Alumni Dianne Morton interviewed me as part of her graduate studies.
She asked great questions, which I recommend you answer yourself.
Here are my answers.
What inspired you to become a photographer?
I was always driven to make images – even before I could talk. I was fascinated with two things about photography in particular; one, photography can be used to explore abstraction and metaphor; two, two people using the same equipment side-by-side can make very different images that reflect their personal natures. Pursuing painting first, the invention of Photoshop was my personal tipping point that made photography my primary medium.
Which photographers influenced or currently influence you?
Early influences include my father, Eliot Porter, and Ansel Adams. Photographers who challenge my current thinking in stimulating ways include Richard Misrach, Edward Burtinsky, Chris Jordan and Joel Peter Witkin. Many of my most important artistic influences come from people working in media other than photography – painters, filmmakers, sculptors, writers and even composers/musicians.
I’ve written quite a bit about my influences on my blog – and I plan to write more. It’s a useful process I recommend to everyone.
What motivates you to continue making photographs (intellectually or emotionally)?
I love doing the work. It’s endlessly challenging and rewarding.
Is there one particular piece of advice you could give to someone who has just picked up a camera for the first time?
Get clear about what you want to do and why. Only pursue opportunities that further that in some way. Make plans but stay flexible so you can make the most of every new opportunity.
How did you get from being an aspiring photographer to actually doing it full time, for a living?
I decided to do it and worked hard to make it happen. I made a plan. I pursued new opportunities that supported my long term goals. I didn’t plan to write, make public presentations, lead workshops, or consult for corporations; those opportunities presented themselves and they’ve all contributed to my overall success and the fulfillment of my long term goals.
Where do you think you have succeeded or failed?
I’ve succeeded in being a positive influence on the medium of photography and making positive contributions to many members of the photographic community. I haven’t succeeded in making substantial contributions that address my environmental concerns – yet.
What’s in your camera bag and what technology/software do you use?
Canon 5DMKIII and Lightroom/Photoshop. See my website for more on the tools I use,.
What is one thing you will never get tired of photographing?
What is one thing you do NOT like to photograph?
Jump back in time….what would you do differently if you could? Do you have a cautionary tale?
I’d steal a little time every day to work on my most important goals. Compound interest pays big dividends. Big chunks of time are hard to find and often compromised or stolen completely. I’m still trying to get this right. Practice makes better. No matter where we are, I recommend we all start practicing this now.
Among your works, which one is your favorite? Why?
Exhalation I. It heralded a personal break through when my creative voice became stronger and clearer. I’ve had more responses to that image than any other, some of them very personal and touching.
If you could sit across any one photographer with a big cup of awesome coffee, and talk photography/shop for an hour, who would it be and what would you talk about?
What a great question! It has so many possible answers. The final decision would be based on how honest the other person would be and how much they would be willing to reveal. And an hour’s not enough. How about an evening with dinner and wine?
I’d like to sit down with Alfred Steiglitz and Minor White and go further/deeper with the concept of equivalence. I have a feeling part of the solution would be to explore White’s mention of resonance.
I’d like to sit down with Eliot Porter (and possibly Ansel Adams at the same time, if there was total trust and no posturing), to review the history of photographers making environmental contributions and brainstorm ways of making more effective environmental contributions today (if he/they were up to date on what’s happened since his/their death). But then, after engaging this question, I realize I should do this now with Robert Glenn Ketchum. Maybe I should even write a book about it. See what a great question that was?
What’s your favorite quote?
“The only real voyage of discovery consists not in seeking new landscapes but in having new eyes.” – Marcel Proust
Above all, what inspires your art the most?
Finally, can you sum up your photography in just four words?
Creative Conscientious Environmental Interaction
“Unlocking The Secrets Of The Creative Process – Part 3” A Conversation With Photographer Eric Meola
October 27, 2014 | Leave a Comment |
Photographer Eric Meola and I share our insights on the creative process in this three-part conversation. In the third installment we discuss the role of chance and surprise in creativity.
EM: In describing how he wrote “Like a Rolling Stone,” Bob Dylan said that he found himself writing what he called “this long piece of vomit, 20 pages long.”
“And out of it,” he recalled, “I took ‘Like a Rolling Stone’ and made it as a single. And I’d never written anything like that before and it suddenly came to me.”
If nothing else, Dylan has always been incredibly prolific. “Practice, practice, practice,” says Bruce Springsteen. And then one day there’s your father’s image “Galaxy Apple.” Is that part of what process is about … the yin and yang between chaos and discipline?
JP: Process is how you get there. It doesn’t just happen. And it unfolds through time. The final results may have come quickly, but it took a long time for Dylan to get into the specific state of flow that would produce his song. The same is true for everyone, including photographers.
This reminds me of a time when I introduced a friend of mine to my father. He said, “Oh, you’re that photographer. Gosh I’d like to have your career. All those 1/125ths of a second. What’s that add up to? A 20-minute career?”
Dylan’s statement, “I was so much older then, I’m younger than that now,” seems related to Picasso’s “It takes a long time to grow young.”
EM: And Dylan as a teenager in Hibbing, Minnesota, used to listen all night to Hank Williams and Little Richard on the radio—it was all part of the “process” of gearing up for “Bringin’ It All Back Home.”
You mention using a Spirograph as a child to make circles, ellipses and various radiating designs. And some of these patterns continue to show up in your latest imagery. How important is a sense of wonder to photography, or any art form?
JP: How important is a sense of wonder to a life well lived? I think it’s essential. Keeping our sense of wonder alive and well increases our openness, curiosity, sensitivity, perception, playfulness, passion, pleasure, and many other positive benefits. This is related to keeping our inner child or the childlike (not childish) aspects of ourselves active and vibrant.
EM: We’ve discussed chaos versus discipline in art. What about a happy accident—serendipity? What role does “chance” play in process? In the film Pollock, Ed Harris shows Jackson Pollock stumbling onto the process for his drip paintings. Do you ever look at something you’ve done or have been thinking about and suddenly make a leap to a concept that had not occurred to you before? I’m also thinking of Kubrick’s famous visual metaphor early in 2001: A Space Odyssey, where the ape throws a bone that morphs into a rotating space station.
JP: There are two questions here. My answer to both is yes …
“Unlocking The Secrets Of The Creative Process – Part 2” A Conversation With Photographer Eric Meola
September 20, 2014 | Leave a Comment |
Photographer Eric Meola and I share our insights on the creative process in this three-part conversation. In the second installment, we share our influences from photography to poetry. I also discuss my fascination with and the influence of quotes.
EM: How long have you collected quotes? You seem to have hundreds if not thousands at your site.
JP: At an early age, I started noticing that most of us use quotes in our daily conversation and even in our internal dialogs. I really want to know what’s influencing my thinking and why. Sometimes we know who to attribute them to, sometimes we don’t, and sometimes they really are unattributable or anonymous. Often we paraphrase them, less frequently we use them precisely. I still marvel at people who can quote paragraphs and even pages, word for word. I haven’t learned that skill. Currently, I’m limited to a few phrases. But that’s OK. I prefer quotes that are short and sweet. Like haiku poetry, short quotes can almost instantaneously create a powerful impression with just a few words. These highly distilled packets are both impactful and memorable.
Often the idea behind the quote is linked with its author. Proper attribution is important. It’s good form to give credit where credit is due. It helps you understand what, when, and why something has been said. It helps you clarify sources, including yourself.
Sometimes these ideas become so common that sources are forgotten and we hear them paraphrased. Have ideas like this been repeated so frequently that they’ve become a part of the fabric of our minds? More recently, I’ve also become interested in how these ideas echo through the ages. Here’s one example. “We don’t see things as they are. We see things as we are.” Is this Confucius, The Talmud, or Anais Nin? Do we default to the earliest source? Or are there some ideas that are pan-cultural or even inevitable?
There are so many great books to read that I figure no book is worth reading if I’m not interested in making marks in the margins; one mark indicates a quote I want to be able to retrieve.
I used to collect my favorite quotes in folders filled with photocopies. Now I collect them digitally. Sharing quotes in social networks has further stimulated my activity—it’s interesting to see who reacts to what and how, and even what people don’t react to. You can find more quotes, almost daily, in my Twitter and Facebook feeds.
I wish I had a photographic memory. I’d love to remember them all—precisely.
EM: What are some of your favorite quotes?
JP: “The only real voyage of discovery consists not in seeking new landscapes but in having new eyes.” That’s from Marcel Proust.
“Let the beauty we love be what we do.” — Rumi
“Be the change you want to see in the world.” — Mahatma Gandhi
Here’s a link to a fuller set of my favorite quotes.
And here’s a link to a set of your favorite quotes.
Also, here’s a link to sets of other photographer’s favorite quotes.
A Japanese proverb says, “When the character of a man is not clear to you, look at his friends.” I think of the quotes we remember as the mental company we keep.
September 19, 2014 | Leave a Comment |
I had a great conversation with my friend Rick Sammon. Our wide-ranging discussion (travel, composition, and more0 ultimately focused on how to find your own voice. It was soulful.
“Unlocking The Secrets Of The Creative Process – Part 1″ A Conversation With Photographer Eric Meola
September 10, 2014 | Leave a Comment |
Photographer Eric Meola and I share our insights on the creative process in this three-part conversation. In the first installment, I share the influences of my parents and meetings with many remarkable men and women including Eliot Porter, Ansel Adams, and Georgia O’Keeffe. Then we discuss the power of words.
“Words can be powerful tools. Think of all the things you can do with words. Generate ideas. Clarify a response. Determine a goal. Frame a question. Evaluate strengths and weaknesses. Make comparisons and contrasts. Identify an influence. Select an approach. Test a theory. Explore alternatives. Identify what’s missing. Solve a problem. Advocate. Motivate. Evaluate. Find a new direction.
No matter what discipline you’re in, why wouldn’t you use these powerful tools we call words? Try not using them! Can you? So why not use them well and unlock as much of their power as you can?
Many linguists have explored how language influences thought, going almost as far as saying language is thought. Benjamin Whorf said, “Language is not simply a reporting device for experience but a framework for it.” If a culture has a lot of words for something, it indicates those people have a highly developed relationship with it. If a culture doesn’t have a word for something, it indicates either a very different relationship to a subject or a blind spot. Certain tribes in the Amazon jungle have many words for green, but none for blue. The Inuit have dozens of words for snow. We currently have too few words for photography. (At best, we amend the word photography with other words—photojournalism and photo illustration.) Look at all the words we have for various kinds of writing: fiction, non-fiction, poetry, prose, journalism, journaling, interview, biography, autobiography, screenplay, short story, novel, trilogy, epic, lyric, etc, etc, etc. The photographic community and culture at large would do well to repurpose many words drawn from our literary traditions and use them in our visual traditions.
The question is not, “Should I manipulate a photograph?” Since the invention of photography, all kinds of things have been done to photographs. The question is, “What happens when I do or don’t manipulate a photograph?”
Limited language wastes time and results in less productive debates and diverts attention away from more productive discussions. One of the fundamental things I’m trying to address through my work is complicated by limited language. Our culture often talks about people versus nature; we use words like “us” and “it.” We draw lines and take sides. Our current use of language psychologically distances us. This makes it harder to describe people as parts of nature. If we enter that mindset, we think about ourselves and act in our world differently.”
In this video, I share my thoughts and feelings on photography and printing.
In this video, I share my thoughts and feelings on photography and color.
December 27, 2011 | Comments Off |
Years ago, I had a wide ranging conversation with Rob Draper on the thinking and process behind my art.
August 18, 2010 | Leave a Comment |
JPC Where does noise come from?
DM There are several factors in a digital camera capture process that contribute to noise. The most prevelant are temperature, the actual capture circuitry, sensor size, and the process of sub-sampling which induces errors between adjacent pixels.
JPC Why is chrominance noise so much easier to reduce than luminance noise?
DM It’s really not in application. It’s just that you perceive changes in luminosity or brightness much easier than you do in color.
JPC Fine color noise is easier to reduce than coarse color noise, like the color patterns created by demosaicing bayer patterns. When are you most likely to encounter this type of noise? How should you treat it differently? How far can you go?
DM There are no hard and fast rules for any of the above questions as all are dependent on the capture situation and subsequent output medium.
JPC What’s the biggest challenge when reducing luminance noise?
DM Achieving a balance between perceived reduction and image detail.
JPC At what point would you stop using the sharpening controls in Noiseware Pro and start using the sharpening controls in Photoshop?
DM Again, another matter of workflow organics. Each person has a specified workflow as to input, editing and output.
JPC Do you recommend reducing noise before or after sharpening? Why?
DM In the vast majority of cases, use noise reduction before sharpening as sharpening will almost always magnify existing noise patterns.
JPC Do you recommend reducing noise before or after upsampling? Why?
DM Along the same lines as sharpening, any noise patterns will be magnified. Sometimes it is necessary when resizing to use noise reduction in 2 steps – one on the unsized image and another finishing reduction on the upsampled image.
JPC Tell me about one or more features of Noiseware Pro that typically get overlooked and under used.
DM Probably the most under used but most powerful feature is the bracketing function. One can quickly establish usable ranges from which presets can be generated. Presets is another overlooked feature whereby one can establish customized slider settings for a wide range of images.
JPC Is all noise bad?
DM All images have noise to a degree, regardless of capture method. When the amount and/or type of noise becomes such that it is viewed as degrading to the image, then we definitely toss it in the bad category.
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