Description

 

No longer content with creating black and white photographic portraits that resemble sketches on blank paper, I suddenly felt the urge to go in a radically new direction. Exchanging bright backgrounds for the deepest black, darkening shadows and, perhaps the biggest change of all, retaining the original color.  

 

Having attempted this new editing style on a recent photo, I was stunned by the dramatic result! So I re-edited older work with equally dramatic results. It is truly exciting to see a former favored style give way to a brand new, richly colored one.  Old photos, long forgotten having taken on new life. 

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Q&A with Photographer Andy Wohl by Bobbi Kittner

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1. What is the biggest challenge you face when photographing one of your subjects and how do you overcome it?
   Approaching a stranger to ask permission to photograph them is always a challenge.  Over the years, I have developed an "elevator speech" and certain mannerisms (such as keeping my distance at first, raising my hands in friendship and speaking softly) that put the person at ease.  
   
   Additionally, it is helpful if the person talks and gestures during the shoot.  Images are more natural and expressive.  So I encourage my subjects to pretend that the camera isn't present and to tell me about themselves.
    

2. What is your photography process? Do you scout your images first and then come back to a planned photo session? Or do you like to work more spontaneously, capturing the candid or fleeting moments with your camera?
   I definitely work spontaneously, capturing an image very quickly.  I rely on intuition more than planning.  "Now there's a photograph!" is my frequent exclamation whether I have a camera with me or not.  I don't enjoy group travel to photograph a predetermined subject like architecture or birds. Doing so only ensures that the resulting photos will not be original or unique. 
    

3. What is your art routine?
   I shoot just about every day.  With an open mind, there is almost always something worth photographing.  And I almost always edit my images the same day, looking forward to the final result.  I work in total silence while editing on my laptop using Photoshop and other software.  No music, no podcasts and no art for inspiration. Just my thoughts. And I try to create art every day, whether it is photography or graphic art.  
    

4. You had a very successful career as an engineer before becoming a photographer. How has this influenced your photography work?
   I have noticed that many engineers enjoy photography.  It is very gadget oriented, with lots of switches and dials and settings to play with, especially when shooting in Manual Mode.  
    

5. When looking at website, the focus or your work seems to center on both people, as well as, objects captured in their environment. Do you go through phases of photographing these subjects or are you able to jump from one to the other randomly?
   I keep an eye out for all photographic opportunities at all times.  I seem to be able to switch subjects immediately.  My head swivels left and right, up and down, scanning the environment for any photo worthy subject with no particular theme in mind. 
    

6. Who or what are your biggest artistic influences?  
   Two photographers stand out.  Lewis Baltz, who almost single-handedly, created a genre called "New Topographics". Baltz and a few others began photographing the man-made landscape in Southern California.  Drab warehouses and generic suburbia are their subjects. The first exhibition of this work, held in the early 60s, was widely panned but is now considered ground-breaking.  
   
   A second photographer is Gregory Crewdson...highly produced, large scale photos of run-down and lonely towns, forlorn people and muddy, wet streets. Extremely moody and evocative work.
   
   Other major influences are Thomas Struth, Andreas Gursky, John Wall and the great Edward Weston.  
    

7. If you had a chance to go back in time to ask a question of another artist who would that be and what would you ask?  
   I would ask Edward Weston how he managed to make a photo of a green pepper become one of the most iconic and beautiful mid-century photos ever taken.  
    

8. You are a prolific artist, often exploring different ways to process your photographs digitally. It seems that the digital processing of an image could go on forever, how do you decide when a piece is finished?
   This might be my favorite of all questions!  I know the work is done when I react viscerally to the art.  I will exclaim, "Yes!" or "OMG" or "This is unbelievable!"  
   
   Carrie Mae Weems is a renowned photographer and artist. She says that she lets the work talk to her. The work tells her what to do next.  That is how I work. I'm in conversation with the piece.  I listen to it and follow its suggestions. So, I make dozens of logical decisions when editing a photo. However, I am finished, not when all the decisions have been made, but rather when the piece sparks emotion.  
    

9. What is your favorite place to go see art and why?
   Without a doubt, the East Wing of the National Gallery of Art.  No matter the weather, the space is always well lit and warm.  And, of course, I love the Modern and Contemporary art on display.  
    

10. Could you tell us more about your work for your solo show at Waverly?For years I edited my portraits by replacing the background with a field of white and converting the original color image to black and white.  The effect was a sketch like interpretation of the subject.  But just recently, I radically changed course.  I now employ a black background, heavy shadows, and rich warm colors.  On a whim, I dabbled with this technique, using it to edit a recent portrait.  Stunned and excited by the result, I dug through older portraits and re-edited them in this new style. ​​​​​​