www.opalenik.com<\/a><\/p>\nThis conversation was first seen in the April\/May 1999 issue of Camera Arts magazine.<\/p>\n
\nElizabeth Opalenik<\/strong>As a child I dabbled in the arts but I wasn\u2019t raised to know that I could be an artist. I didn\u2019t come from that kind of background. I was very interested in photography before I came to the Maine Photographic Workshops in 1979. When I came, I took a class with Craig Stevens. I came late to photography, but I came late with a lot of life tools, life experience. That is very helpful, especially if you are going to apply them as … I don\u2019t want to say therapy, but photography is therapy. It can be therapy. The idea that I could translate something in my head, metaphorically, and put it on paper, through the use of photography, was so astounding to me that it didn\u2019t even take another thought \u2013 I took that two-week workshop and I stayed a year and a half. I just walked across the street and signed up and that was it. There just wasn\u2019t any doubt in my mind at all. It was very powerful to me that photography could be that powerful.<\/p>\nJohn Paul Caponigro<\/strong> It\u2019s so immediate.<\/p>\nEO<\/strong> It\u2019s so immediate. It was also so immediate in other terms. I remember thinking, “I\u2019m a happy well-adjusted person.” I took this course, was given an assignment, couldn\u2019t stop crying, and thought, “There are probably a lot of closet doors that I haven\u2019t opened.” It was in the exploring, what I wanted to take with me, and being able to metaphorically make images that translated those things. I could take love, knowledge, childhood, all those things, in a photograph. I thought, “It\u2019s worth exploring.” It was an instant decision for me, with no looking back.<\/p>\nJPC<\/strong> True love.<\/p>\nEO<\/strong> True love. And it\u2019s hard. Love is hard. But I can\u2019t imagine what else I\u2019d do. I really can\u2019t. I can\u2019t imagine what else I\u2019d do.<\/p>\nJPC<\/strong> A short list \u2013 soft focus, infrared, hand coloring, mordancage, emulsion transfer. The manipulated image is not new to you. I\u2019m curious why you\u2019ve got such a strong impulse towards a departure from what is ordinarily treated as the most representational medium.<\/p>\nEO<\/strong> I need the tactile. My hands need to be in it, on it. I like the feel of these materials, that\u2019s why I work in alternative processes. It\u2019s a tactile thing for me. I always wanted to be an artist and it still seems more of an art form to get my hands in there. I\u2019m sure that\u2019s part of it. In most of the processes, I do it has to do with the paper surface. I would probably be a very good printmaker. I\u2019d probably be very happy being a printmaker because I really like the feel of the papers and the handmade aspects of it. I like hands-on. In mordancage it\u2019s not the surface of the silver paper that I\u2019m so interested in but the fact that it becomes three-dimensional. I learned the process from Jean-Paul Sudre. I immediately wanted to save the draping. I thought, “Ah, this is wonderful.” Again you could feel it, if you put your hands on the surface of the print, you could feel it. It\u2019s very, very tactile.<\/p>\nAnd it\u2019s very one-of-a-kind. I like things that are kind of one-of-a-kind. Even in the silver print because I hand paint them they\u2019re still one-of-a-kind. I don\u2019t ever sit down and make three that look exactly alike. I don\u2019t color them at the same time so each one is going to be unique. It might be in the same style but it\u2019s still going to be done as one-of-a-kind. And it’s a black and white print I don\u2019t do the same thing in a black and white print either. I\u2019m just not that interested in doing that. I want to make it the best it can be but that best it can depend on how I felt about it that day and that can change with time because all good photographs are self-portraits. If I\u2019m in a black period it\u2019s going to be darker. If I\u2019m in a light and airy period it\u2019s probably going to be lighter. I see it in my work. I can relate a lot of things in my life through that.<\/p>\n
JPC<\/strong> The word “romantic” seems to hover around your work. I wonder how would you define romanticism?<\/p>\nEO<\/strong> Last week that was my course up here, The Romantic Photograph. I asked my students what that meant and every person had a different word or something else they applied to it.<\/p>\nJPC<\/strong> What were some of the responses?<\/p>\nEO<\/strong> It depended on what they were thinking about. For one person romantic was the beach scene with the sunset. For somebody else, it was touching. Somebody was madly in love with cars so for them romantic was a beautiful old T Bird. Usually, it was something that made you think about being somewhere else. So it\u2019s really what you bring to it.<\/p>\nI find my work more sensual than romantic. I have a hard time defining the word romantic. We all think of Hallmark cards. What I try to say to my students in those classes is just because you put a soft-focus filter on it doesn\u2019t make it romantic. I don\u2019t use filters. I may use infrared film. For me, it\u2019s more about sensuality than romantic, in the old fashion sense of romantic with flowers. I think of Hallmark cards, though Hallmark has changed \u2013 I teach creativity workshops for them too \u2013 it\u2019s that feeling of being overly done. I know that my work is not about that and that class is not about that.<\/p>\n
JPC<\/strong> Sentimentality?<\/p>\nEO<\/strong> Sentimentality. Right. I don\u2019t feel that my work is sentimental. I feel that it\u2019s sensuous. I feel that it\u2019s serene.<\/p>\nJPC<\/strong> “Reality” has a subjective component. Many moderns have a bias that in their knowing cynicism reality is hard, that one is not quite engaged in the fullness of life, it\u2019s “truth”, if one doesn\u2019t pay tribute to the harsher aspects of “reality” – the tough stuff.<\/p>\nEO<\/strong> And it\u2019s fine to have the tough stuff. But … I had this conversation with Larry Fink one day in France when he was there as part of the workshop I was teaching for Maine. We were talking about the moment when you would take the picture. I would choose to wait until the person put down the fork, stopped chewing the food, and had a nicer expression. Where if Larry were taking that picture, his have a much harder edge than my photographs will ever have, he\u2019d take the moment between the fork to the mouth or a mouth full of food. We all look like that in reality, at times. That\u2019s a reality. It\u2019s when you choose to push the shutter. There\u2019s enough hardness in the world I guess I just don\u2019t want to always be part of it. There\u2019s a place for both photographs. Somebody has to point out the other stuff too and I love Larry\u2019s work. But it\u2019s just a very different approach to when you would push the button. We had this conversation and I remember taking a Larry Fink picture of Larry to prove my point and pinning it on the wall and saying, “Well there it is Lar.” If you\u2019re cynical then the glass is half empty. And for me, the glass is always half full. So it depends on how you view it.<\/p>\nI had images of nudes underwater in waterlilies on one of those most peaceful days in one of the very first shows I ever did. I did them here in Maine, Annie Kurutz was my model. They were beautiful. I had my camera in the bag underwater looking at the light, for me it was about the lighting, it was about the repetition of a pattern of these beautiful waterlilies floating and her bikini bathing suit top floating. I did this whole series of these underwater images of semi-nudes which I loved. It was this incredible, incredible day. Richard Procopio took that work to his class and asked, “Who took these pictures?” Somebody said they thought it looked like she\u2019d been raped, that they were violent, obviously, a man had taken these pictures because of the bathing suit top floating. I was astounded.<\/p>\n
JPC<\/strong> Where do you think that variance in interpretation comes from?<\/p>\nEO<\/strong> Have you ever had six people out to dinner and had them all try to figure out who should pay the bill or how much it should be? Ask six people “Where should we go to dinner?” Everybody brings something else to it. Just try to get anybody else in the world to agree. Everybody brings their own life experience to it so that\u2019s really what the viewpoint is.<\/p>\nSomebody did a test once. They came into a gallery I was at, they ran in and said that something had been stolen, “Did I see this person come in?” They were there and then they ran out. Then they came back ten minutes later and asked me about the person who had been there. It was college kids doing a psychology test. In fact, they were only in there for twelve seconds and I said I thought they were there for a minute or two. It wasn\u2019t. My visual memory and what had actually transpired were very different. Anytime there\u2019s an accident everybody has a different idea about what they saw. It\u2019s your reality. And my reality is totally different.<\/p>\n
JPC<\/strong> And sometimes they collide in very interesting ways.<\/p>\nEO<\/strong> Yes. Yes, they do.<\/p>\nJPC<\/strong> If we\u2019re communicators it calls into question are communicating? If we have an intention is it carried out? Or have we made an empty vessel for endless interpretation?<\/p>\nEO<\/strong> Well I think there\u2019s a lot of interpretation about everything. I don\u2019t mean to seem vacant but I don\u2019t know that there\u2019s a message in any of my images. They\u2019re a peaceful place to put the mind.<\/p>\nJPC<\/strong> A statement of being.<\/p>\nEO<\/strong> I don\u2019t feel like I\u2019m asking deep questions. Maybe I\u2019ll evolve to that. I still feel like I\u2019m very new to photography. But there\u2019s a place for this.<\/p>\nJPC<\/strong> When does a nude becomes more than a body?<\/p>\nEO<\/strong> I think there\u2019s a real difference between nude and naked. John Berger talks about it in his book Ways of Seeing so I always use that book in my class and in this last workshop they asked me if I would give them an assignment to go home with. They had done self-portraits in the class so their assignment was to send me a naked self-portrait, as opposed to a nude self-portrait. And they had to do a naked portrait of someone they loved. When I say naked that person can be fully clothed–it has nothing to do with nudity. I think that\u2019s when it goes beyond.<\/p>\nJPC<\/strong> Do you think you can make naked pictures of places?<\/p>\nEO<\/strong> Yes. You can make naked pictures of places. Given the choice, I would rather have it be a naked photograph. I\u2019d rather have it be a naked portrait than a nude portrait. And that\u2019s hard to do sometimes because there\u2019s not a lot of time in these photographs. It\u2019s like photographing a rock. There are times when that rock is going to sing, it\u2019s going to say more than \u2018rock\u2019. I mean you get that in your photographs.<\/p>\nJPC<\/strong> Often. I think we\u2019re touching on things that a great majority of photographers are looking for, the naked truth, metaphor or extension, connection, a sense of direct contact …<\/p>\nEO<\/strong> … to the object. I don\u2019t want to make my nudes objects, but like a rock, they are a subject. It doesn\u2019t mean that they\u2019re an object.<\/p>\nJPC<\/strong> Right. But it also implies peeling away our preconceptions of the thing and coming fully into an appreciation of its fuller reality, its sense of being. We may not be able to define what that being is but we can experience it. That\u2019s one of the marvelous things about images, their non-verbal quality avoids caging in an experience with words. Like music, we can come straight into contact with it.<\/p>\nEO<\/strong> Right. I had an interesting question in my slide show this week. This wonderful girl at the workshops from Russia, every question she asked of every artist was interesting and insightful. I just loved her questions. She asked me after commenting that all the bodies in my work were perfect and beautiful, was it necessary for me to have this perfect body all the time in my pictures? My answer was that probably the most rewarding photograph I\u2019ve ever done and the one that means the most to me is a photograph of a nude of my mother in which she\u2019s also naked. She was 84. My mother doesn\u2019t have the perfect body but she has a beautiful body. And she\u2019s a beautiful person.<\/p>\nJPC<\/strong> I would guess that you found the beauty in her and that you had been acquainted with it for some time.<\/p>\nEO<\/strong> Yes. And that\u2019s what you try to get in everything. It has nothing to do with that outer shell. I try to teach with that same viewpoint with my students. Everybody has something beautiful to offer. It\u2019s you as the artist that can find it, that\u2019s where your talent lies.<\/p>\nJPC<\/strong> In a sense I think that\u2019s a quest for wisdom. There\u2019s always Plato, “Truth is beauty, beauty is truth.” Some think beauty is pass\u00e9. I think the fascinating thing about photography is that the discipline asks us to look at reality very closely and to discover new beauties we wouldn\u2019t have ordinarily considered. Look. You\u2019ll be amazed at what you find. After all these years aren\u2019t you amazed at what you find?<\/p>\nEO<\/strong> Oh, I\u2019m astounded.<\/p>\nIt\u2019s interesting now to go back and look at old contacts doing this 20 year retrospective for the school this past week I\u2019d to go back through all my old contacts to pick one from each year that I felt was not necessarily a good photograph but a stepping stone to the next level. I went back and was looking at twenty years worth of work of contact sheets, most of it unprinted. It\u2019s amazing what I discarded then or didn\u2019t know enough to know it might have been an interesting image. I think it will be really interesting to go back and print some of that because I\u2019m bringing a whole other personality to that work now.<\/p>\n
For me, photography is like a sketchbook. A contact sheet for me is a sketchbook and a journal. It\u2019s my thought process through the day or through the week however long it took me to put that roll of film through that camera or through that moment with somebody in a portrait session. It\u2019s a sketchbook of that person, of many aspects of that person that I am photographing. I like it for that too. I like to make a contact sheet just to have it.<\/p>\n
To remember, to think about what you were thinking then. I\u2019ve kept journals throughout the years, not as diligently as I wish I had, but I have kept journals throughout the years. To go back and look at the journals and think about the process that I was involved with at the time. That\u2019s why this twenty-year retrospective for me, it\u2019s not a retrospective, it was my image from every year, but I also wrote something about it. It was really interesting to look at the photographs and look at the context from that period of time and think about the next step, where I was in the journey, and one key thing that might have changed me, that suddenly made me take another path. I could remember key images each year that did that. In hand painting, I think about the Tuscan farmhouse table, suddenly my painting changed a watercolor technique. I remember a photograph of sunflower fields and having spent all my time in France, in Van Gogh\u2019s land, one day I was standing there and in this particular image, I discovered yellow. I remember thinking in my head and writing in my journal, “I\u2019ve just discovered yellow.” Suddenly I discovered all the nuances of yellow. Going back and looking at the old photographs and thinking, where was I and what I was thinking then. It\u2019s fun to go back. It\u2019s fun to go back and revisit. It\u2019s probably even more interesting to go back with a more knowledgeable mind to see what was there that I missed.<\/p>\n
A couple of years ago I wanted to put those images in my slide show as a teaching tool because I think everybody needs to know that the people that you\u2019re learning from started out as novices also. I certainly did. And I think it\u2019s good to show that to your students, to be vulnerable with them in that way and not be “the teacher”. And I was looking back of my contact sheet of that assignment and I realized there was this incredible image on there that I didn\u2019t know enough to print. It looked like one of Emmet Gowin\u2019s photographs of his wife. It\u2019s very simple; it\u2019s like a line drawing. It took me fifteen years to come to that reality. It\u2019s like going back to the paintings that you did as a child, that were so innocent \u2013 we all hope that we can go back and make those same images now.<\/p>\n
JPC<\/strong> Primal direct responses.<\/p>\nEO<\/strong> Real honesty. I think that that\u2019s a keyword in photography, I think that is really imperative \u2013 honesty.<\/p>\nJPC<\/strong> Tell me about the sensual pleasures of image-making. I think you\u2019ve been telling me the whole time but I\u2019m sure that you can celebrate it more.<\/p>\nEO<\/strong> Well, I think that it is a sensual pleasure \u2013 image-making. It\u2019s not just the finished print that is sensual in terms of the tactile qualities of the materials that I use. I\u2019m seduced by the light, all the time.<\/p>\nI was thinking about this coming over here, that I\u2019m just coming off the road of the teaching and not getting to do much personal work for the last few months and missing it and thinking about how much I\u2019m looking forward to some down time now to do some of my own work. Then instead of beating myself up I started thinking. I\u2019m always looking. I may not always take a picture every day. I was thinking of a quote from a golfer \u2013 of all the analogies, but since I shoot golf which most people don\u2019t know, I photograph for the LPGA, Nancy Wilkins, Arnold Palmer so I come in contact with golf-related things, it seems so far away from what I do \u2013 he said that every day you don\u2019t practice is one day longer that it\u2019s going to take you to be good. And it\u2019s the same with photography, every day that you\u2019re not out there taking pictures you have to shoot. Now Jay Meisel shoots every day. And I don\u2019t. There will be gaps of time when I\u2019m not physically photographing. But I am always looking. Even now, just the way you look, I\u2019ll line you up. I\u2019m not taking a picture of you but I suddenly know that you\u2019re better in this frame now than when I\u2019m sitting here because that doorway is bothering me. So I\u2019ll move myself to look at you and have you be in a space that\u2019s right for me.<\/p>\n
For me, it\u2019s always about the light. Light is incredibly sensuous I think. That\u2019s why I have such a hard time in the winter months, I can\u2019t live in places that don\u2019t have beautiful light. I love my house in California but I lose the late afternoon light about two hours earlier than sunset and it makes me nuts.<\/p>\n
JPC<\/strong> Lack of light is a hard thing to get used to in Maine. But even the smallest bit of light can be thrilling. On a December night, when you are inside in incandescent light, so yellow, looking outside into evening indigo, almost a lavender, if you step outside night turns to a cool pthalo blue, looking back inside everything is gold. Once back inside twilight\u2019s lavender again. Simultaneous contrast. Fascinating.<\/p>\nEO<\/strong> I love all of the different aspects of the seasons but I have to have that beautiful light. I love fog. But, I\u2019m not somebody who will get up at 4 every morning to go find it. I think that\u2019s why I shoot with infrared because I can be out there at noon and I can translate that harsher light to something that is pleasing to me.<\/p>\nThe act of looking for me is a sensual pleasure. My cleaning lady used to come to my house and find dead flowers and she would say to my roommate “Do you think I could throw these away? Or is it art?” There was always stuff around and it would always be rearranged and I would always know she came in and moved something on the mantle because visually I have to be pleased when I\u2019m looking at something. In my mind I\u2019m always taking pictures. But I could photograph that same scene ten times and still not get what\u2019s in my mind. Perhaps what I\u2019m seeing just doesn\u2019t translate. But it is a pleasure.<\/p>\n
By the same token, if I believed all the ads, I should be able to just pick up a camera and get it. That\u2019s the pr from manufacturers. They want you to believe that you just push a button and that you too can make these images. I said to you yesterday, “Put an artist behind a computer and you\u2019re going to get art. Put a technician behind it and you\u2019re going to get technical images.” It\u2019s inside. It all has to come from inside you. It has to come from your heart.<\/p>\n
For me it\u2019s always about the light. Light is incredibly sensuous I think.<\/p>\n
<\/p>\n<\/div>\n
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] . . Elizabeth Opalenik Visit the artist’s website. Elizabeth Opalenik is a fine art and editorial photographer whose work with the extended print, infrared films, and the mordancage process is exhibited, collected, and published internationally,…<\/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
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