Paul McLaren

New York City

website

When did you start getting engaged in photography? Did you start working intuitively or did you visit photography classes?

I started to get into photography when I was around 12. My first camera was a Canon Rebel so I shot a lot of imitation work, trying to find my niche. It wasn’t until much later that I took my first digital photography class at the Parsons Academy of Design. But, for the most part, I started working intuitively and I then started to develop my own original work.

To you, what’s the most fun thing about photography? On the other side, are there things you struggle with?

I really enjoy photographing people on the street, so I love the interactive aspect of photography because I often approach strangers and get to meet new people. That being said, I also value concept in my work so I always try and create something with a significant meaning. Developing work that can really invoke change in the way people view the world is probably the most important principle that I value. However, I often struggle with the question of what it means to be a photographer in a day and age where trillions of photos are being uploaded every day. In other words, how do you make a photograph that is 'art'?

Your latest series consists of portraits in black and white as recreations of Richard Avedon’s photograph of a Blackjack dealer. What inspired you about Avedon’s work?

When I made this series, I was really interested in individuality and identity. Aesthetically, Avedon’s work was very attractive to me. The rich grey tones that he was able to produce using a large format camera, and the clean white backdrop that he employed worked harmoniously to create a beautiful image. However, conceptually I interpreted his work as being largely about identity and individuals. How the stark physical differences between the people of the American West represented the emotional realities between each subject. That’s what really stuck out to me and I sought to recreate that feeling and to cultivate a culture of difference through my work.

For you, is the learning process in photography a steady one? 

I think the fact that I love it so much makes exploring photography as an artistic medium easy for me. However, learning about art as a whole is difficult for me - as I think it is for any contemporary artist. Sometimes I struggle with creating concepts but usually when I have a stroke of creative genius, it comes naturally and is not forced.

Do you ever find it difficult to describe your thoughts behind images you took?

Not at all, because for me, it tends to be the reverse. I portray my thoughts through my images by first developing a concept, and then translating that into an aesthetic creation. However, sometimes, I will be working on a project that doesn’t really come from any particular concept and it turns out to be very interesting when I see the connections that form between various pieces as I progress.

Which techniques interest you currently?

I love working with VHS cameras for cinema and for different digital glitch effects. This summer I will be exploring experimental film at the San Francisco Art Institute so I am really looking forward to that. I also am currently exploring a lot of different analogue techniques and am starting to work with different film formats like 4x5 and large format cameras. I find that nowadays, conceptual art is the most effective and most original medium to work with because it is often a very unique lens into society. One of my favourite artists is Hank Willis Thomas who illustrates contemporary issues in American race-relations and gender roles in our society through his work.

What’s it like to live in New York City, especially from the perspective of a young aspiring photographer?

I honestly couldn’t imagine living anywhere else. New York City is also such central place in terms of the current young creative movement. I take advantage of the wonderful art schools including Parsons and ICP. Street photography became one of my main interests largely because of living in NYC and my fascination with strangers and other people.

What are your plans for Summer 2015?

This summer I am going to the San Francisco Art Institute pre college program and I will be studying Black and White Photography and Experimental film.  I will then be working in NYC as a photo editor for Musée Magazine and I will also be interning at a wonderful studio space in Brooklyn, Holyrad Studio.

Where would you like to see yourself in 10 years?

Creative director for a political campaign. Art director for The Fader Magazine. Or Photo Editor for Vice Magazine. I really want to continue to work in photography but I want to explore where creativity is applied in various industries including politics, advertising, and publishing media.

Lukasz Nowosadzki

Warsaw, Poland

website

What was the idea behind your series ‘Warsaw Nights’?

The process of capturing the nightlife came quite naturally. Going out, I would simply take a camera with me and take pictures. I didn’t think of it in terms of a project. Most of the shots were taken in the years 2011 and 2012. In 2013, when I had to prepare a set of pictures for a photo editing class (I studied photography at the University of Warsaw), I thought it would be cool to make some sort of a selection of these photos, make them into a whole with a thought behind. That’s when a few new frames ware made and the general concept crystallized – showing the reluctance to grow up and the insecurity of the young people living in Warsaw.

What’s the most memorable thing that happened while you were working on this project?

It’s hard to find anything special that could have occurred when I was engaged in this project. The environment within which I worked was easy to cope with, even though the photographs show people who are strangers to me. Nothing I hadn’t expected happened.

What do you like or dislike about Warsaw? Why did you choose this city for the project?

I was born, I studied and I live in Warsaw. I took pictures here simply because there is no other place where I spent so many nights. And I like Warsaw for its creative potential, the people who live here and the demanding beauty it offers to those who devote enough time to seek it. When it comes to the city’s nightlife, the only thing I dislike is the fact that places with character get shut down too often and, as I feel, too quickly. Fortunately, new ones keep appearing.

You have a heavy emphasis on street photography on your website. What do you find most intriguing about it?

I don’t know if the word ‘intriguing’ really applies to street photography. This form of photography has been practiced for decades and it’s hard to be original in this matter. I do like its naturalness, though. The fact that wherever you are, you see something and you just document it. You don't have to think of it in terms of a project. Of course, this apparent ease can be pernicious at times, it’s a straight path to repeating patterns. Personally, rather than catching funny scenes in the streets, I value creating the image itself – the form, the colours, the emotions.

Are there any street photographers you admire yourself?

There are plainly photographers who I appreciate and who happen to take pictures in the streets from time to time. I don’t think anyone self-conscious would like to be labeled as just a street photographer. My master's thesis concerned the American colour photography and from among the artists I mentioned there, some I particularly esteem – those are above all Saul Leiter and Joel Meyerowitz. Not only do I admire their work, I also respect them for what kind of people they are. I do like the works of Harry Gruyeart, Alex Webb and Patrick Zachmann as well. From the younger generation I would pick Trent Parke and Jesse Marlow. And for something completely different – Nan Goldin and Antoine D’Agata. There are plenty of artists whose output I follow and I could probably carry on naming more for a while.

Would you consider working for a news agency full-time?

I once thought of working for a news agency. Now I know it’s not something I could do. Questionable financial aspects aside, I’m mostly concerned about time and topics. I’d rather be the master of both. Otherwise I’m afraid at some point photography would no longer bring me joy. And I prefer to treat photography as a source of joy.

Which camera(s) do you use?

I always carry a Fuji X100. I use a Nikon D7000 and an analog Ricoh G500 as well.

What are/will you be working on in 2015?

Good question. I’ve been having a break from photography for the last few months. It’s not like I don’t take any pictures, I’d rather say I’m 'recharging'. When I make something I find worthy, I might share it.

Do you prefer to work alone or in company?

I definitely prefer to work alone.

What’s the perfect midnight snack, at home or out working?

Raisins.