|
Today, Truglia is just as persistent about wanting something extra in his work: maybe not a sunset but an illuminating quality nevertheless. Colorful and even irreverent, a Truglia photo will often juxtapose different kinds of things or different kinds of people. "My style has evolved as I've begun to trust my own sense of humor. In art school I made people laugh unintentionally, even though I was trying to be serious. Now I know it's one of my strengths." His strong style has caught the eye of such impressive clients as McDonalds, LaSalle Bank, Wrigleys Gum, Thrill Jockey Records, and Time, Wallpaper, and Magnet magazines. After graduating from Massachusetts College of Art in 1994 with a BFA in photography, Truglia moved to Chicago,"I didn't know what I wanted to do with my life and it was just by happenstance that Chicago was a perfect place for somebody to get started in a small business, especially in the arts," he says. Truglia spoke to Altpick.com via phone from his Chicago studio. You moved to Chicago in 1995 and then what? I didn't have a job. At the School of The Art Institute of Chicago's job board I saw a position for an art handler at a fine art gallery. Upon applying I was offered a part-time gig shooting their art instead. I later realized that my new employer, Richard Gray Gallery, was the only place between here and New York to buy original Picassos, Calders, and Henry Moores. I learned how to studio light master art works in a tiny back room with some old hot lights and a 5 X 7 Sinar. I studied the transparencies on file that were shot by previous photographers and learned from their lighting how to make them look so damn good. Much trial and error led to me purchasing my own gear, quitting my part-time job at Richard Gray, and taking them on as a client. Word spread through Chicago and I was in business as "Nice Slides and Pictures."
Yeah, it was probably in '99 when I did the first shoot where I really had to step out of my element, which had been two lights and a wall. It was a shoot for Ten by Ten magazine. The editor was a friend of mine and she had seen some of the work I was doing, which was not related to people at all. Yet from knowing me socially she knew how easy going I was with people. I think she just had a good idea that I would be able to do this. At the time they printed digitally and each issue had a theme. This theme was "Vernacular". So we did a fashion shoot in a laundromat. I remember thinking, 'how am I going to light this and how am I going to do this?' Then I said to myself, 'Forget it, I'm not going to light it.' I just went in and used really fast film with a lousy camera that I had at the time. I went in blind and just followed my gut. They loved it. They saw good stuff in them I hadn't even seen myself. Then I got the idea that I might have some sort of innate ability to see things without thinking about them. That was the first project that got me on the road to self-expression. then on, I've been learning to cultivate my own voice. How do you know when you've gotten the shot you want? It's like a painter. It's your oil painting. You can just continue to paint, paint, paint and it's a never-ending process. You can continue shooting for as long as you have film. You have to know when is when. Like when I feel the concept is getting muddy. It's not a visual thing. No one else would be able to tell exactly when that is. I feel that I've gone through the excitement of getting what I wanted, and then I hit this feeling of dragging my feet. Once I start hitting that place, I'll stop. Sometimes I'll stop for good or sometimes I'll just say we're done. Everyone is like, "Whew!" and claps. I wait about 30 seconds. When they're relieved and relaxed, I'll say, "I want to do one more thing," and I'll put another roll of film in the camera. They're different at this point because they thought they were done, and this elation is in the air. I go back in for another minute and a half. and sometimes I get the best stuff right there. What equipment do you use? I shoot with a lot of strobe, even if I'm outside in natural light. I shoot most of the time with medium format cameras, a 6x 4.5 because it's light and small and you never have a problem blowing them up. It's not like a 6 X 7, which is just a tank. I shoot a lot of digital now. I'm weaning myself off of it though. Some photographers are getting off film while I'm actually making a concerted effort to shoot more film.
It looks a lot better. I like the texture of film. Plus there are problems putting a digital picture next to a medium or large format one in my book. They just don't look right together. I shoot for my book a lot and I keep that in mind. Digital is just not as versatile at this point and it is a really different working style. It prevents me from continuing to relate to the subject because I'll shoot a digital picture and look at the screen rather than shoot and look at the subject. The digital interface becomes a real interruption in the flow of the shoot. Do other photographers or creative types inspire you? I'm inspired by photographers, video artists, screen printers, theater directors, and political activists. I am inspired by people who take big bites even if they can't swallow them whole. I think the most admirable people are those who are passionate about creating something that wouldn't exist without them. Those people are leaders and I believe they will always feel great satisfaction in their lives. I'm part of a theater company called Collaboraction. We are a core collective of 12, but when we do a production our creative community grows upwards of 100 artists and designers - all working passionately to create something for the viewer. That kind of sharing en mass also inspires me. Photographers I like include Phillip Lorca diCorcia, Gregory Crewdson, Gary Winograd, Dianne Arbus, and Martin Parr. Have you reached the place you want to be? An old high school friend reiterated to me something I said when I was 17 about where I'd be at 30: that I'd be a satisfied artist living with my girlfriend. I'd say that was true at 30 except in high school. I never thought of becoming a commercial photographer. I've been very lucky to have had the support of my family and now as an adult, great friends. I'm exactly where I want to be. Maybe I'd like a bigger studio, or to be going to France or Argentina to shoot a few times a year like some other photographers. But that type of measure is based more on envy than self. I have loose plans for various points in my life that include doing and being things I'm not yet, but right now I'm enjoying paving the way. - Contributed by Mary-Beth Holland >> See more work from Saverio Truglia >> See other member spotlights on the member spotlight index >> Find out more on how to become an altpick.com member |
