You’re giving something to the landscape and it’s giving something to you. You’ve got a strong idea of what you want, you’ve got a lot of people telling you what they want, and then you’ve got to produce it. I suspect both - over so many years, twenty or thirty, it is possible to radically change one’s vision. When I print, it’s exactly the same process. I rode an emotional roller coaster as I did the project, but it was something I needed to do. Audio (English) | 2009, Michael Kenna's Hokkaido

Once you’ve made that decision, if the contrast range is too great, you can underdevelop the negative to reduce highlight density, or print on lower contrast papers or with lower contrast filters. I’d make more prints until we got one she liked, then I’d go back in the darkroom and make a small series like that. They subsequently organized the publication of this book with the joint publishers Marval and Nazraeli. They’re all on 8x10 paper.

MK: Perfect example. Then I rented a jeep for four or five days and went out on my own at different times of the day and night. I had my work at the Stephen White Gallery in Los Angeles.

I thought Sam was an excellent tutor, he gave us some pointers as to what to look for and think about with each challenge before getting us to create the compositions for ourselves. (All prints since that time have been in editions of 45). I never had the chance to go back to design, painting, drawing, sculpture, or any of the other subject areas that I enjoyed doing. Each one has a different characteristic. If you do not allow these cookies, some portions of our website may be less friendly and easy to use, forcing you to enter content or set your preferences on each visit. They accepted me, so I didn’t bother to go to the graphics interview. No. JK: You can work on the same thing for a long time without repeating yourself? You must log in or register to reply here. Curiosity is important. MK: Unfortunately many “art” photographers look down on commercial photographers, they look down on even doing commercial work as if it is some sort of blasphemous act that sullies the purity of art. Yes, my work is ‘the decisive 12 hours’, not ‘the decisive moment’. JK: That first trip, were you just running through possibilities, experimenting with different approaches, or did a unifying idea occur to you then? Audio (English) | 2010, KBOO Radio Interview I’d also been a bicycle messenger boy, a gardener, house painter, etc., so printing sounded good. You have to spend a lot of time thinking about what you’re doing. MK: I’m an environmentalist by nature, and I don’t appreciate pollution of any sort. First step: Say hi and let us know how we can work together, Use this contact form to reach us ([email protected]). In the Darkroom with Michael Kenna. Where did you develop technical knowledge? I try not to make specific, conscious decisions ahead of time about what I’m looking for. Premiere Issue 1997 vol. December, 2018 | By: NAKAJIMA, Ryohei Please visit his links to see more of his inspiring work, and to let him know you enjoyed this interview. It’s nice to deepen and renew and reacquaint with that person, instead of constantly meeting new people. Childhood recollections; new discoveries. January 2, 2018

Lyme Regis was a fantastic location and Sam challenged me to look at my composition differently which is just what I was hoping for. So you come in here [bottom right] and you wander along and you go out here [top left]. That’s one of the reasons I haven’t gone over to digital.

Previous to that I always used Omega enlargers. Produced by Joy of Giving Something, Fotodiip Interview Jim Kasson interviewed Michael Kenna at his home in San Francisco. 1 No. No, only sepia right now. I find the interval of time also helps me to become more objective about the image. However, I am also a realist, and a user of electricity. For more information, please refer to our Privacy Policy. There’s something very good about having deeper relationships with countries too. MK: At age eighteen I took a one year foundation course in art, which exposed me to many different media. This is a good starting point. What’s the biggest challenge for you at the printing stage? by Brooks Jensen, WRAPAROUND Interview What do you make of the ubiquity of photography? We just completed a fascinating and insightful interview with. Being creative often means following a lead, working on half chances, half thoughts, coming up to dead ends and re tracking. JK: What’s the biggest print you make now? Eugene Atget, for example, inspired me to photograph the Le Notre Gardens in and around Paris. I enjoy the way that grain can break up an image. 30th December. Video + Audio | 2013 | Video, Video Interview - Nancy, France Is the Holga proof that expensive gear isn’t vital to good photography? I don’t need to go very far to find examples, and, to discuss leading lines, I’ve decided to limit myself to the photos that were in this exhibition, though there are plenty of other examples throughout his work. I think of my photographs as visual haiku poems, rather than full-length novels. Well organised. But look at the history. And don’t forget to say hi! On that first trip I stayed for eight days, and then went back the following summer. I go through these repeatedly and pick out images that retain interest. I like to go away for ten days or so, and do nothing but photograph, work day and night. by Carole Glauber, Art Electronics Interview By Claire Sykes April 2003 It’s no surprise that as a child Michael Kenna wanted to someday be a priest. by Claire Sykes, Episode 3, Michael Kenna I have more confidence that I can correct in the printing stage any extreme negative aberrations, and as I said before, I don’t like to spend too much time thinking about technique. Dramatic black shadows add to the mystery and drama. Telephone 415 433 6879. Recent adventures, though, have seen him experimenting on the side with Holga ‘toy cameras’. Structures often appear as two dimensional cut outs. If you use the analogy of food, you might know exactly what you like, exactly what restaurant you’re going to go to and exactly what you’re going to order. I wish it did, because I find the state of openness, of being ready for pictures, to be calming. Exposures are quite subjective and usually long - anywhere from one or two seconds to seven or eight hours. Usually I take the summer off from making photographs, because I don’t really like photographing in clear, sunny, warm weather, but that year I decided to experiment by going south of the Equator in the summer. I love that.

The first time around was for reproduction. Interviews. We use cookies to ensure that our memberships and other website features work correctly. A couple of years ago my daughter, Olivia, went to spend a summer in Argentina as an exchange student—our summer, their winter. The information is aggregated and anonymous, and cannot be used to identify you.

One of my other pastimes is long-distance running. Many photographers try to go for the perfect print right after processing the negative. Video | 2007

JK: And in your photographs, the nuclear power stations are more beautiful than the trees and the castles. Yes, it is, or at least it was. It is an attempt to evoke and suggest through as few elements as possible rather than to describe with tremendous detail.
Everything guides you to that corner and out, into a place […] we don’t know what’s there. You can’t help it. Please enable Javascript in your browser, or click here. JK: Many, maybe most, art photographers also support themselves through either commercial work or workshops. It is perhaps healthier to see the world in a more encompassing way. I might then return and stay for longer periods and I’m usually more concentrated in my approach.

Neither of the two photos above are at angles as sharp as the other photos I’ve examined. Alex Shramko | YouTube Others you have to look at a lot before you can figure them out. I will often print deep shadows with a grade 4 1/2 or 5 and burn in skies with a grade 1. I prefer an element of suggestion in my photography, rather than a detailed and accurate description. JK: When I’m working hard on things that stretch the analytical side of my mind, it takes me a couple of days of photographing before I can really be open to accepting what I see out there, and working with it.

Absolutely. JK: On the subject of craft, one of the problems of night photography is contrast management. 1 No. Thinking about this, and looking over his work in the dozen books I own, I’ve isolated a number of types of composition in Kenna’s photos. That’s closer to my approach. If you continue to use this site we will assume that's OK with you. I do not completely understand his particular change but I certainly respect it. When I photograph, I look for what is significant to me, what resonates with me, touches me. A couple of years ago my daughter, Olivia, went to spend a summer in Argentina as an exchange student—our summer, their winter. Light comes from multiple directions. I find I’m returning more to China, France, Italy, Japan, places where I’ve been before. Now I can just change the filter, which is great. The only way to disable these cookies is via your browser settings. It’s very basic. One of the joys of night photography is that you can’t completely control it. I felt uncomfortable photographing this potent subject matter in my style, which tends to make things look a certain way, but it is the way I see, and it would have been deceptive for me to work in a different way.
Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! They’re heavy, cumbersome. In future articles, I’ll look at some of the other compositional strategies that Michael Kenna uses, such as centered objects, repetition, reflection, and more. Many of my subjects have layers of meaning if you care to look for them. English | Japanese Subtitles Interviews. But then, the cooling towers themselves are really quite exquisite in their own sculptural way. Later I also printed in color labs and for a short time at Sotheby’s Auction House, of all places. In the daytime, if you’re a reasonably competent photographer, there’s no reason you can’t get exactly what you see. France has so much to offer. German | 2015, Black Market Photo Interview

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