At first glance, it seems that J. Wesley Brown’s photographic works identify themselves with the local; a certain street, a certain city, a certain narrative. A second look reveals the emotional geography which they aim to portray. It is a locality of emotion, situated amidst the private and the public.
Spanning from Spain to Los Angeles, Brown’s works are frequently presented in exhibitions, and during the last couple of years have also won him several awards. He is also known in the online arena for both of his blogs: We Can Shoot Too, devoted to photography in LA and the West Coast, and the compelling visual diary – We Should Go Here.
All Images are Courtesy of the Artist
What was the first image you ever took?
Well, I was given my first camera by my grandmother’s cousin, with whom I stayed when touring the college I’d wind up attending. This got me started, and I ended up taking an introductory darkroom class in high school and shooting for the school paper, but I don’t really remember many images of note. I was really just trying to develop things properly and learn shooting technique.
The first significant image for me back then was one I took in college for another intro darkroom class. I was only able to take one photo class in four years. My curriculum was strictly tied to my major, which was not photography, so by the time I could take an art elective it had been 3 years since I’d been in a darkroom, so I thought I’d better get a refresher class.
We had this one landscape assignment. I was pretty busy with school because I found myself needing to shoot two rolls of film for the very next day. My only option was to go shoot at night, so I went down to the Mall in DC and ended up with a nice heavy contrast shot of the Washington Monument and street lights– my first night shot. I got an A on the assignment and it led me to more shooting at night years later when I once again picked up a camera.
Why did you want to become a photographer?
I didn’t – I wanted to become a diplomat. I sort of just fell in love with photography and got hooked but I still don’t make a living (or even really attempt to) with photography. I only want to shoot what I want to shoot so I have a day job, which is both a blessing and a curse. I’d love to be able to just concentrate on making work full time, but who knows if that will ever be a reality, so I’m a night and weekend shooter.
What is the most difficult thing for a photographer in this day and age? What do you hate the most?
The most difficult thing is probably having to find something you think is important to say and say it in a way that’s new. I’m working on a series right now that I was convinced – absolutely convinced that the subject matter hadn’t been done before. I was about a year into it when one day I stumbled upon a series that was very well done and dealing with the same subject matter from 1979. I was devastated at first. Because there I’d been for a year shooting something I thought had never been shot and that I believed in. It was like, “Well, crap, everything really has been done before.” Then, I went out and looked at the book – yes it was even in a book! – and slowly realized that even though it was the same subject matter, I was doing it in a completely different way – different vantage point, in color, at night, and 30 years later. I realized that I had something to say about it too and that my series would in a sense be continuing in the tradition of that photographer who came before me and shot the subject matter the year I was born.
There are a number of things that bug me about the photo world so it’s hard to single out one. I guess the thing that irks me the most is that museums seem to just be following the gallery system these days and regurgitating rather than speaking out and vouching for new talent that they believe in and putting their butts on the line. Where is our Szarkowski?
What inspires you?
I’m inspired by photographers who don’t really “make it” until they are in their 40’s or 50’s or even later in some cases. I love when a photographer just keeps plugging away and making better and better work and then is rewarded for his commitment. It’s a nice reminder that life is long and there is no rush; focus on what matters and shoot.
What kind of music do you listen to when you work on your computer?
I listen to a lot of Bradford Cox – both Deerhunter and Atlas Sound. I find it to be perfect for editing. I think he’s one of the most talented musicians of our times and somewhat unknown still. I saw him a few months ago in front of about 50 people at a venue here in L.A.
What was the last photography book you’ve read?
I’m currently near the end of The Pleasure of Good Photographs by Gerry Badger. My girlfriend got it for me and it’s excellent.
Who are your photography idols?
It’s tough to think of Idols. I’m not sure I have idols. Someone I might have worshipped when I was 20, I no longer really love as much today. I of course have photographers whose work I love but I don’t worship them. I mostly appreciate photographers who don’t just do one thing; who risk it and go and try something completely different from that which they are known for.
I’m not a huge Catherine Opie fan, for instance, although I do like her work very much. I especially respect that she tries her hand at different projects that interest and challenge her, rather than sticking to what made a name for her and is comfortable.
I’m currently shooting a staged series (Semblances), have just finished a more conceptual series (Inversion), and am working on a series that can best be labeled street photography. and I just started another one that’s investigative documentary landscape. At the risk of losing focus, I like working this way. It keeps things fresh. If I had to shoot one thing like vertical portraits of people my whole life I’d go mad, regardless of how much money it would make me because that’s what I’d become known for.
What can we find on your bookmarks?
I bookmark photographer’s I find interesting on my computer at home and I might publish that list one day but not now.
What are you working on now?
At the risk of seeming coy, I don’t really like to talk about projects until they are about 85% of the way complete. I feel like at that stage, I can probably benefit from some feedback and guidance (and am ready to get out of my own head!) but until then, it’s so easy to self-criticize and doubt the validity of any project that I don’t need any help with that.
I feel that if someone criticizes the work, it might make it easier to get cold feet and ditch it. I’ve recently been doing projects that will take me about 2-3 years each to complete. It’s a pretty dumb challenge to set for oneself, to be honest but then what’s the worth in doing something if anyone could do it? It’s hard enough to complete something that intense without criticism or distraction from others.
Also, I don’t want to just be talking about something. I want the pressure to go out and actually be doing it. I’d rather just wait and have it seem like I’m sleepy and then one day put it on the table and say, “There. Here it is. I did this.” And then hear what people think about it. It’s hard not to share at times but I think that’s the right approach for me.
What are your favorite blogs?
I run a blog that has very little to do with me and is focused on photography in Los Angeles and California in general called We Can Shoot Too. I have a blogroll there that’s worth checking out if you are new to blogs.
