December 18th 2012 by Andrew S Gibson
This article is part of a series of interviews with long exposure photographers to celebrate the release of my ebook Slow. You can keep track of the interviews by clicking on the Long Exposure Photography Interviews link under Categories in the right-hand sidebar.
Cole Thompson is a fine art photographer based in Colorado in the United States. As part of the interview I asked him how, in a world where it seems that many photographers are producing similar work, it is possible to create original photography? His answer is worth reading, as it brings up one of Cole’s most interesting concepts, ‘photographic celibacy’.
How would you describe your photographic vision? What kind of look do you try and create in your photos?
I cannot describe my vision because I believe vision is intangible and indescribable. I view vision as the sum total of my life experiences. It is what makes me see the world just differently than another, because my experiences have been different.
I do not try to create a look or pursue a certain style in my images, I simply follow my vision. If you pursue a look, style or technique without vision, then those things are mere gimmicks and your images will lack power and conviction. I have been creating images since 1968 and so my skills would allow me to pursue many different styles or looks, but I’m only interested following my vision.
What I’ve learned is that vision must always come first and then techniques and style must flow from it. I’ve also learned that I must only create images that I love, that’s where my passion is and where my best work will come from.
Name three photographers you like and why.
Edward Weston is my photographic hero, not because of his images (although I do love them) but because of his attitudes. In my opinion Weston was a true artist and not a photographer (I draw a distinction between the two). He was independent in thought and did not care what others thought of his work. He created for himself and he had no obligation to explain his work to others.
One of my favourite stories is told by Ansel Adams on his first meeting Weston:
“After dinner, Albert (Bender) asked Edward to show his prints. They were the first work of such serious quality I had ever seen, but surprisingly I did not immediately understand or even like them; I thought them hard and mannered. Edward never gave the impression that he expected anyone to like his work. His prints were what they were. He gave no explanations; in creating them his obligation to the viewer was completed.”
In so many ways Weston has been my mentor. I re-read his Day Books every year and often read them just before I go out to create new images. His independence and obligation to self has inspired me.
Wynn Bullock. As a 14 year old boy I taught myself photography and part of what I did was to sit for hours looking at the work of photographers. Wynn Bullock was one whose work I admired and it wasn’t until years later I realised how much he and I saw alike, with both of us gravitating towards dark and contrasty images.
Ansel Adams. For many years I dreamed of being the next Ansel Adams (like millions of other young photographers). And for years I tried to imitate his look and even specific images. But then something happened to me that changed my attitude and led me on my quest to find my own vision. I was at a portfolio review and a gallery owner quickly looked at my work, brusquely pushed it back towards me and said “It looks like you’re trying to copy Ansel Adams.” I proudly told him that I was because I loved his work! He then said something that really made me mad at the time, but later opened my eyes, he said:
“Ansel has already done Ansel and you’re not going to do him better. What can you create that demonstrates your vision?”
That was the beginning of the search for my vision. I still love Ansel Adam’s work, but I no longer want to be known as the “best Ansel Adams imitator in the world.” In fact, now if someone says to me “your work reminds me of Ansel Adams” I know that I have failed to distinguish myself with my own vision.
Long exposure photography – what’s the attraction and why do you do it?
The long exposure is not something I set out to pursue nor is it a marketing strategy I chose to become known as “the guy who uses long exposures.” But rather it’s the outcome from following my vision: it’s what I love, it’s how I feel and it’s how I see the world.
About 90% of my recent work was created using long exposures. I initially started off with water, then moved to clouds and now have been creating images of people with it as well. I suspect I’ll find other areas in which to use it as well.
Why black and white – what is the appeal for you?
That is a very difficult question to answer and perhaps my artist statement says it best:
I am often asked, “Why black and white?”
I think it’s because I grew up in a black-and-white world.
Television, movies and the news were all in black and white.
My childhood heroes were in black and white and even the nation was segregated into black and white.
Perhaps my images are an extension of the world in which I grew up.
I really don’t worry too much about the “why” behind things, I simply accept them as they are. I love black and white and always have. I’ve tried dabbling in colour and I’ve seen a few colour images that I’m drawn to, but in the end I really am just a black and white guy and I’m okay with that.
I can see from your portfolio that you are widely travelled, especially within the United States. How important is the contribution of travel to developing your portfolio from an artistic point of view? How has travel helped you develop as a person?
Travel is not critical for me in terms of subject matter, I can create similar images anywhere. But in terms of concentration and freeing my mind of my daily responsibilities, it is very important to get away. I have a full time job, a large family and many professional responsibilities, and I find that it’s difficult for me to concentrate when I’m on my home turf. However when I get away I’m able to leave all those things behind me. The best thing about being away is that I’m able to focus on just one thing: creating.
So travel has become very important for me. Many of these trips are to visit my children who have been stationed around the world. We visited my Marine Corp son who was stationed in Japan, my Peace Corp son in Ukraine and Poland and next year I’ll visit a son in Russia and Croatia. I am very fortunate to have family in these places because I probably wouldn’t have been brave enough to venture there without them. However next year will be a first for me as I visit Iceland by myself.
I do also travel within the United States. I go to Death Valley every January, the Oregon coast every September and I’m looking to add a third location, probably Hawaii. I like going back to the same spot each year because I can continue working on an idea, but once I’ve lost interest in that idea, I find a new location.
There are so many photographers working with long exposure photography techniques in black and white that sometimes it is hard to be original. Yet your work is very original. Can you give our readers any tips for finding an original approach to long exposure photography?
One of the side effects of the internet is that everyone quickly knows what everyone else is doing. When someone creates a new look, it seems as if overnight everyone is copying that look. I did that for many years, imitate others look, until I realised that I wanted to be more than an imitator or copycat. I want to create my own unique work and that is what I focus on, ignoring what others are doing.
I have a friend who thinks the key to success is to photograph something that nobody else has photographed before. He once told me that he had discovered something unique: frozen chickens. He said that he would always have a frozen chicken in his images. In my opinion success is not about finding a subject that’s not been photographed before (I doubt there are many such things) but rather creating something unique, from your own vision.
I never focus what others are doing, I simply go down my own path. I am unaware what others are creating because I practice something that I call Photographic Celibacy. It’s the practice of not looking at or studying the work of other photographers. I do this to reduce the number of images floating about in my head and to reduce their influence on my own work. I find that when I see a great image, my first thought is “how can I do that?” Then I catch myself and remember that I do not want to imitate, but create. I’ve practicing Photographic Celibacy for five years now and it has been very helpful, but I still have some iconic images floating around in my head and when I go to the grocery store I have to admit that I still look at the bell peppers! But I’m doing better at not imitating others.
Most people who hear about this practice think I’m crazy, they believe that imitation is how we build our skills and grow creatively. I disagree, I believe imitation is harmful because it retards the development of our own vision.
Can you tell us a little about The Lone Man series? What inspired it? What are you trying to express with these images?
Like most of my series, the Lone Man was an idea that I just stumbled upon and spontaneously created. Whenever I get an idea for a new project, I write it down on a long list. However the truth is that I’ve never once used one of those ideas, all of the ideas for my portfolios have been spontaneous and just took off like a wildfire.
That’s what happened with the Lone Man series. I was in North Laguna at one of my favourite dive spots, creating long exposures of the water. It was a pretty crowded day at the beach and so people were out on the rocks looking for creatures in the tide pools. A group of people were in my shot and I was impatiently waiting for them to leave. While waiting I decided to do a test exposure so that I’d be all ready as soon as they left. After the 30 second test exposure, I noticed that one of the people had stood still for the entire 30 seconds and I recognised his body language. It was pensive, thoughtful and you could tell the man was thinking about things larger than himself.
Soon I started noticing this effect in a lot of people, they would come to the edge of the world and just stare off into the distance. I began photographing these people and the Lone Man series was born. Here is the artist statement for this series:
Something unusual happens when a person stands on the edge of the world and stares outward. They become very still and you can almost see their thoughts as they ponder things much greater than themselves:
Where did I come from?
What is my purpose?
What does it all mean?
What is beyond, the beyond?
Do I make a difference?
Is there more?
At that moment they are The Lone Man, alone with their questions and thoughts about life, the universe and beyond. People are affected by this time of meditation and they often vow to make changes in their lives. But this moment is short lived as these weighty thoughts are replaced with more immediate concerns:
Should I eat at McDonalds or Burger King and should I try that new green milkshake?
Normally I do not comment on what my images mean, sometimes because they are just beautiful images and don’t have any deeper meaning, and often because I think it’s the viewer’s job to decide what they mean. But in the case of The Lone Man, I have revealed a bit of what I’m thinking about in my artist statement. When I was creating these images I was impressed at how standing at the edge of the world causes people to ponder their smallness and their purpose in life.
So many people have asked me “how did you get those people to stand still for 30 seconds” and “did you ask them to stand still?” I didn’t have to ask people to stand still because this is just what people do! You could see them deep in thought as they stood there, often for several minutes, and pondering the “bigger questions” of life.
The last part of my artist statement is a little dig, at how little time we spend thinking about those bigger issues and how easily we are brought back to our own petty concerns; my burger wasn’t cooked right, I don’t get a good cell signal at my house, the guy in front of me is driving so slow etc. So much of what we concern ourselves with is so unimportant in the larger scheme of things.
Another series I like is Monoliths. What draws you to photographing seascapes? What’s the appeal of the giant rocks that appear in these photos?
I grew up in Southern California and spend my youth at the Huntington Beach pier, bodysurfing at lifeguard tower number 1. I spent countless hours diving Laguna, La Jolla and Catalina. The ocean was a large part of my life until I moved to Colorado in 1993. Truthfully the ocean is the only thing I miss about California and whenever I visit, I am drawn back to it.
Photographing the movement of the ocean with long exposure is just a part of my vision, it’s how I see the ocean. To photograph it with a static image, seems to me a sin!
I have always had a “thing” about Monoliths, first when I was a young boy and read Thor Heyerdahl’s “Aku-Aku, the Secret of Easter Island.” Those stone giants really captured my imagination and I wondered who created them, how and why?
Next I was fascinated with the Monolith in “2001: A Space Odyssey.” And so when I first saw the beaches of Bandon, Oregon with their statuesque “monoliths” (sea stacks to the locals) all of my past fascinations flooded back and I knew that I would photograph them. I am certain they have been photographed a million times before, but since I don’t look at others work, I am ignorant of how others have portrayed them. Even if I were to find out that I had unknowingly created images similar to others, it would not concern, as my images are honest creations borne from my vision.
Perhaps related is your series Ancient Stones. What is the story behind these photos? What is significant about these stones, and where did you get the idea of photographing them?
The Ancient Stones series is related to the Monoliths in sense. I was wandering about in Joshua Tree, waiting for inspiration to hit me, and nothing was happening. In response to those “dry spells” I’ll usually find a nice spot to sit for a while, clearing my mind of clutter and trying to see more clearly. As I sat there looking at those large rocks, I had some thoughts that were similar to what I was thinking when looking at the monoliths in Bandon. How long have these rocks been here, millions of years? How many men have they seen scurrying about, going here and there, building this and that, full of self importance? I wonder if “they” find all of this amusing?
That made me want to photograph “them” in a way that showed their permanence and timelessness. I hoped the long exposure helped do that, contrasting the still stones against the movement in the sky. I’ve only just started this project and so I’m not sure where it will go from here.
I believe you earn a living, or at least a part-time living, as a fine art photographer. Do you have any advice for our readers on how they can work towards achieving the same goal? What can they do from an artistic viewpoint to improve their work and a practical viewpoint to selling their work?
I have a full time job and do not earn my living from my art. Many years ago I purposely chose not to pursue photography for my living because I feared it would take the fun out of it, and I’ve never regretted that decision. I create only for the pure love of it and am proud to be an “amateur” in the truest sense: I am self taught, I create for myself and I do not earn my living from my work.
What I dislike about earning a living from your art is that it invariably involves compromises and I never want to create for others. I want to create whatever and however I want, not caring if a single person likes my work. Ironically it is that independence that brings out your best work and may bring about success. I once posted on my blog that the fastest way to earn money from your photography is to sell your equipment. There is truth in that!
You can contact Cole by email at cole [at] colethompsonphotography.com
Here are some more of Cole’s photos:
If you’d like to learn more about long exposure photography, my ebook Slow takes you through the creative possibilities of using slow shutter speeds, from blurring motion with a shutter speed of 1/30 second all the way to long exposure techniques using shutter speeds of five minutes or longer.
All photos in this interview are protected by copyright. Please contact the photographer for permission to use in any way.