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John Paul Caponigro<\/strong> The essays for your new book Places of Power contextualize the work very well.<\/p>\nJohn Sexton<\/strong> I was hoping for this when I was initially wrestling with the idea of the project. I think one of my essays in the book actually described this. I was trying to grasp why I was fascinated by making these new photographs, when prior to that almost everything had related to the natural environment \u2013<\/s> seemingly with the overriding hope of preservation. In 1987 I stumbled into a power plant, and then 3 years later found myself photographing at Hoover Dam. All of a sudden I understood that the thread of continuity within this body of work had to do with human activity, invention, and creation over a span of nearly one thousand years, and the project included my work on Anasazi ruins. Almost instantaneously I realized what I needed was a subject that was contemporary. <\/s>That’s when I first got the idea to photograph the Space Shuttle. It took time to figure out how all of these subjects working together. From my earliest days of thinking about it as a project I realized that I wanted somebody to try and explain this process because it is an unusual collection of images. I don\u2019t think there is a single book that contains the same set of subjects. So it was a challenge in that regard. I am pleased with the way all of the essays turned out, and I am very pleased with the way the whole t<\/s>book came together.<\/p>\nJPC<\/strong> I can imagine some might say, John Sexton \u2013 technology \u2013 heresy.<\/p>\nJS <\/strong> The first time I showed any of these photographs was at the last exhibit at the Friends of Photography in Carmel before they moved to San Francisco. The idea was to include photographs from Monterey Peninsula artists, but to show work that was other than that which we might have been known for. I ran into a friend and he said to me, \u201cI saw your prints in the exhibits at the Friends of Photography. When are you going to stop doing the industrial crap? Why don\u2019t you get back to the good stuff \u2013 the landscape.\u201d I said, \u201cI still photograph the landscape, but I like this too.\u201d I remember the experience because it was kind of shocking. To me there is a similar beauty in both. I have never liked the term \u201cnature photography.\u201d It has always bothered me. I don\u2019t mind saying I photograph the natural environment which to me includes everything on the planet.<\/p>\nJPC<\/strong> It seems both sensible and timely to expand our understanding of what \u201cenvironment\u201d means at this time.<\/p>\nIt\u2019s also encouraging to hear what you say about having to find your way to the work rather than forced into being. \u201cAn artist knows more than he thinks he knows,\u201d is one of my favorite Picasso quotes. The question then becomes how do we find that which we know but don\u2019t think we know. I think if you start with what truly moves you and later find a way to explain the resulting work that that is the best way to go about creating a lively work.<\/p>\n
JS <\/strong> When I was first working on these photographs felt I had no idea why I was making them. I felt torn inside, but it was one of the few times where I actually did something that seemed, in retrospect, intelligent because I knew that the answer to why I was making the pictures had to lie within the pictures themselves \u2026 and me. The answers lay somewhere between me and my photographs. I realized what I needed to do to figure out the answers was make more pictures. I can\u2019t completely explain it today, but 13 years later I have a lot more answers than I did when I started. The pictures seemed natural to make. I wouldn\u2019t say easy. I prefer natural. Sometimes, in the landscape, you can be photographing for days, exposing film and making photographs, but somehow there just isn\u2019t a sense of harmony in the process. There are other times when you\u2019ve made photographs that you knew you had something when you released the shutter. You could feel it. Those are the negatives that you were most nervous about developing. In these industrial sites it seemed like it was so easy because you had a fairly small box around you compared to the landscape. I just walked that box again and again, over a series of years.<\/p>\nJPC<\/strong> So essentially the answers were contained within the space itself and within doing the work itself.<\/p>\nJS <\/strong> Yes. I also knew when I was done working at the power plants. And I knew when I had finished at Hoover Dam. I know that I am not finished with the Space Shuttle, and I still want to continue exploring those subjects.<\/p>\nJPC<\/strong> Two quotes in the book particularly impressed me both by Walter Cronkite, \u201cThe central story of any age is largely that of its technology, according to the history textbooks.\u201d And then later, \u201cOur technological advance has almost always created new, unanticipated problems.\u201d The parallel is clear between us and the Anasazi who at the apex of their culture were forced to migrate because of the pressures they exerted on the environment they lived in. We live in a pressured environment and having no new frontiers we fantasize about finding another one beyond planet Earth. Without being overstated there are clearly ecological echoes resounding within this work. Cronkite mentions Cassandra and I am wondering if indeed this work contains a warning like the one issued by Cassandra.<\/p>\nJS <\/strong> I was very pleased with the way Walter Cronkite’s essay turned out. I approached him after I read the transcript of a speech that he gave to an environmental group a few years ago. He spoke of the importance of technology, but at the same time expressed a concern about the negative technological implications into the future. Up to this point human beings have relied on technology to solve technology\u2019s problems. Now we have some monumental problems on a global scale. I really like the way he tied things together giving technology a historical perspective.<\/p>\nJPC<\/strong> Another mentor, Ansel Adams, is well known for his environmental work and I assume that you have carried along that tradition as well.<\/p>\nJS <\/strong> Well, I have always tried to. Whenever somebody needs a picture for a good cause, I always try to make it available. It’s not a commercial venture to me. That is one of the other things that I wrestled with in these photographs. In one context I don\u2019t think Hoover Dam belongs where it is. I think that the Colorado River should be a free flowing river. But long before I ever came along, not that I could have stopped it the dam was there. What it does is truly astounding, and so is the way it does it. From an engineering perspective it is an amazing accomplishment.<\/p>\nJPC<\/strong> It is both brilliant and horrifying at the same time.<\/p>\nJS <\/strong> Exactly. I hope the photographs express that. I want the photographs to work as strong images in people\u2019s minds. I have never been one to try and sales pitch a picture, to talk about whether it has a certain quality to it or not. Obviously there are words from me that accompany the various sections of the book to try and give the images some sort of context. But, I think there are some pictures within the book that are mysterious. I don\u2019t know that I would say that they are disturbing, but I would hope that they are slightly spooky because that is the way I felt when I was making them.<\/p>\nJPC<\/strong> It\u2019s nice that the message is complex because the situation is complex. It\u2019s too easy to polarize issues and those extreme approaches rarely yield useful or sustainable solutions. I think that just going there and directly observing and bringing back those observations is one of the most powerful ways to move people. It is sometimes best to let people form their own opinions and their own relationships to things. In that way I think the photographer has played and continues to play a key role in environmental issues.<\/p>\nJS <\/strong> It is one of the things that photography probably accomplishes more effectively than any other visual medium \u2013 the feeling of being there. One of the things that you can do effectively with photographs is transport the viewer to a place they have never physically been.<\/p>\nJPC<\/strong> As an opening quote to the book you include one of my favorite statements made by Buckminster Fuller, \u201cWhen I am working on a problem, I never think about beauty, I think only of how to solve the problem. But when I am finished, if the solution is not beautiful, I know it is wrong.\u201d Though I am not a scientist I find this to be true. Do you have an example of how that principle has operated in your work?<\/p>\nJS <\/strong> What led me to that idea was the concept that we don\u2019t necessarily build utilitarian things to be beautiful, but when we build things that work efficiently they are inherently beautiful. This takes nothing away from a great sculpture. However, to me it is more exciting to walk into a steam turbine room, or to stand underneath the Space Shuttle to<\/s> and see a device that was built by people to do a particular job, and discover its innate beauty. I have a photograph of a Space Shuttle main engine that almost looks like it is on a sculpture stand. I swear to God, if you put that rocket engine in an art museum people would \u201coooh\u201d and \u201caaah\u201d over it as if it were a piece of great sculpture. Yet the fact is it\u2019s an extremely complicated technological device that generates more power than seven Hoover Dams!<\/p>\nJPC<\/strong> Utility adds another dimension to an object \u2013a beautiful dimension. I think of architecture in this instance.<\/p>\nJS <\/strong> Absolutely. I think architecture and music have got to be among the most abstract media there are.<\/p>\nJPC<\/strong> Yet they\u2019re two of the things that affect us most. One shapes the space we move in, the other shapes the envelope of sound we navigate through. We get instant responses to both. Many are physical responses.<\/p>\nJS <\/strong> How does a person sitting in an office, looking at a little architectural drawing, or at best a little model, visualize the entire process to the experience of standing in the final room. Your father is likely much closer than I ever will be to understanding how someone can put a pencil on a piece of paper, make a mark, and know what that is going to sound like with a 65 piece orchestra. I don\u2019t know how to conceptualize that. It is beyond my capability. I have the utmost awe for someone that can do that.<\/p>\nJPC<\/strong> Perhaps it\u2019s another form of \u201cprevisualization\u201d? It is a language that you probably could learn, but it may not be where your passion lies.<\/p>\nJS <\/strong> I think I am too simple minded.<\/p>\nJPC<\/strong> I think you are too other minded. I am not going to enter a darkroom and accuse you of being simple minded.<\/p>\nJS <\/strong> That is something I can grasp anyway. And maybe one of the reasons is the final product of photography, its success or failure, is not put off so far into the future.<\/p>\nJPC<\/strong> Rob Pike\u2019s (a computer scientist who developed one of the first systems that used windows to allow multiple applications to share a display) introduction also highlights the sense of how form follows function beautifully, \u201cSome elements of aesthetics are innate, a consequence of design.\u201d This may be akin to \u201cTruth is beauty. Beauty is truth.\u201d This of course brings us to the nature of the medium. And, individuals bring their unique aesthetic to both a process and a subject matter. The collision of the three is particularly fascinating to me. It may be photography\u2019s ultimate mystery. I am wondering what kind of meeting point you\u2019ve found over the years between the three?<\/p>\nJS <\/strong> You ask the toughest questions. Why don\u2019t you just ask about shutter speeds, f\/stops and easy things like that?<\/p>\nJPC<\/strong>They\u2019ve already been asked and answered. Often we do a technical sidebar at the end of each conversation. This information is at the back of your book, isn\u2019t it?<\/p>\nJS <\/strong> Yes it is, and I occasionally take some heat over including that information in my books. But so many people come up to me or they drop a note and ask those questions. I really enjoy that because it means they have looked at the pictures and have tried to figure out how I made them. If the photographic information helps them, I am pleased. If they simply aren’t interested in the technical information, it can easily be avoided.<\/p>\nJPC<\/strong> That\u2019s great. You\u2019ll eliminate having to answer the same questions endlessly.<\/p>\nJS <\/strong> Right. I did a workshop shortly after Quiet Light came out. As I was doing a demo and somebody asked, \u201cHow did you do this?\u201d And I said, \u201cI think I used a #11 filter. I really don\u2019t remember.\u201d Bob said, \u201cIt was a #58 filter.\u201d After the first couple of times this happened I would just ask Bob for the answer, \u201cBob, how did I do that?\u201d Bob had memorized the entire book, which concerns me because I think he should have better things to do in his life. It was very flattering on one hand, and it was slightly distressing on the other. He needed to be focusing his attention on his own work.<\/p>\nJPC<\/strong> I think you are pointing out that that is exactly what we are not talking about when we talk about communion with a subject through a medium.<\/p>\nJS <\/strong> Right. Now, I think I drifted off because you asked me a good question that I was having trouble answering. Do you remember what the question was?<\/p>\nJPC<\/strong> The first part was drawing out the idea that beauty is innate to a working design.<\/p>\nJS <\/strong> I really believe that is true. I think that we don\u2019t often \u2013 look at the natural environment as a functioning system. There are very few things in the natural environment that are not beautiful. There are things that we might not be able to comprehend, or that may not agree with our tastes. For instance, some people have difficulty with the desert. They find it too void of life. But to me it\u2019s aesthetics boiled down to raw nudity<\/p>\nJPC<\/strong> I couldn\u2019t agree more.<\/p>\nThe second part was about finding a meeting point between a subject, a medium, and a personal vision. Did you find that as a result of approaching a new subject matter your technique had to shift a little?<\/p>\n
JS <\/strong> Absolutely. When I first photographed the Space Shuttle I didn\u2019t anticipate anything that would be technically different from the power plants or Hoover Dam. I had the process of photographing under extremely high contrast situations pretty well under control. I wanted these subjects to look sensuous. I wanted them to have a tactile quality. I wanted to recreate a sense of reality. Why? Because I could technically do it? No. Rather, I wanted to try to put the viewer into these places \u2013 places that most never get to experience firsthand. Then again, I had seen pictures of the Space Shuttle at night on the launch pad and it appeared gleaming white. Well, when I finally met a Space Shuttle I found out that they<\/s> an orbiter shows the wear and tear of millions of miles of travel. The orbiter is actually matte white, not gleaming. Really, it’s pretty gray. When I made a photograph that was accurate to the subject it looked miserable. In some of the prints I have to do a lot of darkroom work to get the Shuttle looking white, because that is the way I think it should look, and it is the way other people think it should look. They are used to seeing it on television with bright xenon lights on the shuttle in front of a dark background.<\/p>\nJPC<\/strong> You brought to bear what you felt and knew beforehand to what you were seeing at the moment. So they refer to the icon as well as the reality.<\/p>\nJS <\/strong> Exactly. I had to change the way I printed these negatives. I had to alter the way I processed the film, not because I wanted to change, but because the photographs demanded it.<\/p>\nJPC<\/strong> Did you see accompanying shifts in your vision as it were?<\/p>\nJS <\/strong> In a way it was almost disturbing. Although I have tried to include a number of different vantage points, there is a lot of symmetry in the design of these objects. When I am working in the natural environment I don\u2019t tend to regularly put elements in the center. However, since the Space Shuttle is a symmetrical object, I ended up making a lot of photographs, without ever consciously thinking about it, that were much more symmetrically organized than I might have if I were working in the landscape. At a certain point I could see the recurring symmetry in my contact sheets and prints. I then said to myself, \u201cHey, watch it. Make sure you are not just making those because they become comfortable.\u201d I wanted to make sure that I wasn\u2019t just doing it because it was the easy way to see it. I try and shift my vision frequently.<\/p>\nJPC<\/strong> I always look to proportion. Every artist has an indelible sense of proportion. You can see it in Strands\u2019 photographs particularly. Looking at that these there are similar proportions to those found in images of trees that also have the Sexton signature.<\/p>\nJS <\/strong> These are not things that you do consciously. You can see them in retrospect. I don\u2019t like to go out with preconceived ideas. I want to go out and find something that is so exciting that I can\u2019t keep from making the photograph.<\/p>\nJPC<\/strong> Photography is a way to explore.<\/p>\nJS <\/strong> Exactly. And sometimes our explorations are successful, and other times they are not. For me, one of the most exciting things about photography is when you come back from a trip and you have a couple of negatives that just felt right when you were making them. Those are the ones you are nervous about, and want to see first. I have a great fear of the day when I come back from a photography trip and I am not nervous about the results. That tells me that there isn\u2019t much of me on that film. I think I want to be nervous. I want the anticipation of one or two of those pieces of film that is just burning a hole inside of you until it gets processed. I would be lying if I said that I didn\u2019t have, in the recent past, great disappointments. Those are not fun days. But there is a much worse day, and that is the day when you simply don\u2019t care.<\/p>\nJPC<\/strong> Six cups of cappuccino is no substitute for that nervous feeling, is it?<\/p>\nJS <\/strong> That\u2019s right. Photography can become a hardware oriented process for many. One of the most challenging things about teaching is trying to find a way to throw the switch on the inside so that others can experience creative excitement too. I remember watching Ansel come out of the darkroom in 1982 saying, \u201cI finally got a print of this negative I made in 1932.\u201d That was the most valuable lesson I ever learned from him.<\/p>\nJPC<\/strong> That\u2019s wonderful.<\/p>\nJS <\/strong> We walk a fine line. It\u2019s a fine line between style and redundancy. It is easy to revisit your past successes, if you have had success. I am flattered if somebody can recognize one of my pictures without having seen the signature on the mat. That means that there is something that came through. It is intangible. I recall seeing photographs by Sebastio Selgado in Time magazine shortly after the Gulf War. These were photographs of fighting fires in Kuwait. I wasn\u2019t reading it, I was just looking. I said, \u201cOh, my God, Selgado. This is the way he would photograph it.\u201d Naturally when I got to the front article it said photographs by Sebastio Salgado.<\/p>\nJPC<\/strong> You saw the real signature.<\/p>\nJS <\/strong> So that must mean that they had a context and relationship with his other images. So there is a unique style. Something of him comes through. Then, at a certain point one could say that style turns into repetition, redundancy. So it is a pretty narrow road to walk. I think the best way to walk is to keep exploring and doing what feels right. With the power plants, I didn\u2019t know exactly what I was doing. It was a very exciting time in my photography because I didn\u2019t know why I was making the pictures. It was scary, but it was also easy.<\/p>\nJPC<\/strong> That\u2019s invigorating, isn\u2019t it?<\/p>\nJS<\/strong> It is. It was very stimulating, and it is hard to manufacture. I can\u2019t just wake up tomorrow and say I am going to recreate that feeling today. I was out there reaching further than I had aesthetically, in a direction I was unfamiliar with. And I had a whole new set of technical challenges that made me reach and stumble and fall and pick myself up and say, \u201cThat didn\u2019t work, what do I do now?\u201d When you trip and stumble it is embarrassing, but you dust yourself off and you look around and say, \u201cOkay, that didn\u2019t work. What do I do next?\u201d That is when you are growing.<\/p>\nI have met very few people that are superb at what they do that don\u2019t have an underlying sense of humor.<\/p>\n
JPC<\/strong> It is a necessary survival skill.<\/p>\nJS <\/strong> How else can you deal with things? I find people without a sense of humor most distressing. I like photographers, and I have a lot of photographer friends. But the ones that I can’t spend a lot of time with are the ones who take themselves too seriously. They seem to think that every time they release the shutter they are changing the course of human history. It\u2019s not likely. But it is exciting to know that we all work in a medium that has changed the way we look at history, and the way we experience day to day life. We work in a medium that has a power not because of the cameras and lenses, film and papers, even computers, but because human beings are using those materials. That is the power of the medium. There have been some amazing things done up to this point. I can\u2019t help but think that there will be amazing new things in the future.<\/p>\nJPC<\/strong> Without a doubt. Most people don\u2019t realize how large or far reaching the field of photography is. You and I tend to deal with the fine art, but let\u2019s also consider social documentary, and photography\u2019s scientific applications (in medicine and astronomy for instance) as well. There has never been a visual medium that has done more to change the way we look at the world and what we know about it and ourselves<\/p>\nJS <\/strong> Absolutely. It is hard for a child to be born today and not experience photography within the first few hours or more likely the first few minutes of life. The birth doesn\u2019t happen until it is photographed. You can\u2019t have a war without photographs these days. It seems nothing can happen without photographs. The person or the event doesn\u2019t exist unless there are pictures to prove it. That is, I think, exciting. I really have enjoyed our discussion because it is first of all thought provoking and it brings back memories of the talk I saw that you gave in \u201897, which I really enjoyed. I can still see some of the images that were on the screen. Consider the difference in your approach, the digital, as opposed to my approach, the analog. In fact we are both doing the same thing. We are considering things, often within a historical perspective. Just in the last few moments you have imparted your recollections of many jewels of thought from people of importance in the medium of photography, history, and general life that you bring to a computer. It\u2019s not just the idea of using Photoshop because it is Photoshop and it is cool to do. It is a tool to achieve a goal. There\u2019s probably a lot of internal turning and head scratching that goes onto a times to figure out that goal. It is the journey and the reaching that makes it all worth it.<\/p>\n<\/div>\n <\/p>\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] . John Sexton View 12 Great Photographs by John Sexton Read selected quotes. Watch the videos. Read the short Q&A. Visit the artist’s website. John Sexton was born in 1953, and resides in Carmel Valley,…<\/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
John Sexton - 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\/john-sexton\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"John Sexton - 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] . John Sexton View 12 Great Photographs by John Sexton Read selected quotes. Watch the videos. Read the short Q&A. Visit the artist’s website. 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John Sexton View 12 Great Photographs by John Sexton Read selected quotes. Watch the videos. Read the short Q&A. Visit the artist’s website. John Sexton was born in 1953, and resides in Carmel Valley,...","og_url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/","og_site_name":"John Paul Caponigro","article_modified_time":"2021-06-03T19:40:50+00:00","og_image":[{"url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/009_sexton1.jpg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"21 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\/john-sexton\/#primaryimage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/009_sexton1.jpg","contentUrl":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-content\/uploads\/2021\/02\/009_sexton1.jpg","width":425,"height":336},{"@type":"WebPage","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/#webpage","url":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/","name":"John Sexton - John Paul Caponigro","isPartOf":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/#primaryimage"},"datePublished":"2021-05-05T21:57:30+00:00","dateModified":"2021-06-03T19:40:50+00:00","breadcrumb":{"@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.johnpaulcaponigro.com\/blog\/photographer-convos\/john-sexton\/#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":"John Sexton"}]}]}},"_links":{"self":[{"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38895"}],"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=38895"}],"version-history":[{"count":8,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38895\/revisions"}],"predecessor-version":[{"id":39425,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/pages\/38895\/revisions\/39425"}],"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=38895"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.johnpaulcaponigro.com\/blog\/wp-json\/wp\/v2\/folder?post=38895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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