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Michael Kenna was born in Widnes, England, in 1953. He attended Upholland College, Lancashire, 1964-72; The Banbury School of Art, Oxfordshire, 1972-73; and The London College of Printing, 1973-75, and has since continued to work as a photographer and artist. He currently lives in San Francisco, California.<\/p>\n
Mr Kenna has achieved international recognition for his photographs which have been shown in many exhibitions in North America, Europe, Australia, and Asia, and are in such permanent collections as The Bibliotheque Nationale, Paris; The Museum of Decorative Arts, Prague; The San Francisco Museum of Modern Art, San Francisco; and the Victoria and Albert Museum, London.<\/p>\n
Monographs of Mr Kenna\u2019s photographs and books photographically illustrated by him include The Hound of the Baskervilles, by Sir Arthur Conan Doyle (1985), Michael Kenna 1976-1986 (1987), Night Walk (1988), Le Desert de Retz (1990), Michael Kenna (1990), The Elkhorn Slough and Moss Landing (1991), Michael Kenna – Twenty Year Retrospective (1994), The Rouge (1995), The Silverado Squatters, by Robert Louis Stevenson (1996), Le Notre\u2019s Gardens (1997); and Monique\u2019s Kindergarten (1997).<\/p>\n
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John Paul Caponigro <\/strong>Monique\u2019s Kindergarten is quite different work.<\/p>\nMichael Kenna <\/strong> It\u2019s different but at the same time very much the same. It\u2019s different because it\u2019s 4 X 5, it\u2019s indoors, and the subject matter is the “still life.” Most of what I photograph, whether it\u2019s industrial areas or formal gardens or landscapes or sea fronts, are areas that have been designed and altered in some way, shape, or form for our usage. I usually photograph them when there\u2019s nobody about. There\u2019s a kind of atmosphere, a presence or an absence, that I look for. It\u2019s that atmosphere, that feeling, that I really like to photograph. It\u2019s the same in the kindergarten. Most of the time there are above twenty five children playing in there. When the children have gone home they leave behind this amazing atmosphere and energy that you can really feel. You can feel it if you slow down enough. I usually go to the kindergarten on Sundays. It always takes me about an hour to adapt to the tranquillity and scale of the place. I walk in with my new\/old Deardorff camera and big tripod. I\u2019m 6\u20192″ and all the chairs are about six inches high. I\u2019m tripping over things and tripod legs are banging on tables. I feel like the proverbial bull in the china shop.<\/p>\nJPC<\/strong> And yet there don\u2019t seem to be many bird\u2019s eye views.<\/p>\nMK<\/strong> Oh, but there are! A lot of the time I have to take the 4 X 5 off the tripod. I have it resting on the ground because I need to be right down there, scrubbing around trying to photograph things, as I think the children would see them. Also, I feel that before I begin to photograph I have to go around and say hello to everybody, all the little presences, all the little toys, all the little puppets. Then slowly, very slowly, I begin to adapt to what is really such a very different pace than this outside “real world”, so we call it. It\u2019s quite wonderful. I need to be very quiet to be able to hear the sounds, to hear what the objects are saying. It\u2019s like the Hans Christian Anderson fairy tale which says that when the people go away, the toys come alive. As soon as I close the kindergarten door I can just imagine them going “ahhhhhh”.<\/p>\nJPC<\/strong> What was it that drew you to do that work?<\/p>\nMK<\/strong> To begin with, just being there with my daughter, Olivia. When my daughter left the kindergarten, the teacher, Monique, who knew that I was a
\nphotographer, asked me whether I\u2019d photograph the kindergarten children for her. I said,”Well you know it\u2019s not really my sort of thing, but I\u2019d be happy to photograph the kindergarten for you.” Monique\u2019s from Europe and she wanted to send photographs back to her friends and associates there. So I went round with a 35mm camera and photographed everything in color for her. It was while I was in that process that I became interested in what was really there. Coincidentally a friend gave me a 4 X 5 camera a few months later. I was thinking, “What am I going to do with this? I\u2019ve got to use it now that I have it. I can\u2019t just put it in a closet somewhere. I really need to make the most of this gift.” The idea of photographing in the kindergarten came to me and so the project was born.<\/p>\nJPC<\/strong> Tonight there is a pre-opening for the book and the show at the Stephen Wirtz Gallery?<\/p>\nMK<\/strong> Yes. All the royalties for the book go to the Waldorf school. It\u2019s meant as a fund raiser. We are hoping to sell many books! This opening is just for the school, its alumni, and friends. Monique Grund, the kindergarten teacher, will be there and also John Bloom, the administrator and a photographic historian who wrote the text for the book. The opening for everybody else will be tomorrow night.<\/p>\nJPC<\/strong> Atget photographed Paris, his home, do you photograph San Francisco often?<\/p>\nMK<\/strong> Atget is one of the more powerful influences on my work. He photographed exclusively in his home city of Paris, just like Sudek did in Prague. Atget was amazingly prolific, he produced so much work, and some of it is brilliant. He also made many photographs in a more documentary style, to illustrate particular architecture or craftsmanship – those images are not of great interest to me. There\u2019s no doubt he must have been devoted to Paris and the city certainly seems to have inspired him. I have to admit that I don\u2019t really feel that way about San Francisco, even though it is a fine city, and my home right now. I suspect that when my daughter Olivia heads off to University, (another five years!), my wife Camille and I will rethink where our home should be. I feel that my creative “home” is somewhere in Europe, probably in France. I find it quite difficult to photograph in San Francisco. There\u2019s always so much going on here that it\u2019s difficult to just photograph for three or four hours and come back. So I generally don\u2019t do that. I prefer instead to go off on trips to work. Perhaps if I lived somewhere else San Francisco would be much more alluring!<\/p>\nIt was actually nice to have a project that I could do at home. I learned about large format cameras in photography school and when I did advertising photography. But I hadn\u2019t done 4 x 5 in 20 years. It was a good way to get back into that format.<\/p>\n
Monique gave me a key to the school so I could go over on Sundays and spend 4 or 5 hours at a time. She would often come in and make coffee and a croissant and leave me to it. I started to build up a small collection of studies of the kindergarten. After five years time I had many photographs and that\u2019s when I got together with the publisher Chris Pichler of Nazraeli Press. We put the book together and went to press. The first copies literally arrived here a week ago. Now the show is at Stephen Wirtz and from there it will travel through the US and into Japan, France, Spain, Portugal, Holland, and Belgium.<\/p>\n
JPC<\/strong> What drew you to shed the Suerat-like grain of your earlier 35mm work for 2 1\/4 and now 4×5? I have a hard time imagining it was a matter of “greater fidelity” as so much of your work depends on absence as much as it does presence. Heavy atmosphere aside, even in your recent 4×5 work you often chose to employ a very limited depth of field.<\/p>\nMK<\/strong> I used 35mm pretty exclusively for about fifteen years, up to 1987. I was quite happy with the small format negative and the resulting grain. I suppose that I just needed a change and perhaps a new technical\/aesthetic challenge. Seeing the subject matter back to front and in a new square format did the trick! It took me quite a while to get used to it. The first prints I made were 16×20″ – very graphic, hard, and untoned. Not like Kennas at all! After about eighteen months of working on those prints I decided that I really didn\u2019t like them. I didn\u2019t like printing them, handling them, shipping them, or viewing them. So I got back as many as I could and destroyed them. There were seven or eight images that I continued and printed out their editions. The rest I retired or printed much smaller. Since then I\u2019ve pretty much used the 120 format like 35mm, hand held whenver possible. I like to use the camera as a “sketch book”. I take many photographs when I am working – not just the one that I think will be the “best”. I prefer not to previsualise too much. In fact I try to immediately forget what I have just photographed so that I can see it again with fresh eyes, perhaps from a different angle. Sounds daft I know, but it works for me. I find the larger 120 negative gives me more flexibility. I can print full frame squares , or I can crop, print vertically or horizontally, I can even make panoramas. I usually make those decisions much later, after I have made work prints to play with. As for the 4×5″, I must say that I find it pretty unwieldy outdoors. For me, The advantages it has to offer in terms of, for example, axis tilts and larger negatives, are completely offset by it\u2019s size and slowness of operation. All power to those who can use them outdoors. Inside the Kindergarten on the other hand, it was great because I had to slow down my pace anyway. The 4×5″ helped me to do just that! It was wonderful to peer through the ground glass at close ups of the children\u2019s toys. That close up, limited depth of field point of view, seemed to me to be how a child might view these objects. Total momentary concentration with complete disregard of whatever else was happening around them.<\/p>\nJPC<\/strong> What time of the day were you photographing in the kindergarten?<\/p>\nMK<\/strong> Usually morning, but not really early morning; you know, after dog walking time. Always when children were absent. It\u2019s a very different atmosphere when it\u2019s full of children. I would find it impossible to concentrate. The conversation would be between the object and the child rather than me. I don\u2019t feel I would be able to do the job properly. I prefer to have the solitude and tranquillity of photographing on my own.<\/p>\nJPC<\/strong> Every artist has a certain timbre of light they\u2019re attracted to. One wonders if what you\u2019ve been attracted to is a product of the quiet hours in the day in less populated places.<\/p>\nMK<\/strong> I love to photograph early in the morning and at dawn. But I\u2019m happy at dusk or in the middle of the night, I\u2019m even happy during the day if there\u2019s no people about. But it\u2019s more difficult when there are people around. There\u2019s a lot of noise. There\u2019s a distraction of energy in the air. I find it more difficult to focus and concentrate on what I\u2019m doing. So it\u2019s easier for me in the morning. And as you say, by chance or otherwise, that is the time when the light is quite gorgeous. In the kindergarten it made little difference, because there were just a few windows and that was all the light I used. Whether it was raining, or whether there was sunshine outside, I still photographed. It would have been nice to come in with a smoke machine.<\/p>\nJPC<\/strong> I\u2019ve been trying to resist that this whole time Michael. You didn\u2019t take up smoking I hope? No dry ice?<\/p>\nMK<\/strong> That\u2019s a good idea. I hadn\u2019t thought about that. Perhaps I should go back. But, I\u2019d get fried if I smoked in the kindergarten!<\/p>\nJPC<\/strong> Monique would not be happy.<\/p>\nMK<\/strong> Little ashes around the place, not a good idea! The place is always spotless!<\/p>\nJPC<\/strong> I\u2019m trying to zero in on why people are attracted to empty places. It\u2019s particularly curious when photographing man-made environments or environments that are so influenced by man. Curious to prefer looking at the residues of the activity rather than the activity itself. Certainly it lends a different perspective, a different kind of information.<\/p>\nMK<\/strong> If you\u2019re looking at the residues you have a great amount of space left over for your own experiences, memories, and associations. The residues act as catalysts with those personal connections. But if you\u2019re photographing a present engagement you don’t really have that. You focus in on the person doing the action. Memory is sufficiently diffuse. It\u2019s evocative. Every individual gets a different perception, because we all have different memory banks. And I don\u2019t think it\u2019s the same when you\u2019re photographing contemporary action or modern street furniture.<\/p>\nJPC<\/strong> True. It becomes much more specific, about the individual and that particular moment.<\/p>\nMK<\/strong> Right. Right. In some ways the older it is, the more space you have. The longer interval of time means that more memories have been stored. Just like some of the toys in the kindergarten.<\/p>\nJPC<\/strong> You\u2019re getting to something that\u2019s been in the back of my mind when I think of your work. Evocative, I think you used that word. An emphasis on suggestion rather than description. The lower levels of light, the deep shadows, selective focus, sometimes pronounced grain, the mist, the smoke, all are at odds with a photography obsessed with details, the literal surface of things, with denotation rather than connotation.<\/p>\nMK<\/strong> The camera is just a tool. It can be used as a Xerox machine. You can get all the right zones and all the precise details and you can come back with, more or less, an exact reproduction of external reality, which is a prerogative of any individual; but the prerogative of any individual is also choice and you could choose to do something completely different.<\/p>\nIf you\u2019re writing you can write a hundred pages and describe an event or an action or a place in fine detail, with all its associate tastes, smells, touches, and sounds.<\/p>\n
JPC<\/strong> Joyce.<\/p>\nMK<\/strong> Right. At the same time you can do Haiku poetry which can be equally potent with few words.<\/p>\nJPC<\/strong> Ancient pond\/ Frog jumps in\/ Splash.<\/p>\nMK<\/strong> Right again! It\u2019s the choice of any individual. In my photography I consider myself much closer to Haiku than to Joyce! In other media too, I am attracted to seemingly “unfinished” works, that are not so full of information that there\u2019s little or no room for the viewer, for audience participation. When I\u2019m not invited to participate I begin to feel disconnected, no matter how awesome the artwork or the artist\u2019s genius might be.<\/p>\nJPC<\/strong> I have to agree. I think photography has been obsessed about insisting that in order to be valid the artist has to have a very specific intention and indelibly impart it on the materials, because the machine is doing so much. In a sense this encourages one to overcompensate at times. I think one of the things that makes Shakespeare so great is the way he uses ambiguity, his work masterfully lends itself to dozens of equally valid interpretations and becomes a richer text through the process of continued interpretation, which can be read as participation, yet no one would say he didn\u2019t have something specific to say or that he didn\u2019t say it artfully.<\/p>\nMK<\/strong> Right. Work can be very boring when it\u2019s dogmatic, when a certain set of rules are striven for, and perhaps reached, but with little or no personal interpretation. It\u2019s the same with any structure or hierarchy. In photography, there are so many photographers running around trying to get the nth degree of fine grain and the nth amount of tonality. It\u2019s an endeavor and it\u2019s an individual choice as to whether it\u2019s a worthy endeavor. Of course the industry is geared towards that because they want you to try the next film, to try the next chemical, to get the best camera and the more expensive lens. It\u2019s the same with cars. You want a faster car with a better turning ratio and more acceleration. But it is not necessary to have all these things to drive down the road, to get from A to B. You can have a very enjoyable drive in your thirty-year-old ramshackle car, which usually has much more character and individuality anyhow. And you can produce excellent work with old camera equipment. People use pinholes of course.<\/p>\nJPC<\/strong> Or no camera at all. Man Ray, Adam Fuss.<\/p>\nMK<\/strong> Right. My work is certainly more about suggestion than description.<\/p>\nJPC<\/strong> So Michael, do you feel you\u2019re a participant in these spaces or these events or just a visitor coming through?<\/p>\nMK<\/strong> I think one has to participate in life. There\u2019s really no choice. You walk into a room and you change the whole energy and atmosphere of that room. There\u2019s always a connection.<\/p>\nJPC<\/strong> We could look to physics. You can\u2019t take a measurement with out altering the object or the environment you measure. The observer and the observed are inseparable.<\/p>\nMK<\/strong> Well that\u2019s basically it, Heisenberg\u2019s law of indeterminacy. That \u2018s a fundamental basis of life. So you have to participate and contribute. You can\u2019t be anonymous. And I found in photography if you make an active decision to contribute, if you don\u2019t go to a place, sneak in and try to snap a photograph, or take a photograph, or steal a photograph, but if instead you go in with presence of mind saying, “Hello. I\u2019m Michael Kenna. I\u2019d like to make some photographs here with your permission,” you\u2019ll be much more productive. It\u2019s when you go into that space and you say, “I\u2019m here, let\u2019s be friends. ” I don\u2019t want to get too touchy feely, but if you\u2019re in a space, you do need to connect with that space, whether you\u2019re in a formal garden, an industrial site, or a kindergarten. You need to have a positive rapport. It\u2019s very, very important. It\u2019s important not to feel like you\u2019re intruding or stealing. Because whether it\u2019s a tree or a steel works, energetically you set up bad vibrations if you\u2019re stealing, if you\u2019re always thinking “What can I gain from this?” As opposed to, “How can I add to this situation?” Here\u2019s a beautiful tree. You know if this was a person you wouldn\u2019t just snap it and run away. You\u2019d say, “You look beautiful, may I make a portrait of you?” Whatever it is you are photographing, remember to say, “May I make a portrait of you? May I photograph you?” That\u2019s how I try to approach it. I\u2019m trying to make a contribution rather than take something away. And it works. Something opens and I don\u2019t feel shut off from my subject matter.<\/p>\nJPC<\/strong> That\u2019s a balanced and very sensitive way of approaching it. It\u2019s the other side of imposition where you go to photograph “a” tree, which suddenly becomes “your” tree. I don\u2019t think Cezanne said, “You. Be my tree now.” There remains, in his work, a tangible sense of Cezanne trying to illuminate his painterly dialogue to a point where he could commune with the tree and subsequently communicate more of the tree. The veil of separation between subject and viewer parts.<\/p>\nAnd yet somehow I think in that process of reaching out we are also learning to contact levels of ourselves that we\u2019re not ordinarily in touch with. If we simply give the world and ourselves the rote responses we are used to we also rob ourselves of a fuller experience of the world and ourselves, one won\u2019t encounter unless we reach out. It\u2019s a curious mutualism.<\/p>\n
MK<\/strong> Yes. Let\u2019s use the analogy of a relationship. If you\u2019re meeting a tree for the first time, as with a person, you don\u2019t take that tree, or person, for granted. The more respect, reverence, and honor you give to what ever is in front of you, the better you will also be received. The clearer the dialogue you have, the clearer the relationship you\u2019ll have. Later on when you have a negative, you may have very warm memories of that particular encounter. And when that negative transposes into a print and the print sits on a wall, you don\u2019t feel like you\u2019ve stolen something.<\/p>\nJPC<\/strong> I think there\u2019s something extraordinary about how that quality, and we\u2019re talking about a quality not necessarily a quantity, could possibly be transmitted by the material and continue to be contained in the material for quite a long time, sometimes long after both viewer and viewed have passed.<\/p>\nMK<\/strong> But it does. There\u2019s no doubt there\u2019s, energetically, something in there. You can feel the difference.<\/p>\nJPC<\/strong> What else is on your mind at this time?<\/p>\nMK<\/strong> Perhaps future projects. After Monique\u2019s Kindergarten I\u2019ve finished my third project in three years. All of these projects have taken me 7 or 8 years. So there was The Rouge, Le Notre\u2019s Gardens and Monique\u2019s Kindergarten. Actually, all these projects continue even after books have been published. I\u2019m still photographing at the Rouge and in the formal gardens. Hopefully I will get to visit the kindergarten again soon.<\/p>\nJPC<\/strong> I feel it\u2019s important to follow a train of thought through, to give it enough depth and development to generate a critical mass or a momentum before moving on, otherwise the work might forever linger at the threshold of accomplishment. I wonder if you feel that these projects bring a specific focus to the process of working?<\/p>\nMK<\/strong> They do. I like to work in specific areas and on specific projects. However, I find that I work on four or five of these projects at one time. Now that Monique\u2019s Kindergarten is complete, the next project is looming. It is something I\u2019ve been working on for over ten years \u2013 the Nazi concentration camps in Europe. That will be my focus over the next two years. I have to get this work completed. There will be a book and the prints will be shown in the year 2000. All the work on this subject matter is being donated to the state of France \u2013 the Mission du Patrimoine Photographique, in Paris. They will organize the show and tour it, and produce the book. The prints from this project will not be in shown in galleries and will not be for sale. It\u2019s very sensitive material and I don\u2019t feel that I should profit by it. But I do feel that if people want to see it, they should be able to.<\/p>\nJPC<\/strong> It is important to bring a sense of conscientiousness to ones work, even if one has to make sacrifices to do so.<\/p>\nMK<\/strong> It is critically important that everybody lives as conscientious a life as possible. Furthermore, the higher you rise in whatever circle you are in, the more responsibility you have. I\u2019ve been most fortunate and have lived a very, very gifted career in photography. It doesn\u2019t seem like yesterday that I was wandering around the streets with my portfolio trying to get a gallery to exhibit the work. Since then it\u2019s really been great. So I feel very lucky. Photography has given me so much. This is one way, and there are many other ways, to give back. If you have a gift and if you can give back the gift, that\u2019s the best thing you can do. Gifts always carry responsibilities!<\/p>\nJPC<\/strong> There is a growing sense of conscientiousness, that it\u2019s an important aspect of creative work. Conscientiousness fosters a sense of becoming a whole human being and the more whole you become, the more whole your work can become. Perhaps it will then touch better parts of the viewers that later see the work. Ripples in a pond.<\/p>\nMK<\/strong> Absolutely. Absolutely. It all makes a difference.<\/p>\nJPC<\/strong> We certainly hope so.<\/p>\nMK<\/strong> It does. I have no doubt.<\/p>\nI think it\u2019s a good way to voyage through this world, being a photographer.<\/p>\n<\/div>\n
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Read More Photographers On Photography Conversations.<\/strong><\/a><\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Michael Kenna View 12 Great Photographs by Michael Kenna. Read selected quotes. Watch the video. Visit the artist’s website. Michael Kenna was born in Widnes, England, in 1953. He attended Upholland College, Lancashire,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":38787,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"folder":[4186],"yoast_head":"\n
Michael Kenna - John Paul Caponigro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Michael Kenna - John Paul Caponigro\" \/>\n<meta property=\"og:description\" content=\"[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Michael Kenna View 12 Great Photographs by Michael Kenna. Read selected quotes. Watch the video. Visit the artist’s website. Michael Kenna was born in Widnes, England, in 1953. He attended Upholland College, Lancashire,...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/\" \/>\n<meta property=\"og:site_name\" content=\"John Paul Caponigro\" \/>\n<meta property=\"article:modified_time\" content=\"2021-06-03T20:08:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/12_Kenna.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"19 minutes\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Michael Kenna - John Paul Caponigro","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/","og_locale":"en_US","og_type":"article","og_title":"Michael Kenna - John Paul Caponigro","og_description":"[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . Michael Kenna View 12 Great Photographs by Michael Kenna. Read selected quotes. Watch the video. Visit the artist’s website. Michael Kenna was born in Widnes, England, in 1953. He attended Upholland College, Lancashire,...","og_url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/","og_site_name":"John Paul Caponigro","article_modified_time":"2021-06-03T20:08:21+00:00","og_image":[{"url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/12_Kenna.jpg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"19 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebSite","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/#website","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/","name":"John Paul Caponigro","description":"Illuminating Creativity","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.johnpaulcaponigro.com\/blog\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/#primaryimage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/12_Kenna.jpg","contentUrl":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/12_Kenna.jpg","width":425,"height":425},{"@type":"WebPage","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/#webpage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/","name":"Michael Kenna - John Paul Caponigro","isPartOf":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/#primaryimage"},"datePublished":"2021-05-05T21:42:57+00:00","dateModified":"2021-06-03T20:08:21+00:00","breadcrumb":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/michael-kenna\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.johnpaulcaponigro.com\/blog\/"},{"@type":"ListItem","position":2,"name":"Photographers On Photography: Conversations","item":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/"},{"@type":"ListItem","position":3,"name":"Michael Kenna"}]}]}},"_links":{"self":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38867"}],"collection":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/comments?post=38867"}],"version-history":[{"count":5,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38867\/revisions"}],"predecessor-version":[{"id":39438,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38867\/revisions\/39438"}],"up":[{"embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38787"}],"wp:attachment":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/media?parent=38867"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/folder?post=38867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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