It’s an honor to be featured in what I believe is the best online landscape photography magazine today. On Landscape is a British subscription-based magazine with most of its content focused on works and artists from across the pond.
Anyone can do the craft. Only the individual has the unique personality to build a point of view. Al Weber
My good friend and extraordinary photographer and writer Guy Tal recently interviewed me on his blog. Mine is the second installment of interviews Guy is conducting with photographers he considers “creative and innovative” (he’ll also need to interview himself in a future installment). Guy’s questions are unlike the typical ones you’ll find in interviews with photographers; they’re thoughtful and in-depth, and I had to dig deep for my replies.
The most important question Guy asked pertained to my treatment of my images as “expressive art rather than purely a medium for capturing natural beauty“. Before I proceed any further, I’d like to have you reread the quote at the beginning of this entry. Indeed, anyone can do the craft – more so today than ever before. Even amateur photo hobbyists now own 16-18mp D-SLR’s purchased from Costco or Sam’s Club, and if they point them reasonably well, they, too, can produce “professional quality” photographs. But simply owning a high resolution D-SLR and Lightroom 3 makes you no more a photographic artist than me describing myself a writer for owning an expensive keyboard and a WordPress blog. No matter how technically stunning your work – and despite rationalizing that it’s “your unique take” – you can’t own your photographs when they are composed of common subjects and grand views captured similarly by others from the same viewpoints and perhaps with better gear and possibly even under better light. Alternative or derivative? Indeed, but unique it will not and cannot be. The trap of becoming involved in the landscape photographer’s “circuit” – whereby a number of photographers shuttle around North America photographing mature subjects during their peak seasons (hopefully with “epic” light) – is that you’re not likely creating images for yourself or for your audience. You’re instead likely involved in the photographer’s rat race of one-upmanship: “I can do it better”.
I’d like to share a secret: buyers of photographs don’t care about location-based photography (photo-stock excluded) nor do they care about how close you came to dying or how you lost a camera and lens while producing the photograph. Buyers buy because a) they are too moved by your photograph to not buy it b) they have a direct connection to the subject or particular elements within it. It doesn’t matter that you have the very finest Moulton Barn photo of the thousands that are out there (millions?), and it doesn’t matter if you’ve captured the most epic light ever over Coyote Buttes. If your audience has no connection to these places, you simply cannot sell them a print no matter how hard you try.
Instead of trying to separate yourself from the photographic herd only by way of technical excellence (which, by the way, does not matter to buyers), consider building a point of view to share with the world. You’ll first need to develop this, of course. Everyone is quite aware that nature and natural landscapes are beautiful, so sharing the beauty of nature and landscape is not sharing your point of view; it merely affirms what is already celebrated. Dig deep into your collection of photographs; find common threads through the work which you can claim as your photographic voice and yours alone; and continue to develop photographs and themes that reinforce your unique point of view. You do have one, and the world is interested in it (if this were not the case, every nature/landscape photographer post-Ansel Adams would be a complete failure).
I am far from being the first (and last) landscape photographer to shoot the places I do and using the tools that I do. I am not the first to photograph the Mojave Desert, Joshua trees, or the Sierra Nevada, but I am the first to present my point of view of these subjects and places. It is the only way I know how to work, and it is the only work that I believe is worth doing. I don’t need to run about North America photographing its most photographically mature subjects, and I have little reason to outdo other photographers. I work in my own arena. I care only about making photographs of subjects I love and can portray in a way that I can say is uniquely mine. When I do this most effectively, compelling photographs emerge. Epic light and icons be damned – I can even sell prints of busted vehicles.
Stop paying attention to what other photographers are doing. Photograph anything you want. Do it with your voice and your point of view. If you can do this with love and conviction, success will be yours.
You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.
I’m happy to announce that I am featured in the March 2011 issue of Rangefinder magazine! Contributing editor Martha Blanchfield has written a great article about me and my work, and the editors have made a nice selection of my images to accompany the article. Download this article for free!
Thanks for having a look!
You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.
It’s a real honor to have not only a cover photograph, but also a well-written interview by Matt Katz in the Winter 2007 issue of Broughton Quarterly (a seasonal travel magazine published by Broughton Hospitality). The article focuses on my black & white photography of the California desert, and also features several additional photographs.
You can find the issue and article HERE.