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NEW ENGLAND AT NIGHT: AN INTERVIEW WITH BOB AVAKIAN
ARTS | FEBRUARY 17, 2014 2:47 PM
By Gregory Eddi Jones
(The following interview with photographer Bob Avakian appeared in
PetaPixel on January 20.)
Bob Avakian and his wife Gail visited Martha's Vineyard for the summer
in 1973, and it has been home ever since. Trained in architecture,
engineering and building, for years he has worked in the construction
field as a custom homebuilder. After finding himself in management,
removed from the satisfaction of hands-on involvement, he turned to
photography as a means of self-expression.
As his photographic vision has evolved he has been drawn to the
natural landscape and an exploration of night photography.
PetaPixel: First Bob, how did you initially come into photography?
Bob Avakian: I could say my first formal introduction to photography
came in the early 70's when I took a photography class as an art
elective while in college. Soon after, I moved to Martha's Vineyard.
I still had my camera but going from NYC to a quiet island was a big
change and street photography was too intimate on a small island,
so the camera got put away except for taking photos of family,
friends and my construction work projects. A few years ago I took
an architectural photography class at Maine Media Workshops. That
experience rekindled an old passion for photography.
PP: Who are some of your biggest photographic influences, and what
makes their work special to you?
BA: I can remember a long time ago having an Ansel Adams poster on
my bedroom wall. Guess that would make him my first influence. But,
my Maine Media experience with architectural photographer Brian Van
den Brink got things really started for me.
After that I enrolled in a portfolio building/critique workshop
offered by the Griffin Museum of Photography in Winchester Ma. It is
called the Atelier, and is led by Karen Davis and her assistant Meg
Birnbaum. Without a doubt I can say it has been the most influential
to the development of my work.
Locally, here on Martha's Vineyard I have had the opportunity to meet
Stephen Dirado, who has been working at night for years. In fact he
photographed comet Hale Bop in the '90s.
There are so many other photographers work I admire, but one stands
out, Todd Hido, I recall reading him discuss his process, saying
how much he drives around and thinking "hey, that's what I do" and
immediately bonding with him. But of course it's more his photography,
it's really appealing. I only hope to meet him someday.
PP: One of the hallmarks of your work is the softness of light and
color that remains consistent from one picture to the next. Can you
tell us a little about the techniques you use to capture these scenes?
BA: This style began to emerge while I was building my portfolio of
night photos. It really appealed to me, so I latched on to it and
started to build on it as much as I could.
After one of my first portfolio reviews, I learned the importance
of a "tight and cohesive body of work." So editing became a crucial
component, and in order to tighten it up I needed a lot of photos
to select from. Of course, some of this aesthetic is achieved while
processing the photos in Adobe Lightroom.
My night photos don't look like much when first loaded into the
computer so they need to be enhanced. But one thing is for sure. If
it's not there to start with its not there in the end.
PP: Talk about the moods and emotional tones you look to set in your
work. There seems to be a thread of quietness and meditation that
binds these scenes together...
BA: That question most definitely hits on what my experience of
photographing the landscape at night is. The stillness of the night
and the mind while being out alone in the natural environment is
what makes this all so special. It is a very private experience and
as you suggest, a conscious meditation. It is all about finding the
right place and getting into the right mind to capture its essence.
PP: As a follow-up, talk us about your interest in the landscape in
general. What draws you to photography these outdoor scenes and not,
say, portraits or still life?
BA: I live surrounded by the natural landscape, so in a way it is
a matter of convenience for me. A lot of my photos are taken just
minutes from my home. I have done some still life and portrait work but
without any doubt, being outdoors is my first choice at the moment. I
feel much more comfortable than when I am photographing people.
PP: Many of these scenes remind me of other artists, Gregory Crewdson
and Edward Hopper particularly. There's a sense of emotion and mood
that you share with these two artists, as well an interest in the
New England architecture aesthetic, which they are both famous for
depicting. Have you looked to these two for inspiration? What interests
you in the atmosphere of New England?
BA: Crewdson and Hopper! Thank you very much. Though, this is not
the first time either of those two names have come up. Once at a
portfolio review Crewdson's name came up as I was being told my work
had a cinematic looks to it. That was truly mind-blowing. Same for
Hopper, though I was more familiar with his interior work.
New England is home to me, especially the rural location of Cape Cod
and the Islands. I have been living on the Vineyard for the last 40
years. So it may be more of a coincidence. My surroundings are an
inspiration in themselves, and I take pleasure in being able to show
them in a fresh way.
PP: When looking through these images, I very much get a sense of
searching and discovering. I can almost put myself in your shoes,
exploring the landscape and feeling a type of kinship with the
environment and its surprises. Is this experience of searching an
important part of this work for you?
BA: Yes, I think you nailed it. For me it is like the hunt, the
capture, then the reward. You know, living so close to the sea,
I have done a lot of fishing, and nighttime surf fishing at that.
If you think about it, there are quite a lot of similarities between
fishing and photography. You gather up your gear, load the car and head
out. Find the spot you think will be productive. You get yourself and
your equipment ready. Bait your hook and cast it into the water then
wait. You might wait all night and not get anything, or, if you're
lucky, your rod will bend over and the line will start spinning off
the reel. Now you have to land it and hope it's a keeper. If it is you
get take it home to cook for dinner and then enjoy; with a big smile.
PP: Beyond New England, are there other locations or environments
you're interested in exploring? Perhaps seascapes or industrial
locations?
BA: It's funny you mention seascapes, I am surrounded by them. Used to
be when I would head out the sea was my first destination, still is
actually, but when I get there sometimes I look the other way. There
are still lots of places here I have yet to visit. I have traveled
to urban locations to do night photography. The results are a lot
different, so for now I'll stick to the rural environment.
PP: What's the key to making a great night-time image?
BA: I have learned you need to have a lot of patience. It takes time
to get your exposure correct and to focus properly. Taking plenty
of high ISO test shots will help with this. Using your histogram
(digital) to determine your final exposure.
Otherwise choosing the right night is important, for me it's all about
the sky. I don't always know when I am going out, but opening up the
kitchen door and looking at the sky could make me suddenly wind up
in my car and hitting the road.
PP: Lastly, what's coming up for you over the next year,
photographically or otherwise?
BA: Continuing the learning process, experimenting, building the
portfolio, and perhaps working to develop a new body of work.
PP: Thank you for your time Bob.
- See more at:
http://www.mirrorspectator.com/2014/02/17/new-england-at-night-an-interview-with-bob-avakian/#sthash.xu0ztkIF.dpuf
ARTS | FEBRUARY 17, 2014 2:47 PM
By Gregory Eddi Jones
(The following interview with photographer Bob Avakian appeared in
PetaPixel on January 20.)
Bob Avakian and his wife Gail visited Martha's Vineyard for the summer
in 1973, and it has been home ever since. Trained in architecture,
engineering and building, for years he has worked in the construction
field as a custom homebuilder. After finding himself in management,
removed from the satisfaction of hands-on involvement, he turned to
photography as a means of self-expression.
As his photographic vision has evolved he has been drawn to the
natural landscape and an exploration of night photography.
PetaPixel: First Bob, how did you initially come into photography?
Bob Avakian: I could say my first formal introduction to photography
came in the early 70's when I took a photography class as an art
elective while in college. Soon after, I moved to Martha's Vineyard.
I still had my camera but going from NYC to a quiet island was a big
change and street photography was too intimate on a small island,
so the camera got put away except for taking photos of family,
friends and my construction work projects. A few years ago I took
an architectural photography class at Maine Media Workshops. That
experience rekindled an old passion for photography.
PP: Who are some of your biggest photographic influences, and what
makes their work special to you?
BA: I can remember a long time ago having an Ansel Adams poster on
my bedroom wall. Guess that would make him my first influence. But,
my Maine Media experience with architectural photographer Brian Van
den Brink got things really started for me.
After that I enrolled in a portfolio building/critique workshop
offered by the Griffin Museum of Photography in Winchester Ma. It is
called the Atelier, and is led by Karen Davis and her assistant Meg
Birnbaum. Without a doubt I can say it has been the most influential
to the development of my work.
Locally, here on Martha's Vineyard I have had the opportunity to meet
Stephen Dirado, who has been working at night for years. In fact he
photographed comet Hale Bop in the '90s.
There are so many other photographers work I admire, but one stands
out, Todd Hido, I recall reading him discuss his process, saying
how much he drives around and thinking "hey, that's what I do" and
immediately bonding with him. But of course it's more his photography,
it's really appealing. I only hope to meet him someday.
PP: One of the hallmarks of your work is the softness of light and
color that remains consistent from one picture to the next. Can you
tell us a little about the techniques you use to capture these scenes?
BA: This style began to emerge while I was building my portfolio of
night photos. It really appealed to me, so I latched on to it and
started to build on it as much as I could.
After one of my first portfolio reviews, I learned the importance
of a "tight and cohesive body of work." So editing became a crucial
component, and in order to tighten it up I needed a lot of photos
to select from. Of course, some of this aesthetic is achieved while
processing the photos in Adobe Lightroom.
My night photos don't look like much when first loaded into the
computer so they need to be enhanced. But one thing is for sure. If
it's not there to start with its not there in the end.
PP: Talk about the moods and emotional tones you look to set in your
work. There seems to be a thread of quietness and meditation that
binds these scenes together...
BA: That question most definitely hits on what my experience of
photographing the landscape at night is. The stillness of the night
and the mind while being out alone in the natural environment is
what makes this all so special. It is a very private experience and
as you suggest, a conscious meditation. It is all about finding the
right place and getting into the right mind to capture its essence.
PP: As a follow-up, talk us about your interest in the landscape in
general. What draws you to photography these outdoor scenes and not,
say, portraits or still life?
BA: I live surrounded by the natural landscape, so in a way it is
a matter of convenience for me. A lot of my photos are taken just
minutes from my home. I have done some still life and portrait work but
without any doubt, being outdoors is my first choice at the moment. I
feel much more comfortable than when I am photographing people.
PP: Many of these scenes remind me of other artists, Gregory Crewdson
and Edward Hopper particularly. There's a sense of emotion and mood
that you share with these two artists, as well an interest in the
New England architecture aesthetic, which they are both famous for
depicting. Have you looked to these two for inspiration? What interests
you in the atmosphere of New England?
BA: Crewdson and Hopper! Thank you very much. Though, this is not
the first time either of those two names have come up. Once at a
portfolio review Crewdson's name came up as I was being told my work
had a cinematic looks to it. That was truly mind-blowing. Same for
Hopper, though I was more familiar with his interior work.
New England is home to me, especially the rural location of Cape Cod
and the Islands. I have been living on the Vineyard for the last 40
years. So it may be more of a coincidence. My surroundings are an
inspiration in themselves, and I take pleasure in being able to show
them in a fresh way.
PP: When looking through these images, I very much get a sense of
searching and discovering. I can almost put myself in your shoes,
exploring the landscape and feeling a type of kinship with the
environment and its surprises. Is this experience of searching an
important part of this work for you?
BA: Yes, I think you nailed it. For me it is like the hunt, the
capture, then the reward. You know, living so close to the sea,
I have done a lot of fishing, and nighttime surf fishing at that.
If you think about it, there are quite a lot of similarities between
fishing and photography. You gather up your gear, load the car and head
out. Find the spot you think will be productive. You get yourself and
your equipment ready. Bait your hook and cast it into the water then
wait. You might wait all night and not get anything, or, if you're
lucky, your rod will bend over and the line will start spinning off
the reel. Now you have to land it and hope it's a keeper. If it is you
get take it home to cook for dinner and then enjoy; with a big smile.
PP: Beyond New England, are there other locations or environments
you're interested in exploring? Perhaps seascapes or industrial
locations?
BA: It's funny you mention seascapes, I am surrounded by them. Used to
be when I would head out the sea was my first destination, still is
actually, but when I get there sometimes I look the other way. There
are still lots of places here I have yet to visit. I have traveled
to urban locations to do night photography. The results are a lot
different, so for now I'll stick to the rural environment.
PP: What's the key to making a great night-time image?
BA: I have learned you need to have a lot of patience. It takes time
to get your exposure correct and to focus properly. Taking plenty
of high ISO test shots will help with this. Using your histogram
(digital) to determine your final exposure.
Otherwise choosing the right night is important, for me it's all about
the sky. I don't always know when I am going out, but opening up the
kitchen door and looking at the sky could make me suddenly wind up
in my car and hitting the road.
PP: Lastly, what's coming up for you over the next year,
photographically or otherwise?
BA: Continuing the learning process, experimenting, building the
portfolio, and perhaps working to develop a new body of work.
PP: Thank you for your time Bob.
- See more at:
http://www.mirrorspectator.com/2014/02/17/new-england-at-night-an-interview-with-bob-avakian/#sthash.xu0ztkIF.dpuf