This week’s interview is with Mitch Dobrowner. I first looked at Mitch’s work in Lenswork #69. I spent quite a while poring over those photographs. His lovely Black and Whites are almost surreal – like places in a fantasy, but real at the same time. Fast forward to now, and Mitch graciously agreed to be interviewed for this series.

Mitch’s photos have been published in another round of Lenswork #79, and in other magazines. For a complete list of his publications you can check this page in his website. Here is a list of his exhibitions.

You can look at more of his work at his website: www.mitchdobrowner.com.

Here is the interview.

Moonrise Trona, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: Tell me a little about yourself. How did you get into photography?

MD: I grew up on Long Island (Bethpage), NY. During my teens I felt lost. My parents were worried about my future direction in life, so in desperation my father gave me an old Argus rangefinder to fool around with. Little did he realize what an important gesture that would turn out to be for me.

After doing some research and seeing the images of Minor White and Ansel Adams I quickly became addicted to photography. To make a long story short, I left home at 21, quitting my job, leaving my friends and family to see the American Southwest for myself. In California I eventually met my wife, and together we had 3 children, and created our own design studio – and the tasks of running a business and raising a family took a priority to Photography. During that time I stopped taking pictures.

Years later, in early 2005, inspired by my wife, children and friends I again picked up my cameras. The moment I started shooting again I felt on fire. Now I see myself on a passionate mission to make up for years of lost time – creating images that help evoke how I see our wonderful planet.

I owe much to the great photographers of the past, especially Ansel Adams, for their dedication to the craft and for inspiring me in my late teens. Though I have never met them, their inspiration helped me determine the course my life would take. I currently live with my wife Wendy, our 2 sons Jason and Joshua, dog Jimi and rotten cat Nicky in Studio City California. Our daughter Asia lives within walking distance with her husband Brian and their child Eliette.

Shiprock Storm, Photograph by Mitch Dobrowner, All Rights Reserved
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SU: Your photos on your website are these lovely dramatic moody landscapes in Black and White. Why landscape photography? Why Black & White?

MD: I love the images of Ansel Adams and Minor White. Besides my family, they are my inspiration. The first time I saw either of those photographers works I was floored. It may sound a bit cliche, but the images left a major impact on my life and the direction it would go.

In regards to why I shoot in B&W, its pretty simple; color work seems too realistic to me. Its just not for me. I’m used to it. I see it through my eyes al the time.
B&W interpets reality the way I happen to “see” and feel. And besides, my wife (who is a designer and painter) says I’m color blind. But I’m not – I just know the names of all the colors. And the only time I see in color is when I’m listening to music. I see music/orchestrations in their various tones. Not sure why… but its what I see.

Church Rock, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: Can you talk a little bit about the techniques you use in making these photos, both on and off the field? How do these techniques help you to convey your message?

MD: I spend a good amount of time thinking about what I want to focus on. I’m in love with the Southwest. Its a truly mystical, spiritual place. I find it easy to photograph. I see my work being portraits of the rocks and environments. I think you need to love what you decide to shoot. The images need to come from your heart.

I approach my landscape photography just as I would if I was a portrait photographer. I spend time in the environment learning about it, seeing in in different light and weather conditions. I talk to it in my own way. They are ancient structures that have been here way before we were and will exist well beyond the time we are here. They have seen and witness much. I feel honored to be able to capture there images in a manner that I experience them. Once I feel “in touch” I just wait for the right lighting and weather conditions.

Technically, I come from a film/wet darkroom background – but use a digital work flow. My camera (Sony R1s) feel like an extension of my brain and hands when I’m out shooting. The camera is wonderful. Only wish Sony would make an R2. The combination of the lens, sensor, the optical path the aligns the lens and sensor, the live view, histogram and zebra – they all make for the perfect landscape camera for me. I shoot in B&W so that I can see what I’m shooting and treat the sensor just as I would film and filter for B&W just as I did for film. All my images are captured latent. I perform the normal amount of dodging, burning, brightness and contrast controls on the images in CS3… similar to what I would do in the wet darkroom. I print on Epson 3800 and 9800 printers.

Dawn, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: How do you go about learning and improving your photography skills?

MD: Continue to have lot of patience, do a lot of experimentation with shooting techniques, and then a lot of refining. This includes trying techniques in the field, and preparing myself correctly for the subject matter and the conditions and equipment. I also see continued advancements in technology helping….. such as vehicles, GPS and tracking units, cameras, printers and software. The trick is to pick what is right for me and not to spend time in “techno lust”.

Hoodoo, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: You are a very successful photographer with your work being published and represented and having won awards. Can you talk about what it took to reach where you are right now?

MD: I’m not sure I’ve reached anything yet. The last 3 years have been real fluid, and I’d like it to stay that way. I thnk I’m also a bit lucky. I’m thrilled that people have reacted to the work, but what is most important is to stay concentrated in creating new imagery. The way I “see” today will change as I continue to mature. Well, maybe not mature (as I’m still a kid)… but get wiser as I get older.

As I change I will “see” the world different. I’m interested in seeing how that will change my work. Thus my focus is to continue to create images. The day I’m not able to create will be a borometer for me. That will be the day I know its time to die.

The Lion, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: Any recommendations? (like Photographers, Photo techniques, Music, Books, quotes, food..anything?)

MD: Reading: I’d recommend everyone read Ansel Adams Print, Negative, Camera series of books. For me, it still all applies, in theory, to all we do today. Its still revolutionary thinking. I also received some advice from Michael Kenna; to show my work to everyone and anyone who was interested…. and if I was lucky good things would come. Today there are so many avenues that photographers can take to get their work shown. Just think of what avenues the master photographers of old had. They had no Internet, no email, very few publications, and photography only had a few people that were considered true “artists”. How did they get their imagery out there/shown? It was quite a challenge as compared to what tools we have today.

My only other piece of advice is, no matter what anyone says – always follow your gut instincts. Even if it means breaking from what everyone else is doing, or doesn’t follow the advice you’re given… just do it. That’s all I ever do. “Breaking from the pack” is a good thing.

Civilization, Photograph by Mitch Dobrowner, All Rights Reserved
Click on image to see larger version.

SU: Can you mention how people interested in your work can contact you?

MD: I can be contacted via email at info@mitchdobrowner.com
My website is: www.mitchdobrowner.com

Thanks Mitch!

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This week’s interview is with Rick Knepp. I met Rick when I took the “Magic of Light in the Natural World” class Photo Central in hayward, CA. Rick was teaching the class. He not only taught us the nuances of reading light better, he introduced us to some classic photographs and photographers and also showed us some of his excellent prints. I got the opportunity to borrow photography books from his personal library too!

Rick also conducts very reasonably priced workshops. Especially of interest to those who live in the Bay area are the one day workshops. I hope to attend one of his workshops this summer. All this info, his photo galleries and information about buying his prints can be found at Rick’s website – www.richardknepp.com

Here is the interview.

Canyonlands, Photograph by Rick Knepp, All Rights Reserved

SU: Tell me a little more about yourself. How did you get into photography?
RK: I had been casually interested since I earned my first merit badge in photography as a Cub Scout at the ripe old age of eight. After college, I did the usual documentation of the family as my kids as they grew up, and shot a lot of slide film of family trips and the Southern Oregon landscape through the mid 80s. I’d always been a fan of Ansel Adams’ black and white work, and enjoyed his books a lot.

When I moved back to California after a divorce in 1986, I began to shoot more to fill the emptiness I experienced being so far away from my kids. In 1989 I enrolled in a black and white darkroom class at Photocentral, the program at the Hayward Area Rec District, taught by Geir and Kate Jordahl, now my good friends. That was the beginning of the end. I knew I had acquired a serious addiction!!

My passion for photography grew substantially when I was given an amazing opportunity: the position of director at Weston Gallery, one of the top fine art photography galleries in the world. Learning from Maggi Weston, one of the earliest and most influential advocates for photography as fine art, gave me an education I never could have gotten with any advanced degree in the arts. And the exposure to prints by both masters and contemporary icons was an incredibly powerful motivator. For three years I got to walk in the door every day to work with and be surrounded by and often rare prints by Weston, Adams, Bullock, Strand, Stieglitz, Kenna, Neill, Porter, Caponigro, Becom and so many more… I feel privileged to have merely been in their presence, let alone have a chance to to tell their stories to visitors and clients. And the chance to work directly and share ideas with contemporary masters like Rod Dresser, Paul Caponigro, Michael Kenna, Jeffrey Becom, Richard Garrod and so many others was remarkable. Many are now friends as well as mentors.

Dechambeaubar, Photograph by Rick Knepp, All Rights Reserved

SU: Your photographs are mostly landscapes. As you say in your bio , your “first love remains the black-and-white study of the land”. What about landscape photography evokes this feeling?
RK: I actually think my attraction to photography grew out of my passion for the land, rather than the other way around. I’ve always felt a strong pull toward the quiet of rural and wild places. The less populated, the better. As I learned to photograph, and especially to print in black and white, I found that I could express some of the joy I find in these places, that I hadn’t been able to in any other way. It doesn’t hurt that most of my photographic mentors, influences and inspiration come from the school of landscape photography. Ansel, Edward Weston, John Sexton, Alan Ross, William Neill, Galen Rowell and the Jordahls; all have a similar foundation.

So much of the pleasure of the process comes from the challenge of finding the structure and organization in a chaotic environment. I will say that I think this is universally true of “found” compositions, regardless of genre. If I never took another photograph I would still be blessed by the medium, in that in the search for the quintessential image, I’ve learned to see the world I move in, in a way I never would have before I experienced photography. I find grace and beauty in the minutiae I never would have even noticed: the play of light on dusty bottle in an abandoned bar, the glow of a salt-encrusted tumbleweed in the shadows of an ephemeral desert creek bed. The list could go on forever, because this experience now continues whether I’m looking for a photograph or walking from the parking lot to my office.

Alder Creek, Photograph by Rick Knepp, All Rights Reserved

SU: In your website, you talk about how you lived in the Eastern Sierra in California for almost 6 years. How has this shaped influenced and shaped your photographic life?
RK: If anyone had told me 20 years ago that I’d become a desert rat, I’d’ve told them they were rowing with only one oar in the water. My first trip to the desert Southwest was a revelation. As much as I love the sea and the forests of the western mountains, the visual specter of the bleached bones of a barren landscape affects me in a manner more visceral, spiritual and essential. It’s somehow more powerful and sensual than beautiful. It’s difficult to put into words.

When I discovered the East Side in the early 90s, the high desert and rugged escarpment of the eastern face of the Sierra demanded my attention in the same way. The landscape made for a pared-down visual sensibility.

Olmstead Sunset, Photograph by Rick Knepp, All Rights Reserved

SU: How does teaching photography influence your personal work?
RK: Probably the most powerful impact has been the inspiration that comes of seeing students’ work. Regardless of the experience or level of technical skill a student has, there is always a new way of looking at the world that often gets the fire burning again, the desire to go out and revisit the medium with a fresh perspective.

Also, I primarily work in the more traditional mediums: film and light sensitive printing materials. As I consider adding more of the newer processes to my “toolbag,” the interaction with students keeps me more up to date with the most recent advances in equipment and technology than simply reading about it would. (As if I can find the time to read more than my email anyway!) I get hands-on experience with the latest and greatest gear, get to see first-hand what the current range of printers are capable of, and get user feedback more valuable than reading all the critic’s reviews could offer.

Feed Barn, Photograph by Rick Knepp, All Rights Reserved

SU: You have a career in photography and teaching photography. What does photography mean to you?
RK: Exclusive of my family and friends and when combined with my love of the land, it becomes more my life than my career.

Cedar Runoff, Photograph by Rick Knepp, All Rights Reserved

SU: Any recommendations? (like Photographers, Photo techniques, Music, Books, quotes, food..anything?)
RK: Wow! Where to start? The more images you look at, especially in whatever genre you enjoy, the more informed your own photographs become. My inspiration comes from the artists mentioned above, plus many more. Photo books would include almost anything Ansel and Edward Weston. (Look for more recent printings that employ the remarkable reproductions the latest technology offers. It makes a huge difference!) Specific titles would include – if you can find and afford them – Edward Weston: A Legacy (by Watts and Spaulding), Ansel Adams at 100 (Szasrkowski), Ansel Adams: The American Wilderness (Stillman), Quiet Light by John Sexton, William Neill’s Landscapes of the Spirit, Richard Garrod’s Visual Prayers and Geir Jordahl’s Searching for True North.

For a view from the inside, The Daybooks of Edward Weston edited by Nancy Newhall and Ansel Adams: An Autobiography. For fun, any of the Chee Leaphorn mystery series by the recently departed Tony Hillerman – a great look at Navajo culture and landscape.

Learn the concepts of the Zone System. Even if you don’t practice it, understanding the concepts and the language of light will make you a better photographer, film or digital. Try Carson Graves’ Zone System for 35mm Photographers.
I’m a big fan of all music, but especially contemporary and classic jazz. Pat Metheny especially is an inspiration. He does landscape in music with (still) Life Talking, First Circle and Secret Story, among many others. Yellowjackets, especially in the years when Marc Russo was on sax. Herbie Hancock, Miles, Taylor Eigsti, Coltrane, Paul Desmond. Dave Mathews, Barber, Bernstein, Snow Patrol, Marc Knopfler, Dvosak and on, and on…
Don’t even get me started with food…

Tumbleweed, Photograph by Rick Knepp, All Rights Reserved

SU: Can you mention how people interested in your work can contact you?
RK: My web site www.richardknepp.com has a gallery, info on seminars and classes, etc., and a contact link. You can email me at rick@richardknepp.com. If anyone would like to receive my occasional (every couple of months) newsletter, drop me an email.

Thanks Rick!

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Descending into City Hall MRT station, Taipei, Taiwan.

Taipei’s MRT or subway system networks some of the most visited parts of the city. The above photograph was made while riding the escalator down into the City Hall Station, on the ‘Bannan’ (Blue) Line.

I am amazed at the efficiency, the cleanliness and the sparkle of these stations. Yes, they actually shine. Not to mention how convenient and safe. They are also very English friendly – announcements of stops, signs, everything you would need to use the MRT.

Arriving train, Taipei, Taiwan.

On another note, I’m officially in love. My little Canon G9 is now my buddy. I can take this camera and tripod and leave my SLR in my hotel room comfortably and not worry anymore. My first couple of days in Taiwan, I had a sore back carrying my Rebel XT, its lenses, G9 and various paraphernalia around on my city walks. At some point, I decided to make a leap of faith and started wandering around with just my G9…Very good decision. My back thanks me and I do not really feel the need for the DSLR for cityscapes, except at night where I wish it had better low light performance..oh well..maybe my next P&S in 4 years will be better…..

Technical Details:
Camera: Canon Powershot G9
Date: Feb 06, 2009

(1 votes, average: 4.00 out of 5)
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Seafood stall at Shilin Night Marketr, Taipei, Taiwan.

Shilin night market is the biggest night market in Taipei..That means it is the most crowded, with the most narrow lanes crammed with the most people in all night markets in Taipei – And that’s something!
Been very busy with work and haven’t had any time to update. I’m hoping I can find time this week…

Lots of stalls and stores with games, shops selling clothes and shoes and accessories and knick knacks, not to mention food. Oh, the number of food stalls is just amazing, and the variety even more so. I don’t try anything other than fruits here because I don’t know what is vegetarian and what is not…

I wobble between regret that I’m a vegetarian, and relief that I’m a vegetarian..Take a look at this stall for example..I don’t even know what animals / seafood those are? Can anyone help me out? I think he has some sea cucumbers, squid…But what’s the flat leaf shaped thing on the left?

Technical Details:
Camera: Canon Powershot G9
Date: Feb 06, 2009

(1 votes, average: 4.00 out of 5)
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Keyboard Cow, Taipei, Taiwan.

Been very busy with work and haven’t had any time to update. I’m hoping I can find time this week…

This is the Chinese year of the cow. Outside the grand Hyatt near the Taipei City Hall, in the Xinyi district of Taipei, there are installations of cows all over the place! And this one was very interesting – Its made of keyboards!

Here is a closeup..

Keyboard Cow closeup, Taipei, Taiwan.

Technical Details:
Camera: Canon Powershot G9
Date: Feb 02, 2009

(3 votes, average: 4.33 out of 5)
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Wall Mural at Baoan temple, Taipei, Taiwan.

So, second day in Taiwan – the “my feet hurt like crazy day”.

The day began as expected. Got up, ordered a huge breakfast – huge, like breakfast and lunch together huge, kind of breakfast. Then it was off to work, my first day at the Taiwan office. There I was, waiting for shipped equipment to show up so I could get to work. Long story short, the equipment didnt show up, and by early evening, I called it a day and set out to explore the city. I later found out that the equipment would not show up till the end of the week..oh well.

My first stop, after swapping my laptop for my XT and lenses at the hotel, was the Boa-an temple. My previous visit was the lure, and I wanted to spend more time there. I wanted to take photos of the amazing glowing murals from the 15th century, this time without the harsh glare of spotlights on them.

Each mural represents a story or a chinese saying. The photo in this post is the first mural you will see when making a anti-clockwise circum-ambulation of the temple courtyard. The story of this mural is as follows (story as I found on this web forum :

The mural is supposed to depict a historical event, and shows the idiom meaning “humiliation under the legs”, literally… “Han Xin is the crawling figure who endured humiliation for self preservation. This episode was a turning point in his life as he used it as motivation to improve himself, eventually becoming a general in the newly created Han Dynasty.”

A request to all readers: If you know any persons Chinese or otherwise, who can tell me the story behind the rest of the murals in the temple, please ask them the story and let me know.

The Baoan temple is a Daoist temple built in 1805 A.D (10th year Jiaqing rein, Qing dynasty). The deity is Wudao, the God of Sustenance, God of Justice . This deity is also known as Master Wu, who is a master of medicine. More info from the plaque in front of the temple: The temple is a branch of the mother temple in mainland China built by pious devotees from Tongan Prefecture in Fujian province. Dating back to 1805, the temple features an architectural style of much grandeur and embellishment, with a laoyout consisting of three courts – front, main and rear. An extensive renovation project was completed in 1967, fully restoring the grandeur and the opulence os the classical Qing three-courtyard temple. The intensity of the competitive artistic spirit that existed between master craftsmen Chen Yingbin and Guo Ta of Dadaocheng, who carried out earlier renovation in 1917 is clearly manifested in the distinctive woodwork flanking the two wings, preserving unique and original exquisite woodcarvings not seen anywhere else”.

To get to this temple, take the MRT Red Line (Danshui) heading North and off at the Yuanshan station. Walk west for about 10 mins and you will be there.. Very easy to get to. A Google maps link to help.

After photographing and admiring the temple, it was off to hi-tech stuff. So from the temple, back on the MRT, Taipei Main Station, and I went to the Nova Computer mall, looking to buy an mp3 player. I was inundated with electronics both ‘real’ and ‘fake’. I was lamost losing my mind. Luckily, I had my aching, hurting feet to bring me back to reality. I walked around for an hour more, looking for a reflexology place for a foot massage…Alas, that was not to be. I did pick up a user un-friendly ipod nano look-alike 8gb mp3 player. Its controls are hard..gives a good hand workout every time I use it, but, it does do its job like a champ!

Then it was back to the hotel, praying for relief every step of the way..Walking 10hrs plus will do that to your feet, especially when not used to it…I do appreciate my feet a lot now…It was to my comfortable bed, dinner and rest for the night.

So tomorrow, I will be back talking about keyboard cows…yes. Keyboard cows.

Technical Details:
Camera: Canon Powershot G9
Exposure: 1/8sec at f/2.8
Focal Length: 7.4mm
ISO: 80
WB: Daylight
Time: 4.50 PM
Date: Feb 02, 2009

(2 votes, average: 4.50 out of 5)
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