F I N E A R T

COLLECTIVE volume one

FINE ART COLLECTIVE

If you’ve read our previous Collectives, you
know the deal. So why waste time? We’ve asked

Thanks
the questions you know you’ve wanted to see
answered. We’ve pulled the best advice from the
greatest photographers you know you’ve want-
ed to read. And just like before we’re confident
you’ll enjoy this amazing talented and innova-
tive work just like we do.

This one’s called the Fine Art Collective, and

we’ve interviewed our favorite portrait, street,
and experimental photographers from around
the world and collected all their insights,
thoughts, and tips in one free ebook for you.
All we ask is for you to continue spreading
We’re sure you’ll love their work as much as we
liking us on Facebook and following us on
do.
continue being so great. And tell your friend
can get it at http://www.photowhoa.com/fin
All we ask is for you to continue
s from PhotoWhoa!

the word by Because here at PhotoWhoa we want to help you become a

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CONTENTS
FINE ART COLLECTIVE

Nigel Grimmer, 6
Andi Elloway, 12
Jared Thomas Kocka, 20
Catherine Scrivener, 26
Ira Chernova, 34
Nathanael Turner, 42
Caitlin Teal Price, 48
Alex Coghe, 54
Lindsay Perth, 62
Amy Lombard, 70
 Self-Portraits Done in Art Drag
I H
t’s almost a guarantee, a universal fact of life. If you ow did you get your start in photography? How
have a family, you also have, somewhere deep in your would you describe your work?
pocket of history, a family portrait that looks just like
every single one that has ever been made. If you’ve seen At nineteen I studied a Fine Art degree in Sheffield in
one family portrait, you’ve seen them all. But why do Yorkshire, England in sculpture, actually. Many of the
family portraits end up looking the same? Who said this people on the course were older than me and had a great
genre of photography had to include what it does? deal more life experience. I wanted to work with a subject
Nigel Grimmer makes photographs that expose the that I could discuss in an authoritative way, so chose my
pressures placed on photographic genres. Putting his family, but more specifically the snapshots I’d brought
family in dunce caps, or having them take selfies as road- from home. Initially, my sculptures were based on the
kill, Grimmer has previously explored what gets included family imagery, and then actually incorporated the pho-
in a family photo album. In his most recent project, Art tos. Later I worked more with just photographic prints
Drag, he takes a shot at one of photography’s principal and studied lens media for my Masters; I have exhibited
illusions — depth. Just as flattening the world to a map my photography regularly since graduating in 1998. My
creates distortions to shape and size, a photograph also photography projects always have a conceptual basis,
distorts a 3D world into a flat fantasy. The paintings and stem from ongoing research exploring the relation-
highlight that — within a photograph — what you see ship between images created for private consumption
isn’t always what you get. and those produced for public consumption. This investi-
In this interview, Grimmer talks about his start, ex- gation has focused on the family photograph album, and
plains more about Art Drag, and reveals how you can more recently portraits employed within social media.
participate with him by sending your own photos. I’m inspired by a desire to produce new photographic

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albums that are freed from the pressures associated with on a male quest for an exotic other, and I thought these
the traditional domestic album. portraits with their strangely hued women played nicely
with the idea of this ‘otherness’. I’ve treated each portrait
I read that you want to avoid being precious with your differently, but have enjoyed turning these exotic beau-
photography. Could you define what precious means to ties into something jarringly common or familiar; now
you? Why do you want to avoid it? they are walking the street in sportswear or pyjamas, the
exotic has long since been assimilated.
When I mentioned in an interview something being too
precious, I was talking about technology, saying that I You feature images sent from other photographers on
want anyone to be able to join in my projects, so I avoid your site. Have you ever been surprised by any of the
technology that is particularly expensive or specialist. images sent to you? Do you have any favorites?
I do see my photographs as snapshots; they are taken
quickly, they involve fairly basic equipment, they are There is a section on my site where anyone can add his
usually based around a social interaction, and perform or her own portrait to any of my projects called “I could
the function of memento of that interaction. have done that!” My favourite is by a boy called Andy
Barbour who reproduced one of my Roadkill images, but
What elements of technical skill do you think might be chose to kill Jar Jar Binks from Star Wars in his photo;
overrated? Do you try to keep yourself from overthink- that really made me laugh!
ing a project?
You’ve said that a lot of your work is a response against
I use photography as a tool in my art projects, just as I a constructed nature of images. You don’t want every
might sculpt or draw. It’s a means to an end, and I want family portrait to look the same, for example. Why do
to know just enough technically to achieve my required you think formal techniques spread the way they do?
result. As a conceptual artist I spend a great deal of time Does photographic language evolve from camera tech-
thinking about the ideas behind my work. But when I nology?
start a project I try to be quite open about the first few
shoots, before cementing the ‘rules’ that will make the Initially many of the formal qualities of snapshot pho-
series. tography were indeed based around the limitations of
the initial mass-produced cameras. The lenses in the
One of your most recent projects is Art Drag Album. cameras were suited to photographing a group of people
Could you explain your aim with this one? What was rather than an individual for example. The media has
the idea behind it? a strong influence on shaping the images we produce.
Whereas my parents or grandparents might produce
I have begun disrupting the integrity of the picture plane snapshots that mirrored the family depicted in adverts
in order to highlight the flatness, and thus the artifici- or on holiday brochures, my students copy selfie memes
ality, of the photographic object. I wish to create my they see on the Internet – planking, owling, hotdog leg,
disruptions photographically, as part of the image-taking etc. Often these memes are only understood formally.
process. Within my series Art Drag Album I am experi- Their origins are lost. We like to feel part of something,
menting with the introduction of a secondary picture and we don’t like standing out as different; we mirror the
plane within the photographic frame; a collection of images without knowing why. At least with these Internet
kitsch vintage paintings are used to create ‘windows’ memes anyone can join in, since the photographs are
within the frame causing slippage between the illusionary self-portraits, whereas the family album put pressure on
foreground and background of the photograph. anyone who wasn’t part of a traditional family structure.

About the art in the portraits, how did you pick the Check out all of Nigel’s work here!
pieces? Was there a system you used to pair it all to-
gether?

I wanted to use portraits that were mass-produced yet

nostalgic. Much of the history of photography is based
FINE ART COLLECTIVE
12
 Starting Trouble and Shooting Nudes
A
secret — I’ve only fallen in love with one woman. And if you’re wondering what I’m getting to, consider
Although according to some poets, that’s already this my introduction to one of the most sexually aware
one third of all the hearts I’ll ever meet. When photographers we’ve ever featured: Andi Elloway. Hav-
Hemingway was asked to explain when he wrote his best, ing worked with Elle, Rolling Stone, and many others,
he said it was only when he felt love. With love, sex. Sex Elloway makes work so direct, so charged, you’ll feel like
hits like falling up to your greatest depth. Roberto Bo- reaching out and experiencing it yourself, to fall once
laño, knowing he’d die in a few years, wrote a story about more for another note to sing. Enjoying your fall, your
this, about sex and, of course, love. lowering, your loosening, because it all feels like flying.
He told the story of Mexico City’s mother of all liv- In this interview, Elloway talks about what photography
ing poets. The sexed-up mother that falls in love, many means to her, explains why she’s attracted to sensual
times, then dies. But before she does, she has a vision imagery, and reveals how she approaches nude shoots.
of the world. In it, she sees all the dying children of Latin
America marching to a great abyss, singing, though quiet
and innocent, singing, though maddening and dismal,
singing, for the briefest loves they had the chance to
Ilove how direct you are with sexuality. Does photogra-
phy come easily to you? How would you describe your
work?
experience, all together falling for love.
Falling up to your greatest depth, sex has always been I would say it comes very naturally, just in that I’m very
the deeper symbol of love to me. It’s not the feeling, the impulsive and fearless when it comes to getting what I
duty held together by two (or more), sex is the friction want. Things don’t fall into your lap as often as most peo-
and the sparks. If love’s the song, sex’s the march. They ple would like to think. You have to put in a good amount
both go together, but they’re never the same. Sex can of effort for the best shots most of the time. I trust my
exist outside, as a shadow, or as an image, of love. Yet instincts and try not to overthink things. My work is a
love never promises eternity. Remember Hemingway documentation of my life mostly. Even the conceptual
ended up in Idaho, alone. Sex, great sex, always feels stuff I still approach like I would if the models, or who-
timeless. ever, on set were my normal friends and we were just
hanging out. Usually, I try to make them fast friends be-
FINE ART COLLECTIVE
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fore we start shooting anyway. I take of your career, you’ve said that you experience, for being fully pres-
photos every day, because I always were too shy to ask people to strip. ent. Do you think it’s important for
see things that are interesting to When did this hesitancy disappear? a photographer to explore what’s
me, or I’m experiencing something I Why do you feel confident now? within them to find their own style?
want to remember. Special moments Is being friendly an advantage?
with special people are happening At this point I think I’ve just been
constantly and photos help me share around enough naked people that it I think a photographer should always
that energy with other people. When doesn’t get to me. Girls, I’ve mostly shoot what they’re most attracted
it’s a planned shoot, it’s the same been pretty chill with, but asking a to. Whether that means food, or
thing. I’m helping people and brands boy to get naked just made it seem dogs, or nature or whatever. Your
share something important to them, like I was asking for more than I eye is your eye. Sometimes it chang-
and it’s a great feeling. was, you know? Guys would think it es based on the things you expose
was code for “let’s hook up” when yourself to, but a photographer
When did you first start shooting? it wasn’t, and I wasn’t trying to lead should always try to capture what
anyone on. But bodies are bodies they personally think is intriguing.
I’ve always taken photos, but when I and I’ve become pretty disconnected Early on, a lot of photographers, my-
was younger my photos just went on from the shyness I had a couple self included, try to shoot everything
myspace, or whatever it was at the years ago. Work is very much work they’re attracted to and so their
time. I think I had an early version of and my head is in it’s professional style isn’t really present and is kind
whatANDIdoes on some build your space when I’m shooting. I want to of all over the place. The more you
own website platform. It was defi- make something that looks and feels shoot the more it settles so it’s really
nitely the same concept of putting cool, but I’m not in the moment any just a matter of waiting it out in a lot
photos up of my friends and I doing further than that unless I have a per- of cases. Style isn’t something you
funny shit and goofing off, but just sonal relationship with whoever it is. have after five shoots, it’s something
really young. My more conceptual that emerges after a few years of
work was starting to shape up about What’s the attraction of mak- shooting anything and everything.
then as well I guess, but it was me ing sensual imagery to you? Is it The things you photograph say a
taking photos of my friends’ legs in a matter of being up-front with lot about who you are as a person I
fishnets or we’d be in the hot tub how dominant sexuality figures in think. As for being friendly, it never
topless holding snowballs in front American culture? hurts, especially when you’re mar-
of our boobs. The trouble came keting your work, but it’s not going to
my senior year when the faculty at It’s honestly not something that I help you take better photos of trees.
school found them and were like, “Yo tried to do consciously. I’ve always
… you’re 17, this is a Christian prep just made the photos I’ve wanted After your shoot, do you give space
school …” It was strongly frowned to, which are photos that make between your shoot and your edit?
upon. I think I’ve always been sort of people feel something. I want who- When do you know you captured
the unlikely instigator and trouble- ever’s looking at the photo to feel something special?
maker. like they could reach out and touch
the model’s skin. I want them to I prefer to let a shoot sit for a few
Were you ever unsure of your tal- experience the things I’m noticing days before I pick selects, but that
ents? about the person I’m photograph- luxury isn’t always there. I usually
ing. Capturing those details makes know pretty instantly when I have
I think artists are almost always a photo feel intimate, and I think it’s what I need, and then move on. I
unsure of their talents. At least maybe just that most people are will- shoot really quickly because I know
partially. I question mine a lot, but I ing to be really open with me when exactly what I’m looking for and
don’t really worry about it too much. we shoot. We have fun and people know when I have it. When I work
If people are into it and giving me tell me I make them comfortable so I with a client, I make sure to under-
opportunities, I ride the wave. guess that helps. stand fully what they want out of a
shot and give them several options of
About sexuality, at the beginning Your work conveys a thirst for that. I want multiple versions of the
FINE ART COLLECTIVE
money shot if it’s for someone else being able to clearly define someone
because special is in the eye of the puts a lot of people outside their
beholder. comfort zone, and I like igniting curi-
osity. I love seeing photos of some-
I love how you play with gender one I’ve never encountered, so I like
identities in your fashion work to try and create those characters in
(above). This is a great example. my own work. some and enthusiastic about being
What’s your aim with showing how my liason. He knew everybody and
fluid identity can be? Is it about For Attention Deficit, I read you was like “oh, don’t worry she’s cool…”
widening what’s defined as beauti- went around getting students to Then I ended up causing a big scan-
ful? make out at a MIT frat party (above dal once the shots went up on my
right). How did you go about mak- blog. I had a ton of kids emailing me
I’m definitely attracted to androgyny ing future nuclear physicists and freaking out. Most of it was good
for whatever reason. I’m just into rocket scientists do that, exactly? freaking out though. I was just doing
people as people and think that it’s What did you learn about sexuality what I normally do if I’m at a crazy
interesting to blur the lines of being from this project? party, I didn’t really think at the time
able to put someone in a box. I like that it might not be a normal thing
people that are hard to put a label I had help with that! One of the to do there. Apparently they don’t
on; I don’t believe in doing that. Not fraternity brothers was really awe- really let people take photos, but was
16
I unknowingly being sneaky about it? That’s a lot of pressure for one im- such a huge part of my life.
I don’t think I learned anything new age! I don’t know if I’ve taken a shot
about sexuality from that particu- yet that I would be happy with giving Check out all Andi’s work here!
lar party, seemed pretty standard. that responsibility to. Maybe I have
Everyone has sex, you know? Be- but it’s probably a personal one that
ing really intelligent doesn’t kill your nobody will find until after I’m dead.
libido. Photography and my life are sort of
the same thing. I don’t really sepa-
If you are remembered by one of rate church and state. Even if I was
your images, which one would it be? a doctor or lawyer I would probably
Has photography affected how you still take photos like I do. I feel really
live your life outside of it? lucky I can make a living doing some-
thing I’m so in love with that’s already
FINE ART COLLECTIVE
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FINE ART COLLECTIVE
 “There definitely ha
been unsure of my
20
 Leaving Everything Behind to Shoot Photography

A
while back, I found an article think my work is current, and it uses
in Complex that I really loved. pop culture references and has a lot
It was titled, “The Top 25 of attack and colors that really stand
Young Photographers to Keep Your out. The goal for me is to create im-
Eye.” It was a fantastic selection of ages make you stop and actually take
photographers. Our interviews with a look. It doesn’t have to be a long
Catherine Scrivener, Ira Chernova, drawn-out look but at least a look.
and Jessica Lehrman started from
there. But the article wasn’t only an Does photography come easily to
article. It was a list. you? Were you ever unsure of your
And at the top of this list, Com- talents?
plex’s number one young photogra-
pher to keep your eye on, was Jared I feel photography has come surpris-
Thomas Kocka. Going from working ingly easy for me. But I think that
at Dominos to shooting L.A.’s best art is art, whatever the medium is. If
models, Kocka makes work that’s you are a person who loves to create,
vibrant and clean. But describing his then whatever medium you focus on
work would be the least interesting will come easily. I played music for
thing to write. If you want to read years before I ever picked up a cam-
about an artist who left everything era, and I think music really taught
he knew to create his art, or if you me to think creatively and differ-
need any inspiration at all, just read ently but also learn what it takes to
his story. push and market art, which I think is
In this interview, Kocka talks about equally as important as the art itself.
how he got his start in photography, There definitely have been times
explains his move from Minneapolis where I have been unsure of my
to Los Angeles, and reveals why his talents. For the longest time, I always
parents are his greatest influences. thought I was a musician pretend-
ing to be a photographer, but that

Y ou went from working at Domi-

nos to shooting some of the best
models in L.A. How did you get your
view is starting to fade. I think that, in
general, creative people doubt what
they are creating simply because art
start in photography? How would is so subjective.
you describe your work?
You bought your first camera on a
I started taking photographs roughly Black Friday sale with a Best Buy
a year before I moved out to Los credit card – then left Minneapolis
Angeles. So I started back in Min- for L.A. to pursue photography.
neapolis just shooting my friends’ What gave you the courage to make
bands as well as my friends or friends this move? Could you describe how
of friends. I really started taking you were feeling around that time?
ave been times when I’ve photos as a creative outlet, definitely
as more of a hobby status. But when I don’t know if it was courage, or stu-
talents.” I moved to LA that all changed. I
would describe my work as “pop”. I
pidity, at the time. I left Minnesota
because I didn’t have any reason to
FINE ART COLLECTIVE
stay there. I had just been fired from my job — at a bank, eyes are always drawn to it. His images just grab you, and
bleh! — and I wasn’t playing music anymore, so I kinda that’s something I aspire to do with my work — minus all
just said fuck it. I need to make a change in my life now, the blowjob pics and scandals. But some other influences
or I will just be existing in Minnesota and avoiding what of mine are photographers like Hendrick Purienne, Bella
I could be. At the time I was feeling pretty low. I wasn’t Howard, Jason Lee Perry, Rankin, Brooke Nipar, and
really doing anything creative at the level I wanted to be. Zoey Grossmen. Even though they are all very different,
I had just been fired from my “real job” and had no real I think all of them are really great at creating exaggerated
idea about what I was doing. So I was feeling pretty stuck. characters with their photos, which is also something I
aspire to do with my work. But I really find most of my
What advice would you inspiration in my life:
give to another artist on from songs I hear and
the verge of making a the experiences I’ve
move like yours? had, to moments I’ve
seen when I am out
Commit to it. If you’re or even the moments
going to make a life found in movies and
change, you must com- television commercials.
mit to it. Transitional
periods are painful, and Speaking about influ-
it’s easy to get upset or ences, you’ve men-
frustrated and to give tioned that music is
up and go back to what important to you. I
is comfortable. Just know some photogra-
stick to your commit- phers who use music to
ment through the good energize their shoots.
and the bad. Progress is Do you? If so, what do
hard. Growing pains are you usually play?
expected, and noth-
ing worth doing comes Well, currently, I am
easily. And if you are using Spotify’s Big Sean
moving to create art, and Kendrick Lamar
really commit to art as radio stations. I have
well and bust your ass found that hip hop is
and work as much as you good background music
can to get your name for keeping the energy
out there in your new up without being too
environment. intrusive and distract-
ing. I sometimes use
Looking through your the Method Man radio
work, it’s easy to see stations as well. But if I
that Terry Richardson could listen to any radio
might have had influence in your style. Do you consider station I wanted, I would listen to the Third Eye Blind
yourself influenced by him? Who are you inspired by? station.

I think that I am definitely influenced by good old Uncle You feature many streetwear brands in your work. How
Terry. I was a fan of him before I really know how to use do you find these brands? Any favorites? Why do you
my camera. I have always loved how his images have like using streetwear for your shoots?
always stood out whether it be his earlier gnarly work or
even his commercial or fashion work. When you see his I find a lot of the brands through good old Instagram. But
photos on a cover of a magazine on a newsstand, your a lot of the times the brands are finding me. I am always
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down to receive more wardrobe, so I always say yes to more of a run-and-gun photographer. We’ll figure it
anyone who wants to send me stuff. And I don’t really out as we go, see-what-happens kind of photographer.
have any favorites, and, though a lot of people call me a So that image was taken over a year ago, and I think the
fashion photographer, I generally don’t care about the process was to give them characters and have them look
clothes in my photos. I care more about the characters, good act like sisters / best friends, and that was it. I had
or the subject, that I am shooting. The clothes are just a big team for this shoot, so it was my first time trying to
things that help show off the subject, so as long as it does manage a large team, so my mind went all over on that
that I am happy. shoot. It is all kind of a blur in my memory now.

This image is one of my favorites (middle). Could you I’ve read your parents are significant influences in your
explain how this image was made from start to finish? life. What advice have they given you that has helped
What was the first step in pre-production, exactly? with photography? If they’re reading this right now,
what would you like them to know?
I am still figuring out my pre-production really. I am
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My parents have been the best and the most real sup- Let’s talk about drinking. It seems you like enjoying a
port system for me. While times were hard when I first drink or two. What’s your favorite whisky after a hectic
got to LA, they were the ones that helped pay my bills. shoot? Every drinker has a love story, what’s yours?
They were the ones who have encouraged me to go after
what I want. They have also been the ones who will listen I used to like drinking a lot — not alcoholic status, but I
to me when I am frustrated or going through growing used to enjoy a night to let loose, every now and then,
pains as I had mentioned before. They are the best. They but recently I have not been drinking much actually. I do
have been lifelong examples of two people who bust their enjoy a nice Woodford Reserve neat every now and then,
asses and do the best they can on things they are pas- though. And love story? I am too busy to even think
sionate about. And I want to be just like them, busting about that.
my ass on every project or job I am given. And I am sure
they will read this interview, so the thing I want to tell my Check out all of Jared’s work here!
parents that I love them and am so grateful to them for
everything they have done for me.
FINE ART COLLECTIVE
The Beauty of
Photographing
Life’s Many
Small
Moments

I
f you divide your life into its snapshot photography. And I know This interest followed through to
many great movements, you’ll I go a bit overboard with my intro-
the university where I got into
find a year, or maybe more, to ductions. So I’m going to write the
snapshot photography. I liked the
every great change in your life. rest as if you and I were speakingvisual style and found it interest-
Then, if you continued and re- in the same room, and we’d found ing how people documented the
peated — separating from these UK based Catherine Scrivener’s world around them. I really like
movements, these parts of a song, photography at the same time. I’d photography that has no pretence
your life’s similarly themed notes tell you simply, Scrivener’s great.
and is not contrived. After univer-
— you’ll find, from the years, the I like her work because it’s made sity, I moved back to Scunthorpe,
days you considered your worst; from life’s smallest moments. which as a town isn’t that inspir-
days where nothing could be bet- That’s what I’d say to you. And ing. Then I moved to New York and
ter. Then, it all again: dividing, that would be our little moment. eventually London, I found I had
separating, repeating. In this interview, Scrivener talks
a lot more to take photos of and
After some time, you’ll see your about how she got her start with there was a different energy about
days separated into its many small photography, explains snapshot my work. I don’t feel the need to
moments. And you’ll soon discov- photography, and reveals how have a pompous art theory behind
er in these small moments even she’s able to capture the moment. my photos – it comes from the
more smaller impressions. At the heart and I’m just offering that
end, you’ll see your life’s enormity You’ve been named as a photogra- for people to see and publishing
divided into its indivisible instanc- pher to look out for by Complex. little glimpses of my life. I’ve al-
es. You’ll have reached the fabric How did you discover photog- ways been drawn to honest work,
of memories, the instances of one raphy? How would you describe people that are documenting their
smile, one word, one image: you’ll your work? environment – Nan Goldin, Larry
have arrived at the language of Clark, Wolfgang Tillmans, Corrine
photography. When I was nine, I was given a Day.
Every life has its moments, ev- 35mm automatic camera. I took
ery moment its life. To me, that’s photos of my sister and peacocks.
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Does photography come easily to or something that interests you
you? Do you ever feel unsure of and developing that into an idea or
your work? a project that makes it your own.
I don’t think there are any formal
There’s always times when I’ll lessons to be learned necessar-
take a photo and it won’t come ily as I find the best results come
out quite like I thought, or some- through experimentation and trial
times it will look way better than and error.
I expected. That’s the nature of
shooting on film though; it’s un- You trust your eye. You find many
predictable. I see it almost like a great moments to capture. How
ritual – the process of finishing do you find yourself in these mo-
a film, taking it to the shop and ments? Do you think it’s impor-
waiting for a couple of days to tant for a photographer to travel?
see how the images have actually
come out. Also, film costs money I try to go out a lot in London,
which automatically makes you gigs, events, partying, seeing
consider what you’re taking pho- the city, which usually ends with
tos of as opposed to shooting off something to take photos of. I’m
an endless reel of digital snaps. pretty lucky to have interesting
friends too, and have been to a lot
Is photography something any- of fun/strange parties with them.
one can master? What lessons do Sometimes when I get photos
you wish you knew when you first back from the shop, it’s like I’m
got started? watching a weird night out all over
again. I think travel is important
I think anyone can master photog- but it doesn’t always have to be far
raphy, yes. A camera is a technical away. When you get used to your
object. Once you’ve learnt how a surroundings, sometimes you for-
camera works, aperture, shutter get to properly look at everything.
speed, etc., you can take a photo. When I come back to London af-
But it’s finding a subject matter, ter being away for a couple of days
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I always see something different, notice a new build- when I’m looking through make the final cut for my
ing or see something in a different way. website/blog. I hardly ever go back and look through
all the other photos that didn’t make the cut.
Friendship, music, tolerance: these are the most
persistent themes found in your work. What would You Can Polish a Turd is great (right). Could you explain
you say guides your work above all? Is it about being how this project came about? Who did the make up?
in the right moment at the right time?
You Can Polish a Turd was my final major project at uni-
The main thing that guides me is that I want to docu- versity. The guy in the pictures is my friend Danny who is a
ment what’s going designer who makes all
on in my life. Some- the jewelry (brooches,
times it gets pretty rings, earrings) from
weird, sometimes fake dog turd. I was
not, but having a intrigued by his work
record of it — evi- and process. The more
dence, at least — I spent time with him,
makes me keep tak- the project evolved
ing photos. I think into being more about
being in the right Danny and his inspi-
place and the right rations, who for this
time is important. project were Barbara
It’s never quite the Cartland, Queen Eliz-
same if you try and abeth I and Margaret
force something, Thatcher. Danny did
and it’ll show in the all the make up, wigs
photo. One night and styling himself.
we broke into an A lot of my influ-
abandoned church, ences for that project
which was pretty were Dutch paint-
amazing. On the ers such as Vermeer,
way out, one of my and I ended up print-
friends got impaled ing them A0. I think
on the cemetery the Thatcher prints
gates but I was hav- scared my tutors in
ing too much fun in the end.
the church to even
know what was go-
ing on. That would What was the most
have been an awe- beautiful thing
some photo (sorry you’ve ever seen? If
Anthony, it totally you can’t say, what
would). was the first image, person, or moment that came to
mind?
When you’re out shooting, do you ever get an in-
stant gut reaction that something is good? Or do Probably my bed after 6 days of partying at Glastonbury.
you evaluate your work after some time?
Check out all of Catherine’s work here!
Oh yeah, definitely, and it’s those kind of photos
that I can’t wait to get back from the shop. I usually
stick with my gut reaction, and the initial photos I like
32
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 Elegant
Monochrome
Portraits of the
Fashion World

34
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Y
ou won’t meet many people like Ira Chernova My parents used to shoot film back in their student
— unless you already know a heavily tattooed days. So I had their Zenith and Fed cameras left to
Russian who’s both a well-known model and me. That was a start of it. I’m too lazy to spend a lot of
a highly talented fashion photographer. Named by time in front of the computer screen, so I’m always
Complex as one of 25 young photographers to keep trying to reach my desired settings while shooting.
your eye on, Chernova’s been gaining attention for My work is raw, clean, natural, and emotional.
her moody, highly intuitive, and largely black-and-
white portraits. Does photography come easily to you? Were you
Based in New York, Chernova has already worked ever unsure of your talents?
with some of the biggest names in the fashion in-
dustry — both behind and in front of the camera. Everybody has their up and down times, sometimes
And being a music lover, she’s even toured with one it’s better to take a short break instead of doubting
of the most popular experimental metal bands in the your talents. When its all right, it comes out smooth.
entire world: The Dillinger Escape Plan. She’s excel-
lent proof that you can find success doing what you If writers treat writing as a sacred practice, how do
love. you treat photography? Is there any routines you
In this brief interview, Chernova talks about how find yourself repeating?
she got her start in photography, explains how she
made a couple of her photographs, and reveals why Yes, there’s a lot of organization and post-produc-
she shoots in black and white. tion. With post production, I mean developing and
scanning — it always takes me at least half of a day,

Y ou were born and raised in Russia, now you

shoot portrait photography. When did you dis-
cover photography? How would you describe your
so that’s quite a ritual.

work?
36
FINE ART COLLECTIVE
You’re also a model. What does this perspective give you directions were showing drawings of the character to
as a photographer? Do you gain any advantages when model. Second one is inspired by Star Wars. Entire look is
directing for your work? Thom Browne. It’s shot in a well lit room, just natural light.

It adds with knowing angles and light, but its not universal Could you give us a breakdown of the day you first began
since everybody is different. Even in direction, it’s a lot answering these questions? How many photographs did
about personality of that particular model. you take? What’s the weather like? How’s the light? How
do you feel at this exact moment?
You shoot mostly in black and white. What’s the attrac-
tion of black and white to you? What does removing col- I’m answering all questions in one day :) have modeling
or from your images mean to you? duties today — early start of a day, the soft 8 am light of
a hot summer day. I doubt I’ll be taking any pictures. I’m
Most of the time I see colour as a distraction. With shoot- at work all day, but on the good side, a lot of down time
ing colour, everything has to be planned carefully so it all while sitting in hair/make up chair means there is time for
looks in harmony, otherwise some small “wrong coloured” emails.
detail of clothes, background, or anything can take away
from the feel of the shot. Who are your favorite photographers? Favorite artists?
Do you think being in love is important to creating great
This image is one of my favorites (right). Where did you art?
find that dress? Could you explain how this image was
made from start to finish? I like seeing everything. I think its important to never place
any boundaries on your vision. That’s why I don’t set favor-
I had an idea to take 6 different models and create 2 im- ites. I like being more open to variety. Can’t really answer
ages per each story — one natural, how they appear on last question. I guess I’ll know when I experience love :)
the set, and the other transforming them into different
characters. First one was princess Mononoke — my main Check out all of Ira’s work here!

38
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42
 Vivid Photos of L.A.’s
Many Different Faces

A
nyone who has lived in Los Angeles has a favorite
Los Angeles. There isn’t one whole L.A. Whether
you’ve found a particular neighborhood or a par-
ticular street, each L.A. is its own little world. Aside from
that, each season has its own specific quality, too. My fa-
vorite Los Angeles is downtown during the cloudy, dark
time between fall and winter, when the night arrives at its
earliest, and the sun fades spectacularly. I love seeing the
skyscrapers coated in what I hope are oceanward clouds
and enjoy the streets just a little bit more when it’s most
bitter.
Sometimes, though, I get the feeling that L.A. was never
meant to be a city. That it would’ve fared better as a de-
serted paradise, or a private hell. The city has a strange-
ness unlike anywhere else. L.A. photographer Nathanael
Turner understands this city’s strangeness, and he’s able
to tap into its split core. His work captures its brilliant and
desperate faces, simply. Having worked with New York
Magazine, The Wire, and Newsweek, and many more,
Turner makes work that tastes like L.A. — and that cer-

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 tainly says a lot, considering L.A. hardly everdays, my only exposure to decent photogra-
feels complete. phy was from National Geographic and a few
In this interview, Turner talks about how other mainstream outlets. Somewhere along
he got his start in photography, explains the line my aspirations changed a little. In col-
his greatest influences, and reveals how he lege, I was introduced to the work of William
achieves his vivid work. Eggleston, Jeff Wall, Stephen Shore, etc., but
I was always most attracted to the photogra-

I really like how raw and vivid your work is. phers who complicated things. Photography
How did you get your start? How would you is a challenging medium; maybe because it’s
describe your work? so easy to make pretty pictures, it’s easily va-
pid. I strive for the opposite.
Thanks! Early on, I wanted to be a nature pho-
tographer. I grew up in the middle of nowhere, Was there ever a moment when you felt like
without TV or internet, so before my college giving up?

44
 in the tension between city-life and This is one of my favorites. What’s
natural environments. What aes- the story behind it? Was it a con-
thetic has Los Angeles given you? scious decision to include the gun?
What have you taken from the city?
This is one of my younger brothers. I
This is a hard question to answer at was home visiting and he wanted to
this point. It’s all still very intuitive. show me his new gun, so I grabbed
Maybe I’ll have a better grasp on this my camera and made this photo be-
question in ten years. As far as ten- fore he shot off a few rounds.
sion, I’m more interested in the ten-
sion of L.A.’s history than that of What inspires you? Any other pho-
city-life vs nature. Over the past two tographers, friends, old lovers? And
years, I’ve been focusing on the early what’s the most beautiful thing
history of Los Angeles. Hopefully you’ve ever seen?
that work will come to a conclusion
by the end of this year and I can start Most recently, I’ve found some inspi-
looking at the city in its present state. ration in a few historical books about
L.A. is a strange place. I wouldn’t want the early development of Los Ange-
Some people put in the work it takes to live anywhere else. les, but it comes from everywhere:
to really open oneself up to making Charles Lummis, Cadillac Desert,
something great. I’m never unsure You also seem interested in marginal Chinatown, Weegee, Mulholland Dr.,
of myself, just maybe regretful for identities and subcultures. What’s William Basinski, Shlohmo, Angelo
slacking at times. I’ve never felt like the attraction of showing these iden- Badalamenti, Cliff Martinez — things
giving up on certain aspects of pho- tities to you? Is it a matter of raising that tap into the spirit of LA. Also, I
tography, my personal work lets say, awareness? think hardship can bring a type of in-
but I often feel frustration with the spiration that’s hard to find when ev-
politics and the egos that can come A lot of people I photograph are erything is going well.
into play on the more commercial friends or neighbors, people I meet
side of the industry. on walks or traveling. I don’t really go Check out all of Nathanael’s work
out looking for such specific or eas- here!
Los Angeles has an important place ily defined subjects. The people and
in your work. You seem interested things that end up in my photographs
are a part of my life in some way.
FINE ART COLLECTIVE
46
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Mysterious In this interview, Caitlin Teal Price
talks about her style, explains
Reflections Against how she approaches her fine art,
and reveals why guerrilla-style
Light and Shadow photography is still necessary.

48
 When I start a new project I’m
super nervous about whether
or not I can actualize that vi-
sion. It’s a nerve-wracking and
humbling experience . . .

T
he beginning steps to seeing start in photography? How would I love Annabelle, Annabelle (left).
light is seeing shadow, and I’m you describe your style? The light you capture is stunning.
not trying to be clever with Could you explain your aims with
this. I just think it’s true. When you I started making pictures in High this project?
first start putting the world to your School in Washington, DC. I took
lens, you’ll notice that shadow cre- as many classes as I could during Thank you! The light is definitely
ates tension. And you’ll crave that the school year and every summer an important aspect in the Anna-
darkness — to put it as dramatically in between. Once I graduated, with belle series. In fact, I often think of
as possible. Some photographers the encouragement and support it as a secondary and complimen-
just know how to tame it. Fine art of my parents, I moved to NYC tary subject to the women. I find
photographer Caitlin Teal Price is to study photography in college at that using both bright highlights
one. She makes high-key lighting Parsons School of Design. I would and deep shadows in a single image
seem so easy to control. describe my style as pretty cin- creates an interesting tension. I see
It might be because her images are ematic. magnificence in the light and at the
sparse. She withholds much. Using same time uncertainty in the dark-
as much space as possible to iso- When did you become confident ness. These dualities are not only
late what’s being said in the image, of your abilities? Were you ever seductive, but they speak directly
Price creates through subtraction. unsure of your talents? to the significance and story of the
Sometimes what’s said is unclear, women in the photographs.
sometimes barely heard, but it’s all My confidence is always shifting.
still gorgeous. You’ll feel like you’re When a project is in full swing, and Many of these images feature
watching a classic film slashed into I know what I want and what I am women looking through light.
many tiny pieces. You’ll sense the looking for, I am very confident that Their expressions are important to
story but only get the mysterious I can pull off my vision. But, when I the image’s meaning. How did you
— shadowy — instances of what’s start a new project I’m super ner- approach directing them? Are they
going to happen next. vous about whether or not I can actors?
actualize that vision. It’s a nerve-
You have an amazing eye for light wracking and humbling experience A few of the women I’ve photo-
and shadow. How did you get your to dive headfirst into a new project. graphed are actors, but many of
FINE ART COLLECTIVE
50
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 them are not – most are strangers. In terms ing garages because of the bold lines, cas-
of their expressions my approach to direct- cading shadows and the suggestion of more.
ing the women is slight. I usually suggest The project Annabelle, Annabelle started in
that they look deep into the horizon and a mall so I was naturally drawn to them, and
think about something significant to them – when I happened upon this particular mall
something that carries emotion. I give each garage I was super excited. I planned a whole
of my subjects a lot of credit for bringing photo shoot around it. It was the original lo-
personal depth into her own image. cation for the image Clarice in Red. I had
not gotten permission to photograph there,
“Mall Lot” is great (above). I love its impos- so despite my pleading on the day of the
ing tone. Could you explain how this image shoot we were quickly kicked out. I was to-
was made from start to finish? tally bummed. I loved the location so much
I couldn’t let it go to waist. I knew exactly
Mall Lot was made in Las Vegas. While there, what time the light cast those long beauti-
I spent my days driving around looking for ful shadows so I simply went back there at 5
locations. I would often drive through park- O’clock one weekday afternoon and quickly
52
 took two frames. I often overpasses, parking garages Your work has been exhibited
was nervous that the or brutalist buildings. I like locations throughout the country. How did
mall cops would stop where there is a suggestion of move- you secure your first exhibition out-
me again so I was ment – like a staircase, elevator or side of school? Is there any secret to
very quick about it – I doorway – and I like for my models it?
didn’t even use a tri- be in some sort of transition, many of
pod. them are walking. I find that with the My first exhibit outside of school was
right location and subtle details, I amput on by Capricious, a New York
Although your imag- able to imply more than if I handed City based gallery and fine art pho-
es deal with straight- out all of the information directly. The
tography magazine. My work had
forward subjects, more general the image is, the more been featured in the magazine a few
they’re still very mys- specific it can become. times over the years, so when I grad-
terious. There’s a lot uated with my MFA they offered me
going on underneath I also really like your shots of high- a show in their space. There was no
the surface of what you capture. It’s way intersections, especially RT.1 secret to it, just a bit of luck.
not ambiguity, but instead a deliber- (above). How did you find this spot?
ate withholding if that makes sense. Best advice about making great
Do you ever get this feeling from This image is shot just outside of Al- work?
your images? If so, how do you think exandria, VA. Being from DC, I knew
you’re able to create it? that there was a crazy intersection Trust your gut. Make work you want
of highways there, so I got up early to see. Be persistent. Follow every
Yes, I do get that feeling. And the one morning and drove around it in lead. Don’t give up.
withholding is definitely deliberate. circles until I found a location that
I like to keep my images stripped of made sense for the project. I ended Check out Caitlin’s work here!
specifics – no signage, no cars, no up parking in a used car lot and trek-
people in the background, nothing to king through a muddy marsh to get
really date it. The locations I choose the shot I wanted.
are usually stark everyday locations,

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54
 What Street
Photography Is
and Isn’t

S
treet photography is one of those things that cut into you.
It has a razor-sharp bite that can’t be shrugged away. If
you shoot it, you’re bound to commit wholeheartedly to
it. Maybe because of this, it’s also a genre that produces loud
opinions and even louder proclamations. That’s why we wanted
to review Italian photographer Alex Coghe’s Art of Seeing: A
Guide to Street Photography.
It’s a training ebook that doesn’t act like a training ebook.
It’s more like a turn-of-the-century manifesto — you can read

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 what I wrote over here. Right now, we’re street photography corresponds more or
here for his work. After reading page less to my return to photography in the
after page about the history and aesthet- digital age. For over a year I have limited
ics of the genre, we figured the least we myself to study the genre, making any
could do is speak to its author about his sort of photography. I think I had a sort
photography and why he’s unimpressed of awe towards this way of doing pho-
with street photography at large. And his tography. I was amazed by the things I
thoughts are definitely worth checking saw from other photographers. I believe
out. that this form of respect has caused in
In this interview, Coghe explains how me a desire, a further stimulus to want to
he got his start in photography, talks challenge myself. You have to consider
about what street photography can be, that when I started, street was not as
and speaks about what Mexico City widespread as today. Today it is a trend,
means to him. and this has generated an idea of street
photography that’s many times com-
Your street photography is great. How pletely misunderstood. This is the reason
did you get your start? How would you we are seeing a lot of “people passing by”
describe your work? photos. Now there are entire recognizable
streams, among hordes of imitators of
First of all: thank you! My start with Bruce Gilden and Alex Webb. It is diffi-
56
 exploring my state of mind. I pho- Could you explain your aims with
tograph night and day, fragments, MEXICANA (above)?
perceptions, interested in just the
image, without thinking for labels, MEXICANA is a project between
knowing a little bit more myself documentary and erotic photog-
through the act of photograph- raphy. It will be a magazine (pdf)
ing. I love the definition of Visual and a series of books distributed in
Provoker. prestigious bookstores in Mexico.
With this project I want to pres-
Were you ever unsure of your ent the Mexican woman, without
talents? When did you know you stereotypes, documenting through
had potential? a story her characters, fantasies,
ideas. It is also a project against
cult to find someone who truly has Still today I am not sure if I have a the trend of the images excessive-
something to say. The popularity talent. I limit myself to making im- ly edited with Photoshop. Most of
of the genre, if it also has positive ages, first of all taken for myself. the magazines right now are not
aspects, also generated many with I am just following my vision, and showing photographs but posters
the illusion that this kind could this is my fortune so far. I am not or cartoons.
lead to a career as a photographer. repeating any kind of formula. As With MEXICANA, which
Looking back, I remember that a commercial photographer, I am already ongoing with previews
time street wasn’t the thing it is an editorial and erotic photogra- published on my official website
right now. pher, and it is here that I recog- and tumblr page, we are showing
But my work can’t be consid- nize most of my skills as a photog- the real Mexican woman, and not
ered just street photography. First rapher. I’m most confident when a unique model because beauty is
of all because I am a commercial busy with my commercial pho- not just one.The models partici-
photographer and making in my tography, working on assignment pating at MEXICANA are differ-
spare time my personal photog- for my clients or for my projects. ent because they are involved in
raphy. I love to think of my per- I am so lucky because right now the creative process, from the
sonal photography as a continuous I am also the editor of myself, so choice of locations, the concept
stream of gritty, grainy, out of my boss is me as an example with and the story, to their way to ex-
focus, dark and high-contrasted my most ambitious project so far: press themselves, in a natural way
snapshots from the street and MEXICANA. during the photo shoot.
from my dreams and nightmares,
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I like imagining street photographers as
romantic, almost crazy, detectives seeking
the traces of beauty. This sounds silly, but
it also describes how street photographers
are always searching – I think they’re
born watchers. Why street photography?
What drew you to shooting strangers?

I don’t consider myself a romantic in the

streets and I shy away from the idea of the
flaneur. I am a metropolitan animal, shoot-
ing in the barrios most of the time, not
the safest places in the world where taking
photos. I am not that kind of guy shooting
in downtown with tourists. I make photog-
raphy, not street photography. For me is
not just a matter of shooting strangers, I
make images of any kind of things that’s
interesting for me whether the streets,
animals, buildings, or billboards.

You shoot in Mexico City. Roberto Bo-

laño has some great lines about that city.
What’s the photography scene like there?
What’s your opinion about it?

Mexico City is an incredible kaleidoscope

where all and nothing can be photography.
All and nothing because you can photo-
graph things that are very commonplace.
This is the reason this city can be easy or
really difficult for a photographer. You
have to tune into this megalopolis. Street
photography is not widespread and the
idea that many people have of it is vague
and not very correct. For this reason I am
giving street photography workshops in
Mexico City to spread a different culture
and approach to photography.

In Art of Seeing, you say that street pho-

tography is overrun with clichéd images
– especially, those of passing strangers
taken from a distance. Why do you think
this sort of image is overdone?

How much longer do we have to see any-

thing else that people who pass, perhaps
with a dazed expression and eye contact?
I am especially amazed by “photogra-
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phers” who always repeat the Any cautionary tales? mostly shoot in the barrios (popu-
same photo… the only explanation lar neighborhoods) right now and
is that they can not do anything I could tell you about a confron- the only thing I feel to suggest is:
else because they can’t see some- tation in Los Angeles with a rude avoid to pose as a photographer if
thing different. As a photo editor, man or another one here in Mex- you don’t want to have problems.
selecting the images in a street ico, but no. First of all because If you stop to “think and act” as a
photography group that I created it is not something that happens photographer, you will be able to
on flickr, I want to see energy, to me often, and then because make something different, straight
tension, content, a different story, in a certain way if you have con- by your heart.
possibly something I’ve never seen frontations in some way you have
before. failed as a street photographer. Check out Alex’s work here!
A street photographer should be
Any favorite stories experienced able to be invisible, to be a cat
in your walks? Any epiphanies? as Henri Cartier-Bresson said. I

60
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 Seeing Double In this interview, Lindsay Perth talks
about her art and how she got into
& Capturing a photography, explains her projects
and their processes, and reveals her
Double Sense artistic influences.

62
 I’m preoccupied with between
states, flux and the tension of
doubt and ambiguity. I have
a fascination with states of
change . . .

L I
indsay Perth is a photographer like the experimental nature of and the wilderness that exists when
with many talents. Besides her your photography. How did you something you think you know isn’t
Edinburg based commercial, get your start? How would you de- what you thought it was.
street, and documentary work, she scribe your work?
also once studied print-making, has You work within many disciplines,
made short films, and has created I would consider myself an artist using film, photography, and per-
several art installations across the before I’m a photographer. I choose formative art. I especially like A
UK. Perth has that multi-disci- to work across several disciplines Sense of Someplace. Could you
plined flair you only see in the truly although more often than not my explain what inspired you to start
ambitious. And her photography work is lens based, photography or this project?
feeds on those many passions. I was film, but I would never restrict my-
immediately drawn to this experi- self to these. I started using pho- A Sense of Someplace came from
mental and bold work, especially tography while at art school doing a my 2 year arts residency with
the photo-montages from A Sense Printmaking degree. I was massively Forth Valley Royal Hospital. My
of Someplace. into photographic screen-printing. time was divided 50/50 by col-
Made through a collaboration I started taking photographs to use laborative work and my own arts
with the patients of the Forth Valley in my screen-printing, manipulat- practice. For the collaborative as-
Royal Hospital in Scotland, these ing images directly on the screen pect I chose to work with a group
montages put together separate and I was using found photos as of people who were users of the
35mm slide format images into well. Now that I think of it, 20 years mental health services. Initially, I
one single mount and view. Alone, later, that was probably the period proposed to work with narrative
the individual 35mm slides are or- I fell in love with photography but I photography by setting up scenes
dinary. Yet juxtaposed together, didn’t quite have the confidence to that had an ambiguous tension that
something happens. They morph use it the way I do today. I went to- dealt with personal experiences of
into a surreal — at times puzzling — wards moving image for many years mental health. After many months
symphony of metaphor and emo- and returned to photography about of looking at photography such as
tion. They remind me of waking up, ten years ago. It’s only in recent 6 narrative, documentary, street and
of seeing the world slip in and out of or 7 years I find I have a clarity and discussing what photography is, I
dream. They capture what I visual- focus about my work and where I’m realized I was putting people in a
ize an epiphany would look like. And going with it. I’m preoccupied with situation they weren’t ready to take
that’s pretty darn impressive, to say between states, flux and the ten- on. My end goal was for the collab-
the least. sion of doubt and ambiguity. I have orators to be the subjects in their
a fascination with states of change photo series but this, understand-
FINE ART COLLECTIVE
 ably, was turning out to be a creative barrier ages. I asked the group if they wanted to work
for many. I needed to find a way for people this way, using anonymous family archives as
to feel free to create powerful photographic our source material and they did. We spent
images without them feeling exposed. So I months trawling through these hundreds and
took a step back for a few weeks, did a lot of hundreds of slides looking for slide pairs that
thinking and I decided to buy a heap of family ‘worked’. We created about 65 images, 25 of
archives in 35mm slide format, mostly from these went into the publication. My hope is to
eBay and car boot sales. At the time I had have the images printed large-scale with the
thought about projection onto surfaces but intention of touring them. I’m seeking funding
once I had the film slides in my hand I became to take the images to a wider audience.
mesmerized by the physicality of the film,
the personal histories and how our pasts are The third image of A Sense of Someplace
represented through the lexicon of the family featured on your website is my favorite
snap. These images are full of odd out of con- (above). There’s something sinister about it
text moments and intimate scenes of family – at least to me. Her expression and the slick
life as seen by the photographer. I began to red leading to the window seem like a view
take the slide mounts apart and experiment into someone’s fragile interiority. What was
with an old slide projector. Eventually I be- your process to juxtaposing images? Did you
gan to put 2 slides together and put them in a go off intuition?
single slide mount and view. The results were
fascinating, so full of story and juxtaposition. I mentioned before about the physical process
The familiar visual language of the family snap of taking slides apart, pairing them and re-
became enigmatic. The resulting montages mounting as one slide to create a photomon-
fluctuate between two times and place but as tage. But this really took quite a long time as
one they create a narrative that’s very cine- the two slides needed to work and have a sort
matic and become compelling allegorical im- of transformative result. Sometimes we’d sit

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in silence for hours taking them apart, put into words. And for me that really What is about to happen? I once
putting two together and viewing it in underlines their powerful narratives. come across a car accident and it was
the projector… it was quite a laborious like a moment frozen in time yet there
process. We had spent many months was so much intense action going on
looking at photography, the narrative as medics arrived and dealt with the
of a photograph and discussing the injured. It’s the tension of a broken
many roles photography holds for us quiet or the anxiety of disparity that
and I think this gave a confidence to I want to create. The images in the
the collaborators to trust their intu- series are reconstructions of iconic
ition when something worked. That photographs of violent events in his-
was certainly a successful part of tory, and the characters in the original
the project, collaborators develop- images are male. The original images
ing their creativity as image makers, are fascinating, they have become
working intuitively with confidence. It so famous that the photograph’s
was quite fascinating when someone drama, body language and composi-
would put a montage into the slide tion has superseded the photograph’s
projector and we’d all look up to see role as witness to an actual event to
it and often people would gasp. When represent popular understanding an
projected these images are much era or happening. So what happens
bigger that what we see in the news- when you use the familiar nuances of
paper, a book or a monitor. And in a these photographs and change them
dark room they really were quite as- Your Disruption series is great. My to create other narratives? They are
tounding when we first viewed them. favorite is the first one featured your peculiarly familiar yet any narrative is
So when a montage ‘worked’ we dis- website (above). It is simple yet pro- quite different to its original. I wanted
cussed what we saw and very often the vocative. Could you explain how this the series to be provocative by dis-
photomontages have a kind of, and I image was made from start to finish? turbing established stereotypes, so I
think your words say it better than changed all the characters to women.
mine, a fragile interiority and some- The Disruption series came from my I want the images to disrupt our col-
times yes, they feel quite malicious. ongoing preoccupation with inter- lective memory of these iconic pho-
And many have a beautiful sadness to ruption and dramatic ambiguity. I tographs of history. I used social net-
them. What I delight in most in the wanted to really push this idea and works, made posters and spread the
photomontages is that they provoke create a precarious thin line of un- word that I needed women to create
a feeling that I would find difficult to certainty – what has just happened? large scenes of people to photograph
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and I sent them all dates and locations for the shoot andresidency was a film, entitled ‘One Hundred Blinks’, that
the image I would be recreating. From there I just waitedI projected large scale on the outside of the Hospital. I’ve
to see who turned up and sometimes I called upon passers never done a site-specific installation of that scale and I
by to make more numbers. Then I set up my lights, I gen- sense it won’t be the last. It was quite a different experi-
erally had two assistants and choreographed the women. ence and impact to have an artwork 40ft x 60ft high and
I didn’t ask for any permission in the locations, some I viewed on a public building. The film, a series of portraits
probably should have but I was on a timescale and needed shot in extreme slow motion, seem like still images until
to get the work done for an exhibition. I was also pregnant
the wind moves some hair very slowly or there is slight
and didn’t have much energy for carting lots of kit around
movement in the background. Certainly working with
and climbing ladders! moving image informs my photography and vice versa and
I would say performance and installation do too. Site spe-
Does working within different disciplines allow you to cific and performative work, by its very nature, demands
see certain expressive harmonies that otherwise wouldn’t more consideration when working with other disciplines
be considered if working within only one form? How do like photography or video so a lot of informing across dis-
the other disciplines inform your photography? ciplines happens.

You know, that’s a good question. I think by not putting A lot of your photography works with stationary, inani-
boundaries on myself to show work in traditional forms mate objects: windows, murals, chairs. You seem drawn
and striving to consider who and how people experience to sets of three. When out shooting, what helps you
my work is perhaps more a driving force than any disci- find interesting compositions? Do you have any artistic
pline. The thing is, and I know this is rather utopian, I want guidelines?
my work to be seen outside the artworld as well as inside
and that doesn’t always work very well, especially with For me, spaces that have no actual human presence
collaborative art. The last work I made for my NHS arts have more room for the viewer to create the narrative.
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68
They are static and have a silence I find very
seductive. Often there are clues about who
was there, when and possibly even what hap-
pened or could happen and that ambiguity is
what I like to record. A deserted dining room
table after a meal speaks volumes. The funny
thing is, discussing this here, my work is go-
ing through some changes and I’m moving to-
wards portraiture. I think I’m looking for a dif-
ferent kind of soulfulness, that’s more tangible
through portraiture? I’ve made that question.
I’ll get back to you when I know more. But
still, I’m always looking for empty spaces with
evidence or clues that can tell many different
stories at once. When I’m out shooting, I tend
to hang around in one place and watch people
as they go about their day, wait for buses, etc.
and find juxtaposition or objects that give clues
about human presence or narrative. I gener-
ally don’t crop in post-production. I do as little
as possible in post and create the composition
at the time. Many years ago, a photographer
whose work I respected, told me to frame and
compose the photo I want at the time, don’t
rely on post-production. I still work that way.

What advice could you give to other photog-

raphers looking to experiment with the scope
of their photography? Any artists you find es-
pecially motivating?

Never underestimate the importance of play-

ing with ideas and always make time for it. It
is an imperative part of learning more about
yourself as a creative individual. And don’t
feel you have to use the tools they way they
were intended. Experiment, take risks, make
mistakes. It’s the best way to develop your
own creativity. Oh and don’t try to do every-
thing on your own. I made that mistake for
many years. Collaborate, do favours for each
other, work on each other’s shoots, give/get
feedback. And print your work. Don’t let it all
stay on the screen. Astrid Kruse Jensen, Lee
Friedlander, Ed Ruscha, Martina Geccelli, Hi-
roshi Watanabe, Nina Berman, Tabitha Soren,
Aernout Mik to name but a few.

Check all of Lindsay’s work here!

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 Flashy Portraits of
Unordinary People

I
don’t believe in giving up. That’s not in my DNA, New
York photographer Amy Lombard told me when I asked
if she’s ever felt unsure about her work. “I’ve had gal-
lery owners tell me no one would hang my photos on their
walls because they weren’t ‘pretty’. I’ve had professors and
peers make me feel like my work wasn’t commercially, or
editorially viable. I know it’s partially delusional, but I’ve al-
ways felt it’s all a matter of the right timing. You can’t force
things.”
Yet Lombard could have easily given up. Before find-
ing her voice, she hated her photography, thought her eye
was horrible. She was convinced that she was no good. She
decided, however, to give herself more time and enrolled
in a class at the Tyler School of Art. There, she learned the
importance of telling stories and committed to building
her life around photography. At 16, she even made a list of
places she wanted to work for, things she wanted to ac-
complish. Seven years later, having worked with New York
Magazine, TIME, and many more, Lombard, at 23, says
that she has now checked every single item off that list.

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 In this interview, Lombard talks about how sort of funny because I hated it at first. My
she persisted with photography, explains why photographs were absolutely horrible. Seri-
she’s attracted to shooting the unordinary, ously, like photographs of flowers and parking
and reveals why she loves using flash. meters­type of horrible. Everything was out of
focus and overexposed ­­I was convinced I was
I like how observant and incisive your work done with trying photography and I’d spend
is. How did you get your start? How would my efforts working on fashion. I’m really not
you describe your work? sure why, but I decided to enroll in another
photo class a few months later at Tyler School
I think it’s just an extension of who I am. I’ve of Art. That class changed my life. It was here
always been extremely observational, even as I learned the importance of telling stories
a child. Mainly because I was extremely shy through images.
and painfully introverted growing up. It lead to I then quickly became fascinated with doc-
a lot of watching others while growing into my umentary photography. I would roam around
own. I’m just fascinated by people, truthfully,­­ Philadelphia alone and photograph strangers
whether it’s their style, specific interests, or on most weekends. At the age of 16, I decided
just generally why they do the things they I was going to build my life around photogra-
do. I would describe my work as observant, phy. I ended up moving to New York in 2008
vivid, and upfront. My journey into photog- for college. It felt like the perfect time to be
raphy, like most things in life, mainly hap- studying photography because the com-
pened by chance. As a teenager a close friend munities online were just sort of starting out­­
of mine enrolled in a summer photo class at or maybe just my awareness of them. I was
Moore College of Art and Design in Phila- reading photo blogs all day every day. Google
delphia ­­specifically “Urban Photography”­­and Reader was my best friend (RIP), specifically
it seemed like a fun way to spend my sum- on the fine art side of things. It helped take
mer instead of working all day everyday. It’s my work out of a strictly traditional docu-
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mentary side. Anyways, I graduated that skill? Haha, but that’s certainly a Instances like these never changed
from school, worked as an editor for stretch. the way I photographed the world
a little while, and now I am a full­-time around me. I’ve always trusted my
freelance photographer. I’m big on vision. I know it’s partially delusional,
lists­­. So when I decided that I’d be a but I’ve always felt, both in terms
photographer at 16, I made a list of of personal projects and clients, it’s
places I wanted to work for and things all a matter of the right timing. You
I wanted to accomplish with my work. can’t force things. Trust me, there
At 23, this week I will have checked are plenty of moments on a daily ba-
off all the items on that list. sis where I think, “What the hell am I
doing?” Even when I’m having these
What was your first – very first – moments, I still know that I’m on the
childhood memory? Do you think right path. Believe in yourself and
this first visual memory and its emo- what you’re doing, and success will
tional pull might have influenced follow.
your work?
Your flash – just like your eye – is
That’s an excellent question, and if unflinching. Like Diane Arbus, you
I’m answering truthfully, I have a ter- seem attracted to  capturing the
rible response for it. My first child- disconcerting in the ordinary, or
hood memory was my first day at Were you ever unsure of your tal- bringing forth the surreal from the
preschool. I didn’t know what to do ents? Was there ever a moment fringes. What would you say about
or who to talk to, so I went up to the when you felt like giving up? this? What are you looking for with
first girl I saw and asked, “Will you be your work?
my friend?” She was my best friend I don’t believe in giving up. That’s not
for years. I know, I know, this is not a in my DNA. If I say I am going to do Diane Arbus was actually my favorite
poetic moment, or extremely visual, something, I’m going to do it. I’ve had photographer when I started taking
so it’s hard to say it influenced my gallery owners tell me no one would photography seriously. I’m interested
work in any way. I will say this. I can be hang my photos on their walls be- in photographing situations, commu-
pretty fearless and approach almost cause they weren’t “pretty.” I’ve had nities, and subcultures that are over-
anyone when I’m photographing even professors and peers make me feel looked or underreported. Before I
if it makes me uncomfortable. May- like my work wasn’t commercially, or went full-­time with my photography,
be this moment was me developing editorially viable. I could go on and on. I worked at LIFE for a few years. LIFE
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is known for iconic war photography, posed pictures or being in situations
but while I was there I became fas- where the person is too self aware
cinated with the offbeat stories that to let their guard down. I used to be
didn’t get the same level of recogni- extremely sensitive to natural light,
tion. (For instance, a story on a see- so flash was a game­-changer for me
ing eye cat, a Republican Woman’s when I first started using it. I was
party, etc., etc.) The way these pho- taking the same kind of pictures,
tographs told stories and showed the but suddenly the world came alive
world things they’ve never seen be- in a new way. With flash, you’re able
fore has been a major inspiration to to catch the little moments­­, some
me with my work. which you don’t even see while look- eyes, it’s extremely powerful.
ing through the viewfinder. You then
You also like photographing people see them in a completely transfor- It’s almost voyeuristic in a way,
in their in­-between moments, the mative way. Because of this, I love capturing people in their in-­between
ones they have no control over. The the surprise element that the flash moments. Happy Inside has many
flash helps you capture these very brings. You never really know what these captivating moments (above
small instances. What are the con- you’re going to get, and it always right). This one is my favorite. How
sequences of shooting with a hard accentuates the small details. That did this project come about? What
light most of the time? How does it said, what I love about the flash can was your first step in pre­production,
affect your approach to composition also work against me. Sometimes exactly?
and direction? flash just isn’t right for the situation
even when I want it to be. Plus, you Making Happy Inside was a trip.
I want to photograph situations know, people don’t exactly love be- When I think back to that time,
that feel authentic. I’m not particu- ing blinded by my flash. (Surprising, I’m not sure how I got away with it
larly interested in taking extremely right?) My flash isn’t easy on their
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or how I stayed sane while spend- took someone else’s by photograph- did my thing. It’s worth mentioning
ing so much time in the manufac- ing inside of IKEA. I went into it I would never go into a project like
tured spaces of IKEA. This project thinking I would just photograph the this ever again. The thing about this
started when I was in college and it rooms, but when I was reviewing my work is that the photographs do not
was mainly a response/rejection to first roll of film in one of the photos function well on their own. Alone,
the work my professors were trying I accidentally shot a couple in a bed- it’s hard to distinguish that they are
to get us to do. I have tremendous room who appeared to be fighting. It taken in IKEA,and although that’s
respect for masters like Philip Lorca was absolutely perfect. I only know the strength of the project, it’s also
di Corcia, Jeff Wall, and Gregory how to be obsessive with projects, very confusing. The book, designed
Crewdson, but I have zero interest so I spent the next year and half and published by Daniel Pianetti of
in emulating their work or artistic traveling to various IKEA locations no­plans, is where the work shines.
process. I felt like for awhile this was photographing customers unknow-
all they would show us in our courses. ingly achieving similar results. There What are your greatest artistic
Instead of creating a staged reality, I was no pre-­production at all. I just influences? And I apologize for this

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one, but what has been the most beautiful thing you’ve Crane, and Mark Cohen. Even before I was aware of
ever seen? Crane and Cohen’s work I would constantly crop faces or
other body parts out of my pictures. I love this extreme
It’s hard to pin it to one specific thing. I’m truly influ- attention to detail and how the flash accentuates that. In
enced by the entire world that surrounds me­­everything regards to the most beautiful thing, I’m struggling with
from reality TV, the Internet, to my favorite artists. There what that means to me. I don’t think I’ve seen it yet.
are a few artists, however, who have helped shape how I
see the world. For one: Cindy Sherman. Cindy Sherman Check out all of Amy’s work here!
is my hero. She is number one. She is my Beyonce. Her
work has always left me in awe. It’s the perfect blend of
humor intertwined with bold cultural statements. Among
others, I love photographers like Nina Leen, Barbara

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