One Part Passion + One Part Certainty + Armful of Ever Expanding Knowledge + A Dash of Stubbornness = Where I am Today

Blue Cages, Havana, Cuba, 2010

Nap, Havana, Cuba, 2010

During Eid, Cairo, Egypt, 2010

Butcher Against Orange Wall, Havana, Cuba, 2010

Intricate, Kamil, Morocco, 2010

Butcher, Walking Away, Havana, Cuba, 2010

Boy and Camel, Fez, Morocco, 2010

Number 14, Casablanca, Morocco, 2010

Fish Stall, Casablanca, Morocco, 2010

What Is Left, Georgetown, Malaysia, 2010

In Conversation, Casablanca, Morocco, 2010

© copyright all images Charlie Grosso

Jess T. Dugan

MW

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

JTD

In retrospect, I have always had an interest in taking photographs. As a kid in Sherwood, Arkansas, I would create elaborate scenes in the backyard with my cats and teddy bears, shooting roll after roll of film and waiting impatiently to get the photographs back from Walmart. I moved to Cambridge at the age of 13 with my family, and I have a vivid memory of daydreaming about setting up a photo studio with a black velvet background in my new room and creating portraits. However, despite all of this, I didn’t get a chance to study photography in a formal way until my last year of high school. Throughout high school, I found solace in the art department and spent my days drawing and throwing pots, but photography was the most popular course and I wasn’t able to take it until my last year. Once I got in, I was immediately hooked. I would often completely skip whatever class came after photography, too immersed in my work and unable to pull myself away from the darkroom. I began photographing incessantly. Though I was exposed to other kinds of art before, I had finally found the way I was able to connect and communicate with the world and was completely addicted. As a young queer person, photography also gave me license to explore my identity. My first real photographs, taken at age 16, were of my fellow queer and gender variant friends and peers. I was just learning how to use my camera and technically, the images were not very good, but the process of making this work was my first experience with the power of exploring identity through photography.

By the time I fell in love with photography, I had already applied to art school, and I began studying at MassArt the next fall. I immediately enrolled in a photography class and never looked back. Luckily for me, I had the chance to study with an absolutely amazing group of photographers: Abe Morell, Nick Nixon, David Hilliard, Barbara Bosworth, Sage Sohier, Shellburne Thurber, Laura McPhee. I realize more and more each day what a privilege it was to learn from these inspiring artists. As a practicing artist, I am very aware how important my time at MassArt was. It gave me a solid foundation on which to stand, both in terms of technical knowledge and my sense of self as an artist, and for that I am unbelievably grateful.

I make photographs because I have to. It is the way in which I relate to the world around me, and the way in which I am able to know and understand myself. I primarily photograph people, and my camera functions as a way to get to know a wide and diverse group of people very intimately. One of the things I love about photography (and this is a sentiment borrowed from Barbara Bosworth) is that is gives me a reason and medium to explore absolutely anything I am interested in. My camera functions as an access card in many ways, giving me a reason and opportunity to know someone or something in a very personal way.

Right now I have two bodies of work going concurrently. The first is called A Place so as to Stay and is an exploration of people within their spaces and environments. I have absolutely loved making this work because every single person I photograph is fascinating and unique, and for a few hours, they let me into their world and show me who they are, at their core. This kind of access is not something I take lightly, and I am continuously grateful that people share their lives with me with such openness and trust. The second body of work is called Open View, which is a year-long documentation of a small, sustainable, peace and education oriented fiber farm in Western Massachusetts. It is one of the most amazing and beautiful places I have ever been, and I am thrilled to be making a long-term body of work there. Making this work has been an incredible experience, as I visit the farm for 2 or 3 days at a time and really immerse myself in that world. I only began shooting this work in May, but already I feel like the people on the farm are like family to me. Even in a relatively short amount of time, I have forged very deep friendships with many of my subjects and look forward to spending time with them every time I visit. In this way, my commitment to making pictures enriches my personal life in a way that is profound and meaningful.

I am always photographing other people, but in some ways my images are always a reflection of myself. If there is something I don’t understand about myself, or something I’d like to explore, I make images about it until I do understand. My image-making process ebbs and flows, sometimes more internally focused and sometimes focused only on the outside world. Being an artist, to me, means constantly evaluating and re-evaluating your own thoughts and emotions. It’s not for the faint of heart. If I’m not able to be fully present and aware of my own self, I can’t make good work. And sometimes that happens, and it is ok- I just shoot through it, and wait for that presence to come back.

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?

JTD

I think a very important part of beginning to show and promote your work is having solid work to begin with. I see a lot of photographers who are so eager to show a body of work that they don’t give it the time and emotional energy to let it develop to its fullest potential, whatever that may be. That being said, I find it incredibly helpful to have a network of trusted people who I can show new work to and who will tell me, honestly, what they think, long before I’m ready to put the work on a gallery wall. It is so important to have a sense of community and people that you trust to look intelligently and critically at your work, and unfortunately, this is something that you really have to make for yourself once you’re no longer in the comfort zone of art school.

Once you feel like the work is ready, I would recommend taking steps to get it seen as well as becoming a part of the local art scene. Apply to group shows, attend openings, go to lectures, go to museums, look at other photographers you admire and examine what it is you like about their work. Talk with other artists in a similar stage in their careers and also talk with artists who are more established. I have found it very helpful to reach out to those who are in a place I’d like to be in someday and ask them how they got there, while keeping in mind that everyone has to figure out their own path and the same actions might not work for different people.

I am an obsessive looker, sometimes almost to the point of exhaustion. I like to know what is out there and what other artists are doing, but I also recognize when it’s time to pull back and sit with my own work and thoughts. The art world can be seductive- there is always another show to apply for or another contest to try to win, and it is easy to look around and see what everyone else is doing and feel like you somehow missed the boat or fell behind. At the end of the day, it is critical to find your own rhythm for making and promoting your work, and to be aware of the art world at large (and perhaps more importantly, the world at large), but not be driven by it. It is much more important to be able to continuously make your work and stay true to yourself than it is to get swept up in the tides of shows and “success.”

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?

JTD

Success is a tricky concept. When I first left MassArt, I had a pretty rough transition from art student to working artist, largely because of my own expectations. For better or for worse, I left art school with a skewed sense of what it meant to be a working artist. I imagined an endless stream of residencies and traveling, constant states of change, eating ramen and freezing in the winter, etc. Very bohemian and unrealistic. I also left with the expectation that I would continue to be as productive and make as much work as I had been able to in art school, and for the first year, I struggled with letting myself down constantly. I had to find a job, pay the bills, find a way to afford my film, build a darkroom for myself, and discover that ever-slippery balance of time versus money, art-making versus real-world responsibilities. Eventually I adjusted my expectations and found my own rhythm, making work slowly but surely, printing one day a week and shooting when I could. For me, this is success. Finding a way to continue making work that I find meaningful and exciting amidst the confines of going to work and paying my rent represents a huge success to me.

The best kind of success, for me, is when someone sees my work and it makes them feel something. I never feel more excited about my work than I do when someone tells me how much they connected with it and that it had an emotional impact on them. This is something I love about having shows, more than the excitement and the reviews, is that people get to see my work in the way I intended it to be seen and I get to witness their reactions and hear their thoughts. Success is connecting with other people, whether they are my subjects or viewers of the work, on an intimate and meaningful level.

On a more tangible level, I have worked very hard to get my work seen and to make connections with galleries and other arts professionals. The summer after leaving MassArt, I interned with Joseph Carroll (of Carroll and Sons Gallery in Boston, MA) at the Bernard Toale Gallery, which was an invaluable experience and gave me so much insight into the way that galleries work. While working with Joseph, I met a lot of artists and people involved with other galleries in Boston. I also met Arlette Kayafas (of Gallery Kayafas in Boston, MA) and identified her gallery as a place where I would love to show my work. Over the next year, she and I forged a friendship and working relationship, and she gave me my first solo show of my black and white portraits in October of 2008. I recently had a second solo show of my series of large-format Polaroid photographs, Coupled, in March of 2010. Having gallery representation has been critical to moving my career forward, and I am so grateful to be represented by such a wonderful gallery and person. It is truly a blessing to find a gallery representative who understands and supports your work for exactly what it is. I have also continued to apply for group shows, grants, etc, especially those juried by people I respect or in spaces where I’d really like to exhibit. In the beginning, I applied for shows much more widely to try to build my resume, but now I try to be more selective and choose calls for entry that are appropriate for my work or that I feel will advance my career in some way.

Since joining Gallery Kayafas in 2008, I have gained representation in Chicago and regularly exhibited nationwide, from New York to San Francisco. I was recently in a group show at Carroll and Sons Gallery, and among the other artists in the show were David Hilliard and Sally Mann, and I was absolutely blown out of the water to share the wall with these folks.

Ultimately, it is important to know why you do what you do and to have faith in your own work. While it feels good to get into shows, get reviews, etc, you can’t depend on this kind of feedback to motivate you as an artist. There are always ups and downs. Sometimes you’ll feel on top of the world and other times you’ll feel like nothing is going your way and you’re totally lost and can’t figure out where to go next. It is all part of the process. Arlette has assured me on more than one occasion that the quiet time after a show or major body of work is as important as the excitement of exhibiting or achieving some kind of tangible “success.” What is essential to continuing to be an artist and to making photographs is your sense of self and your belief in your work. This, for me, is unwavering, and it is the anchor that keeps me grounded when things around me feel a little rocky or uncertain.

Lastly, you can’t do it completely alone. I have been influenced and positively affected by so many people, whether they are subjects in my images, curators or jurors who select my work for exhibition, or friends and colleagues who I go to for advice, friendship, and support. So many people have supported me and helped me along the way, and for that I am so grateful and hope that I am an equal support to others in return. My work and my life as an artist is as much about forging meaningful relationships as it is about the end product of seeing my work on the wall. For me the excitement and power is in relating to other people, and making photographs is the best way I know how to do that.

Dan, from the series Open View

Barb holding Frankie, from the series Open View

Suzi, from the series Open View

Violet, from the series Open View

Emmy making a basket, from the series Open View

Michael and TT at home, from the series A Place So As To Stay

Dad with his shotgun, Little Rock, Arkansas, from the series A Place So As To Stay

Shellburne at home, Cambridge, Massachusetts, from the series A Place So As To Stay

Ted and Virginia, Cambridge, Massachusetts, from the series A Place So As To Stay

Jon and Dixie, from the series A Place So As To Stay

© copyright all images Jess T. Dugan

Ken Rosenthal

MW

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

KR

Probably my earliest inspiration for making photographs was my father. He was an advanced amateur photographer, and was always taking photographs. I’m certain that I caught the bug from him. When I was about 4 or 5 he got me a little Kodak Instamatic (which I still have), and kept me supplied with film cartridges for it. I imagine that my proclivity for the square format comes from the little square prints that the Instamatic produced.

We had a darkroom at the house I grew up in (in Los Angeles), and I used to help my dad on the weekends when he would process film and print. It was (and still is) a magical experience, seeing images emerge in the darkroom.

In my teens, I realized that a camera gave me license to experience just about whatever I wanted to. Early on, that meant fabricating a tale that I ran a music ‘zine. Music was my main passion at the time. I used to frequent the clubs on the Sunset Strip (the Roxy, the Whiskey, etc.) when I was in high school. I’d call the publicity departments at record companies and request a press pass for the concerts I wanted to attend, and nearly always received one. The earliest prints that I made in the darkroom and still have are from a Lou Reed show at the Roxy when I was 14 or 15. I remember coming home late that night after the show, processing the film, blow-drying the film, and making small prints that I took to school the next day. To this day, a camera empowers me to approach people or situations that intrigue me.

What inspires me to keep working in this field? Several things, I suppose. I have an insatiable curiosity about the world in general…a wanderlust, a need to explore. I use the camera, in part, as a journal…the photographs preserve the memories of my life experiences. Mainly, though, it is not a choice. I NEED to make photographs. Simple as that.

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?

KR

This is a tricky question. I think one should begin to try to get exposure for their work as soon as they have made a series of photographs that truly excite them. Let me qualify this though: you need to crawl before you can walk. You probably shouldn’t be approaching AIPAD galleries as an undergrad with 12 great photos from your Photo 2 class that rocked your professor’s and fellow student’s world.

Start with a very honest look at your own work. You should be excited about your own work, impressed with the work you have created. Edit ruthlessly. If you have exhibited a long-term commitment to photography, and you have a tightly edited, cohesive, and well resolved body of work then ask yourself a few simple questions:

- What is your work about?

- Who is your audience, and why does your work need to be seen?

- Is the work truly unique? Are you bringing something new to the table?

- What are your goals? (i.e. do you want to be an exhibiting artist? Do you want to publish? Do you want to have your work placed in collections?)

These may seem like obvious questions, however I am surprised how often I review a younger or emerging artist’s portfolio and they are unable to answer these questions. You need to know your work as well as you know yourself. It is, after all, an extension and reflection of you.

I don’t know that there is one defining action that I would suggest to a photographer to help them take their work to the next level (though a well designed and maintained website IS absolutely essential, and is a great way to start getting your work seen.) I think it depends on what their experience has been to this point. If a photographer does not have a MFA, and it is an option to take the 2-3 years to devote to an MFA program, I would strongly suggest that. The ability to focus on your work for an extended period of time with a group of peers and mentors is an invaluable experience. If he or she already has a MFA, I would take as much time as is feasible and focus on nothing but making work. Try to stay focused on one project, and edit, edit, edit. Then edit some more. And if a photographer has been working for a while and has a mature, long-term project that he or she is fully confident is ready to be out in the world, then I would suggest investing in one of the major portfolio reviews (Fotofest, Photo Lucida, or Review Santa Fe.) They are an opportunity to not only meet with the top professionals in the field, but also to spend time with fellow photographers. I cannot stress enough the importance of being a part of the photography community. Simply put, photographers are the best people. Our community is extremely supportive.

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?

KR

It has come about through a combination of hard work, research, opportunity, and preparedness.

I consider myself successful in that I have met a number of goals that I set for myself. I sat down about 10 years ago and drafted a list of what I wanted to achieve as an artist. That was probably step one. I had studied how “successful” photographers that I admire put there work out there. I went to PhotoLA for a number of years, beginning in the mid-late 90’s, and learned so much about the business end of photography.

I knew that I wanted to have my work represented by galleries, but also had realistic expectations. I understood that I needed to have a mature and well resolved body of work under my belt before I approached galleries. I was fortunate in that I gave myself a year to do nothing but work in the studio. During that time I developed the core of my series Seen and Not Seen (which I worked on for about a year and a half.) After I felt it was ready to be out in the world, I sought the opinion of several friends who are professionals in the field. Their affirmation gave me the confidence to pursue a gallery. There is an amazing photography gallery in my city, Etherton Gallery, and I approached them first. I was very fortunate in that they responded to the work and took some work in on consignment. Not long after I was offered representation and a show. Terry Etherton, the owner of the gallery, has believed in my work from the beginning and has been a great supporter. He introduced me to his fellow gallerist, Michael Dawson, who owns a gallery in LA. Michael saw my work at Etherton, and through that connection he began representing and showing my work. I also applied to the photo-eye Photographer’s Showcase, and began showing my work on their online gallery. This was in 2001.

The next year I began attending portfolio reviews, and was able to build on the momentum of the previous year. I recognized the importance of trying to broaden the audience for my work, and approached a variety of opportunities in different markets. I met with commercial galleries, not-for-profit galleries, museum professionals, publishers, magazines, etc. In essence, things snowball. Get something started, let the momentum build, and then keep up the momentum…make sure things keep moving forward. It’s important to keep making new work, and to continue to gain increased exposure for your work. Additionally, I now have a wide circle of friends that I have met at portfolio reviews. We tend to help each other out, and suggest each other to appropriate galleries, publications, etc.

I feel as if I have been extremely fortunate in that I have been able to find and maintain an audience for my work, which was one of my main goals. That is not an easy feat. There is a wealth of great photography being made, and despite the myriad opportunities for one to get their work seen it is still tricky to find an audience for your work and to develop a following.

Seen And Not Seen # 001 - a - 1

Seen And Not Seen # 237 - 1

Seen And Not Seen # 1311 - 3

Not Dark Yet # HS - 11 / 12

A Dream Half Remembered # FB 41 - 1

A Dream Half Remembered # RBC 49 - 7 / 8

Missing # ZN - 52 - 10

Days Between # ROL - 52 - 9

Near Twilight

Cosmos

© copyright all images Ken Rosenthal

Michael Kirchoff

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

MK

Even though I’m the sole artistic member of my family I’ve always had a curiosity with art and photography. Come to think of it, it’s that curiosity that still remains and continues to keep me inspired. Creating a tangible piece of art from nothing more than your desire and vision is an incredible and powerful thing. You have a vision and you know how you want the work to be, but the journey in between is always a bit of a question mark. Trying to figure out that question mark is what keeps me coming back for more. Since I was a child I’d always had a camera of some sort, but it was when my father brought home an early SX-70 Polaroid Land camera that I became hopelessly addicted. Looking back I think I must have driven my parents nuts from constantly asking where another box of film could be found. I didn’t have any money of my own back then, so they were always going broke from my new found love. I was amazed at its ability to make the real world so much more interesting by infusing my own creative vision into it. It’s ironic to me that my early days consumption of Polaroid rivals my current obsession with instant film, even though the accessibility has changed dramatically the last few years. My high school years brought me to the darkroom, and it was there that I knew I was in for life. In school I had always done painting, sculpture, drawing, and other artistic pursuits, but it was seeing that image appear on paper in a developer bath that hit me like a ton of bricks.

My photographic work continues mostly because of my love for taking the worlds reality and creatively putting my own personal spin on it. Taking the three-dimensional world and putting it into a two dimensional space with your vision is an addicting process. Not only this but the tools or techniques are often changing, and it’s this change that makes for so many opportunities to explore new ways to create art. You’ll find me using these words over and over again, but really, I’m passionately addicted to creative pursuits.

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?

MK

Take the time to self evaluate your images. It’s difficult to distance yourself sometimes from your work, as personal experiences from making the image can often obscure the value of the photograph within a body of work. Put the work together and look at it as a whole, and be in love with what you are creating Know what your work is about and know that learning to edit your imagery is key. A well rounded and inspired body of work needs to be accomplished before any real marketing or promotion of the images is sought. Once you know that you are showing your very best work and your very best prints you will have a great start. Stick to what you believe in with your work and stand behind it faithfully during its promotion.

I have to say that building and expanding your network of others in the industry is extremely vital. It seems to be easier these days to alert the world of your images with all of the social networking tools out there now. However, the personal relationships you make with individuals in the real world are what will move you further and faster than anything else. Joining photographic groups and organizations like Center, APA, and ASMP with like-minded people to share knowledge and ideas is a key component. Knowledge of the business of photography will come from this as well. Attend exhibit openings and lectures, talk with others about what they are doing, and above all, be supportive of your fellow artists. What goes around comes around is very true in this aspect. These relationships will be the foundation for every move you make while you strive to attain your goals in the industry.

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?

MK

Hmmmm…. achieving status as a successful anything makes me feel a bit uncomfortable. It sort of sounds like you’re at a plateau with what you do. Success is rather subjective and not so easily defined in the art world. I’d hate to sit back and rest on my laurels with what I’ve done, rather I want to keep hammering away at making new work and keeping myself intrigued with the artistic process. As long as I’m continuing to work in this field I will personally feel successful, though others may think that fame and money are essential to your success. I think my status as a passionate and dedicated photographer would sound much better!

The steps taken are far more important than the status level you could achieve. So much depends on your level of commitment and the effort you put forth to feed that need. The steps have been many, but a couple of important ones are rooted in the answer to the last question. Most certainly my relationships with others have been truly important to my success. I have to note as well, though I’ve done certain steps in my career to achieve what I have, the steps never go away and will continually be something that I work on without fail. Completing them once does not mean that it’s over and I can move on to something else. Momentum does build up, but you always have to be looking at what else is it that I could be doing.

I’m always shooting something new, and have adopted the process of getting a finished work out there as soon as possible. I may sit on an image or a body of work for a long time before I consider it done, but when I do, I get it out there and tell as many people about it as possible. It’s tough, but hitting the ground running goes a long way when you’re excited about your own imagery. It also keeps your name out there; you definitely don’t want to get lost in the throng of other artists out there. I’m always writing emails, knocking on doors, and ringing that bell in the town square, if you know what I mean. Being coy doesn’t get you very far with so much competition out there.

Know what to say about your work, especially with describing its purpose or your reasons for doing it at all. Speaking and writing about yourself and your work is quite mandatory, especially in the fine art world. I’ll admit that it can be difficult for many artists to do this, including myself, but it is quite necessary. A well-written artist statement goes a long way. You simply cannot go far by “letting the work speak for itself.” I’m continually writing and re-writing statements about myself and the individual bodies of work.

The bottom line is that your audience is out there; you just have to work extremely hard to find it. Perseverance is essential.

St. Patrick's Cathedral #2, Dublin, Ireland, from the series Cross + Stone

Ruins Arch, Kilfenora, Ireland, from the series Cross + Stone

Above Paris, from the series Vignette

Chimney Sweep, Listvyanka, Siberia, from the series Vignette

Monk's Quarters, from the series Vignette

Maarjamäe War Menorial, Tallinn, Estonia, from the series An Enduring Grace

Peter and Paul Cathedral, St. Petersburg, Russia, from the series An Enduring Grace

Naval Cathedral, Kronstadt, Russia, from the series An Enduring Grace

Hindu Temple, from the series Los Angeles Study

Union Station, from the series Los Angeles Study

© copyright all images Michael Kirchoff