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go there ... "Apologies to the Cockroaches" by Robert Judge Woerheide Kat Miner, Featured Photographer A quick Q and A. A closer look at poet Joanne Lowery Biographical information, and an artist's statement. read it .. read it ... |
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| "With a gun barrel between your teeth, you speak only in vowels" Narrator, "Fight Club" |
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Kat Miner, Photographer self-portrait by Kat Miner, outside Union Station |
| Much of your work, particularly that appearing in this issue of Perigee, plays with vivid colors and the geographic forms they create. How important is color to your work and what is it about the juxtaposition of bright, solid colors and patterns that communicates your intended theme to the viewer? I was fortunate to take a workshop with Jay Maisel in NYC a couple of years back and he said something that changed my whole relationship with color photography. He said roughly to shoot with the thought that if the color was gone in the photo, the photo would have no meaning. In other words, if you're going to shoot color, then make color your subject. That stuck with me and has been a huge influence on my photography, that and seeing his work. He also emphasized the importance of light and gesture—how light effects the quality and tone of color and how gesture adds interest. You shoot portraitures of live subjects as well as inanimate ones. Do you have a preference? Do you feel the two are similar in some way? Well, though it always takes a bit for me to get into the mindset to photograph live subjects, I'd have to say they are the most rewarding. My goal is always to capture the essence of those I am photographing, or the essence of their relationship. It is like a dance between us. I do very little posing and just focus on interacting with them to help them relax (and me too!). We walk and talk and I shoot. I am always honored when someone lets me "see" their intimate self. It shows up in the eyes maybe once a shoot and it's quite a remarkable experience. I am so very grateful to those that have allowed me to experience a part of who they are through my photography. How important is spontaneity to photography? Is it preferred over the more planned, choreographed, posed shots of studio work? Spontaneity is really the only way I shoot. It is essential to me, especially when photographing people. People are moving, breathing beings—posed, studio shots just don't work for me. Generally they seem stiff and unreal. My main objective is the posing, planned part—I have seen some great, interactive studio work, but for me, being outside works best. Your site mentions a favorite plastic, $5.95 camera. Do you feel the more cumbersome professional cameras, with all their features and settings, interfere with some artistic element of photography? To me, equipment does not make great photography. It can assist in creating it, but it is not essential. I think the more gadgets one has to fiddle with, the more focus gets pulled away from what's really important—being creative and expressing oneself photographically and artistically. I do have a 35mm cameras with interchangeable lenses, but I rarely have more than one lens with me at a time. I like the exercise of having to "make do" with whatever lens is on my camera. Yes, I sometimes can't get shots I would like, but for me, it keeps it interesting and forces me to be creative with the equipment that I do have. What is most memorable to you about your recent showing in New York? The feeling I had being in the gallery, seeing my photographs (which looked Amazing!) and talking to others about them, and about photography in general. It was just a great experience. It was also great knowing I had the support of friends and family behind me, both there in New York City and back in San Diego. I couldn't have done it without them! |