Joe Mcnally’s interview, second part, he continues telling about his photography career.

Joe Mcnally tells about his photographer career and and how he started.

Michael Zagaris, also known as “the Z-man”. He became the band photographer for the Rolling Stones, The Who, Led Zeppelin, and new bands continue adding to this list. He is currently the team photographer for the Oakland Athletics and San Francisco 49ers.

In this video interview, Zagaris explains his approach to photography, how to “become what you shoot”, and focus on your subject. He has always considred himself working in photojournalism genre, preferring to capute reality. One of his ideas is to try becoming what you shoot and connect with your subject. You want to create a photograph of the person and show who he is or who he wants to be. You should have a vision of how you want to shoot a subject and frame the photo in the context. Lens, angle and backdrops are important for creating a composition. A photographer should remain engaged and always open. If you shoot what really moves you, there is a chance that your work will move someone else.

You can see some of Michael’s art works here.

Bob Cain

I am proud to present our new guest – Bob Cain, a retired photographer from Canada who has achieved success in selling his art prints.

PG: Hello Bob, tell us how you got interested in photography and what you did in your early day.

Bob: When I was 10 years old my family moved into a house with a darkroom in the basement. My brother and I began to use it with that great enthusiasm that young boys have. We started with fold up Kodaks, developing the film and printing the pictures. In short, learning the whole photographic process. We even shot and developed 16 mm reversal movie films; shooting such classics as ‘Death with a smile’ and ‘Mayday Parade’.

Ferry Passengers - Living on an island I take lots of ferries and ferry pics. The reflected light transforms this photo-it seems staged and this intrigues my eye.

It wasn’t until my early 20’s that I realized what I really wanted to do in life was photography. I found a job with a commercial photography outfit which did everything; editorial, commercial, advertising, copying, portrait photography. We also made giant prints and offered drymounting and wetmounting services.

We worked with line film, continuous tone, and produced half-tones.

During these years I took night courses at University where I discovered the artistic side of the craft. What an education!

Victoria Harbour - This photo combines two of my favourite approaches. Centering the subject and capturing the lone soul.

PG: What happened after you had completed University and what do you do now?

Bob: I worked my way up to the managers job but discovered that the long intense work hours were destroying my interest in what I’d loved.

I quit and moved my young family to a small island off the west coast of Canada. There I somehow became the island photographer and archivist. As well as shooting weddings, passport photos, and Artist’s work I recorded the daily life of the islanders.

Last year I announce in the local paper that I was retiring. I would no longer do the work I’d been doing for the last 30 or more years.

Today I work on my archives and shoot my own stuff. Still as busy as ever and enjoying the ‘retirement’.

PG: I know you were successful in selling your prints. Please tell about it and also about your achievements.

Bob: I sold my first print in 1965. I had set up a display in an outdoor market in Gastown(Vancouver) and was flabbergasted when a couple bought a print for $10!

First sale - I was so flustered and unprepared that I had to borrow wrapping paper from a fellow exhibitor.

In the sixties I published a series of black and white posters (I named my outfit Vancouver Postergraphics) and employed a couple of salesmen to push them. They did OK and a couple of department store chains began selling them.

I’ve participated in a number of group shows in Vancouver and Victoria British Columbia as well as few one man shows.

Early on I’d built a 20×30 ft studio on my island property and every year I did a pre-Christmas show where I sold many prints to Islanders and visitors.

My photos have been published in a few books and magazines. Also I was the island stringer for the nearby town newspaper. They printed many of my island life photos.

I’ve won a few awards and contests over the years.

PG: I suppose you are into film photography?

Bob: Film naturally although I’m getting excited about digital. I’ve been busy digitizing all my prints. The digital age is the archivist’s dream. There is no better way to organize and output spanning 50 or 60 years.

Cruise ship - I love the movement in this. The sharpest part is the little girls face. Serendipdous, I know, but I was there and I did take the picture.

PG: I am sure our readers would like to know what equipment you use.

Bob: Here is some of the equipment I still have and still use.

Plaubel 4×5 monorail and a Simmons 4×5 enlarger, Rolleiflex TLR and Durst 6×6 enlarger, Rittrek 6×9 SLR and Durst 6×9 enlarger, Nikon F(yes the original bought in Japan),Nikon F2 and a Leitz Focotar enlarger.

I’ve been using Leicas for years and have ended up with my all time favourite camera, the Leica M6.

I carry a little Lumix(DMC-Fs15) which satisfies my never ending urge to photograph.

In the studio I have two San Kuang 250 amp studio lights.(enough power for the stuff I used to shoot) and background paper.

I also use a Seal Commercial 200 drymount press.

PG: Have you travelled much?

Bob: I’ve travelled often always with a camera and the attendant arguments with x-ray border guards.

In 1983 I had the privilege of accompanying the artist Jerry Pethick to Paris to photograph his show at the Canadian Consulate. A month in Paris!

Moonrise - I call this Moonrise over St John's Point and, yes, it's an intentional borrowing from Ansel Adams. A planned photograph, I was fairly confident that this would be the track the moon took.

PG: Any tips or advice to our readers please!

Bob: I know it’s a platitude but it is as true now as it ever was. Shoot what you like – period. You’ll never be disappointed.

I’m biased, I know, but young aspiring photographers would be better off getting commercial training than sitting in a classroom.

PG: Thank you, Bob!

Bob Cain’s web site: Rcainphoto.com/blog and rcainphoto.com

Caroline Mueller

Our next guest is an award-winning portrait photographer from Texas – Caroline Mueller.

Caroline is a Digital Portrait Photographer – dealing with images in both color and black and white. Although she can shoot film on request (color or black & white), she prefers shooting portraits with the latest technology and high-resolution digital images.

PG: Caroline, tell us about your education.

Caroline:  My love for photography began as a child. From my youth, I was taught by my grandfather, a skilled amateur photographer who was interested in photography as art and a hobby, and he enjoyed the time spent working in his darkroom. As he taught me along the way, he stressed the importance of lighting and early emphasized to me the grammar of perspective, form, shape, line, and structure. I was fascinated with the camera’s ability to capture a moment that would last for a lifetime.

Later I received my Bachelor of Fine Arts in Studio Art with a Concentration in Photography from The Meadows School of the Arts at Southern Methodist University in Dallas, Texas. It was there at SMU that I studied with photographers Charles DeBus, Debra Hunter, and others.

PG: And what are your achievements in photograohy so far?

Caroline:

• Designed and Produced Group Portfolio, The Portrait: In Memory of All Those We Shot.
• Sphere of Continuity (Grand Prize Winner), On Permanent Display at Southern Methodist University in Dallas, Texas.
• Wrote and published book: A Collection of Statements, Comments, Images.
• Photographer, Independent Film: T’d Off

Portrait

PG: What is your equipment?

Caroline: I prefer to shoot with a Nikon 7D00. My studio is located in Dallas, Texas, but we will bring photographic equipment and shoot on location for Corporate Executive Portraits, Bridal & Wedding Photography, Modeling & Fashion Shoots, Actor & Actress Headshot Sessions and Band Promo Shots.

Band

PG: Have you done any traveling?

Caroline:

• Visionary Group: Dakar, Senegal, Africa
• Amazon Jungle, Puerto Alegria, Peru
• New Zealand
• Mexico

Bridal

PG: Photographers who inspired you?

Caroline: I was influenced by photographers Michael Kenna, Steve McCurry, Annie Leibowitz, Dorothea Lange, Ansel Adams (a friend and mentor of my professor, Charles DeBus), Albert Renger-Patzsch, and also by my late father, Herbert Clem Mueller, M.D.

PG: What is photography to you and why do you enjoy it?

Caroline: My portraits have a photojournalistic feel. My passion is getting to know people and their stories with my camera: the icebreaker and magical tool. I truly care about my clients and appreciate the value that they add to my own life. The gift that I strive to give back to my clients is a photograph that captures their essence. Using Photography as a means to capture the world around us has always been natural to me. I bring together my passions for people and photography, focusing on portraits.

Landscape

The camera does not lie. My love for photojournalism is evident – and for telling the stories that I see – of either the amazing beauty in nature, of families, of children, of the drifter, of the lonely . . . or in giving us a glimpse of the pain and suffering that comes though poverty, oppression, disaster, or loss. I develop a keen eye for capturing images in the natural setting.

My website is dedicated in memory of my father, Dr. Herbert Clem Mueller, who was taken into the presence of the Lord on Sunday, May 25, 2008, after a courageous battle with pancreatic cancer. To read more of Dr. Mueller’s life, faith, and courageous battle with cancer and his legacy, please see the website his family created: www.PrayerAvailsMuch.com

PG: Thank you very much for your interview, Caroline, and good luck!

You can see more works by Caroline Mueller here: www.CarolineMuellerPhotography.com

Scott Edwards

Please welcome our first guest Scott Edwards, a 53-years old art photographer from Wisconsin, USA.

Scott: My education is in fine art printmaking. In the mid 1970s I attended the University of Wisconsin on an art scholarship and dropped out when the money dried up.

9 years ago I took up black and white photography when I discovered Edward Weston’s work and how it moved me.

I make my living exhibiting photography in art galleries and museums, selling photographs, lecturing and teaching photography workshops.

Scott: In college my work has been entered into competitions on my behalf and I have been the recipient of awards as a sideline to exhibits that I’ve been in. I have  been recognized with regional and national awards, most recently at a national exhibition at the Hubbard Museum of the American West (a Smithsonian museum) in New Mexico. I’ve had 7 museum exhibitions so far (including solo), many gallery shows (see my website Scottedwards.us for a list of the most recent) and in January, 2010 I’m being exhibited with master Western painters in Texas.  My work has been published in magazines, newspapers and a book concerning my 2,000 mile walk to the Grand Canyon. I was also awarded 2 residencies and have been a juror at the Milwaukee Art Museum in Wisconsin.

Willow: This image illustrates the intriguing effects one can get from selective focus. I angled the image in the viewfinder to exaggerate the motion of the leaves in the wind and to get more of the subject into the frame. Once again, the light is what attracted me to this image in the first place. Notice how it gives the leaves a waxy appearance.

Scott: I only shoot black and white film in large and medium format. Silver prints just rock my world.

Scott: My large format cameras include 3 Calumet monorails and a Busch Pressman field camera. My medium format cameras are twin lens Mamiyas, twin lens Zeiss, and a Kodak Tourist. The calumet cameras are bulky but the range of movements on a monorail camera are second to none. It is important to have this feature when shooting close up work for maximum sharpness, or to exaggerate out of focus areas. In my darkroom I have a Kaiser VPM enlarger for medium format work and a Beseler 45MXT for large format.

Scott: My work takes me all over the United States. This past summer I traveled to Texas, New Mexico, Alabama, South Dakota, Wyoming and Montana. Next year I plan to travel to the Oregon Coast (again) and to Eastern Europe. National parks in the United States offer the most unspoiled landscape opportunities, but one needs to wander off the beaten path to do some serious uninterrupted photography study. The Oregon Coast remains my favorite place. There are many miles of rocky beaches protected by the Oregon State Park Service. When the fog burns off in the mornings, the landscape takes on an angelic quality with moist rocks and soft light. A virtual smorgasbord of textures.

Bright Angel Trail: This is an image I took when I arrived on foot from Wisconsin to the Grand Canyon in Arizona. I wanted to view the canyon looking down without skyline because I have never seen it photographed this way. I waited for the late afternoon light to cast interesting shadows and a softer light to capture the textures in the shadow areas, and gave it a lyrical composition to help the eye travel the entire frame. I don’t incorporate vignetting in any way because I want the viewer to feel as though the image travels off the frame infinitely.

Scott: In black and white photography, I feel that light quality is the most important; if you don’t have the right light – there is no image. It is also important to remember in any image that, the subject is part of the image…not the total image. One must consider also the frame of reference, negative space (shadows) and any shapes in the image that comprise the composition. Composition is what draws viewers from a distance. As they get closer, more layers in the image present themselves and at close inspection the most minute textures and sharpness should become evident. I try to keep my compositions simple and clean and think like a painter. In my compositions, one will seldom find human beings, because I want to make the image intimate to the viewer. To accomplish this effect, I compose foreground elements that give the viewer a sense of being included  in the image as sort of a first hand account. My compositions almost always start at my feet and end up at the horizon near the top of the frame.

Black and white photography to me is all about contrasts: Contrasting values, textures, subject matter, sharpness and even balance. I’m a big fan of selective focus, because it tends to make the sharp areas of an image sharper, while showing off the bokeh of a particularly excellent lens. People still pay up to $1000 for lenses that are over a century old because of this bokeh quality. I like to juxtapose my focus also, in other words, sharply focus soft textures and render sharp textures as soft. For instance, in an abstraction I did of a cactus, the fine hairs of the cactus are sharply focused, while the spikes are soft. It makes the viewing experience more interesting I think.

Shelter From The Storm: In this image, I am inside a tunnel underneath the highway, that I slept in the previous night to escape a severe thunderstorm. From inside, I wanted to capture the cool cement walls in the immediate foreground to give a sense of place to the viewer, and included the railroad trestle in the background in warm light which juxtaposes the various temperatures together. The distant horizon lends a vastness to the western Kansas landscape.

Scott: Books: “Through Another Lens” by Charis Wilson, on the subject of her life with Edward Weston, and “Helmut Newton: Autobiography”.

Edward Weston and Paul Strand are my biggest influences in photography. Currently I enjoy and am inspired by Mona Kuhn, Sally Mann, Sebastian Stachowski, and Ralph Gibson.

Tidepool: This image was captured on the Oregon Coast. The light was low, so I opted to capture the motion of the wave as it crested over the rocks in the foreground. Overexposing by 1 stop gave the image more base fog and gravity, while allowing me to shoot this at 3 second exposure with Efke 25 film set to EI12.

Scott: Shoot what pleases you. Don’t be concerned with what other people want (unless you do commercial work). Your photographs should be fulfilling to you first and foremost.

Photography has the stigma of being associated with journalism and commercial advertising – but it can be art as much as a painting or drawing – its just a different tool. Also, one thinks to “take a picture of this thing or that thing”. I like to collect elements in a photographic composition in such a way as to make them more beautiful than that which can be seen without a camera. The way I compose makes the image mine and nobody else’s. So make your own tripod holes and put your personal signature on everything you shoot.

You will find more works by Scott Edwards on his web site: Scottedwards.us

This is a place for reading selected photographers’ interviews, illustrated by their best images. Professional and serious amateur artists share:

• approaches to getting results;
• tips on photo equipment;
• books to read;
• inspiration and motivation resources;
• future goals and much more…

If you want to be interviewed, please let us know.