BONUS - In Conversation with Art Wolfe
Chris Great. Give me hope. It's been, what, a couple months since I saw you. Like living in London. I don't like the new digs. Beautiful way just opened in January. Yeah, come on over here. I love this style of photography. This use of movement to mimic that idea, the motion of the animals. What technique behind it, simply panning with the motion of the animals. Long shutter speed. It's a technique that was inspired by the work of Ernest Toss, and eventually I compiled enough of these images. It became a book called Rhythms From the Wild and I love the Cell because it takes a literal subject and interpret said into something more lyrical, more painterly and more artistic, which is always what I'm after. It's a complete change of C. Yeah, thing is one Sean. China is really on the South Coast, south central coast of eastern China. It's a place that I first visited in 1986 and once I went there for the first time, I knew I'd return in return toe return again. It's a great location. It's o...
n the top of a mountain. It's noted for its vertical columns. Iraq and bonsai trees. And if you hit it just right, you got all the swirling miss from the lowlands. And in short, it reminds me of a watercolor painting. It's got that classic Asian aesthetic, and whenever I get a photo that reminds me of a painting, it connects my history because I'm a painting major. So, China, I mean, China is a great place not only for the landscape, but it right around the corner. I want to show you another Chinese image that's distinctly different. Do you find that the influence of different cultures has changed your photography? Yes, different cultures, different landscapes, different wildlife. I started traveling internationally in and I've never stopped, because when you think about it, every new place you go stimulates your imagination, opens up the subject matter. And so I've never run out of ideas in 40 straight years of shooting, and I think that's the oh, it's well, thank you, Im. It's absolutely what I teach and love to take people with me is to show them new environments to expose him to the term culture shock because I think it's a positive thing, and I think as well that I mean, a lot of people say to me that there are short of ideas. Where do you find ideas? How do you see photographs when you have your photograph? The same subject? Different, different ways. I think that's one of the things you've been doing it for 40 years. You know, the new ideas are still there. They're still coming out, and it's been great because not only am I traveling far a field, but over the years my styles have changed. So I got it. This great variety of subjects. I'm not really a wildlife photographer or a landscape ist or even a cultural photographer. I embrace it all, and I think that's the training in art. You know, the background in art and art education. Really, I said, Don't get stock in one genre or the other. Do you feel like you're kind of like a storyteller? I am. I love taking photographs that still the bigger story, a single capture that shows contacts. It's an intimate shot. I'm just ah, few inches away from these core Marantz. This will be a 16 millimeter wide angle shot with very small aperture opening. It's totally lit by the Ambien Post Sunset lied in the the lantern lights that they're lighting that they use in fishing. Yeah, well, I just love the traditional hats. They're wearing modern shoes and modern pants, but they virtually are wearing the hats and the ring because it is actually raining. You concede drops on the boat and so on. And I was constantly wiping off my filters, and I was using a neutral density filtered to darken the sky. I mean, there were a lot of things going on at once, not the least of which is these fishermen wanted really to get out and start fishing. And I kept on telling the interpreter just a couple more seconds. I'm just getting the shot. So there's a sense of urgency, which often breathes spontaneous life into an image. I think it really conveys in 11 image, the entire story, the history of this tradition, this lip from yeah, it's entirely naturally lit. I tend not to use Flash because it overwhelms the subtleties of light. I love the use lantern fire, like candlelight. You know, romantic light for my subjects. Because my subjects are traditional. I'm not generally shooting modern people in modern cities, although I have done that. But I'm drawn towards traditional culture, and there's a sense of urgency and importance to that because many of these cultures have changed in my 40 years. And I wanna have a visual record of what may not last very far into the future. You know, Chris, this photograph is a great metaphor of tigers because it's passed me is looking back in that backward glance could be a great metaphor for, you know, looking back into a better time. Better? Yeah, 30 year cubs that were still hanging around, and I think the mother's driven him out and they're on their own. But they're still out of alliances sticking together. So virtually one after another kind of moved through this open ground. And that's why I mean, this is like the 2nd 1 going through. I was in the right position. It's even soft light late in the day. All those elements come together when, when subject circumstance in light arrived, you know magic can happen. It's a poignant any rate. India is also a great place for cultures. Yeah, one of my favorite shots over here was shot in Roger stand you can see it's very colorful. Medallion break colors on the shape, shape, color. The two things really stand out. Yeah, I'm actually shooting directly above looking down, leaning over with a wide angle. How did you get to that angle? Get just leaning over like yeah, yeah. So with a wide angle, it kind of distorts a little bit, but they gave me the depth of field and, you know, the women totally were on par with doing this. You know, it's been taking photographs for almost 40 years now. And his passion, his creativity, his enthusiasm really rub off on you. I want to take some pictures now.