[ November 3, 2008 ]
Born and raised in California, Gary began his career in a studio San Francisco. He later moved to Paris, France where he was based for 16 years, working first as a photojournalist and later shooting commercially. In addition to his still photography, he has developed and produced a series of online documentaries and continues to work on new media projects. He currently resides in Seattle, Washington.
Our society is very much an image-based one. What do you feel you can contribute as a photographer?
Well my starting point is to try and create photographs that have meaning to me. Images that portray people and their lives with a certain honesty and integrity. My work reflects my worldview and it's a style and approach that I hope resonates with others.
The general public can consume and discard an image in a nano-second. What makes them stop, actually look, and retain an image?
Content and context. A memorable image needs to have some sort of remarkable quality or idea at it's core. It could be technically masterful, compelling subject matter, a provocative statement or an innate beauty. Whatever it is, it needs to illicit some kind of emotional response from viewers. And then there's context. I'm a huge believer in the power of great design. While a strong photograph can certainly stand on it's own, more often than not it's part of a larger work that may include text, graphics, voiceover, music, etc. So whether it's on a billboard, in a magazine or on a website the effectiveness of an image is also determined by the strength of the design and the execution of the overall concept.
Edward Steichen said in 1955 that the art of photography is "explaining man to man." Do you feel this still true today, and how is it true for you?
For me the real passion in shooting portraits lies in the moment when everything fades away and it's just me and the person on the other side of the lens. In that moment I feel a heightened sense of awareness and understanding about the person. There's a connectedness. So on a very personal level, Steichen's statement rings true. Beyond that, I hope that some of those 'insights' are passed on to the viewer in the final image.
How do you get people to open themselves up to your lens?
I think it's mostly about of gaining your subject's trust. You want them to relax and let go of any self-awareness they might have. It's also about getting them to understand that a portrait is not a passive experience, it's an exchange. They have to want to open up and show you a part of themselves that's usually well guarded. Honestly, it's hard to explain how you do that. I think it starts with being sincerely interested in your subject and then figuring out how to pull the very best out of them.
After having shot images of people from around the world, what have you learned about humanity in general?
I guess the big takeaway is that we're all a lot more alike then we are different. The challenge is to get past any prejudices you might have a find a way to connect on a very basic, human level. It's surprisingly easy to do.
After having shot images of people over two decades, would you say that humanity is getting better, or is it getting worse...?
Honestly... I believe human nature is the same as it ever was. The good, the bad and the ugly.
Your camera accompanies you always. How does your personal research influence your professional work?
The more I mature as a photographer and a person, I realize it's all about making ALL of the work as personal as you can.
How does a portrait of yours differ from a typical advertising image?
I think a lot images used in advertising feel overproduced and lacking soul. I'm certainly not against great art direction or post-production work, I highly value both, but I also believe that there needs to be something authentic about an image in order for it to make a deep connection with the audience. You really see the worst of this in fashion advertising. Images of people who look bored out of their minds and who have been retouched to the point that they don't look real. How can you care about these people or the brands they represent? Personally, I don't get it. I guess I feel my work is the antithesis of that approach.
What is the most challenging thing you have ever shot?
A self portrait.
>> See more work from Gary Matoso
>> See other member spotlights on the member spotlight index
>> Find out more on how to become an altpick.com member
|
