One of the most prestigious accolades any photographer can obtain is to be the recipient of the Guggenheim Foundation Fellowship. Awarded annually for 90 years, the John Simon Guggenheim Memorial Foundation gives the honor of the Fellowship to ‘men and women who have already demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts.’
After this year’s recipients were chosen, photography site ONWARD took some time to interview each of them, asking what it is that makes their photography projects come to life. Below we’ve taken one quote from each of the interviews and created a little synopsis of advice from some of this year’s most talented storytellers.
With each quote will be the name of the photographer, which links to either their full interview with ONWARD or their personal portfolio. Grab a pen, some paper and take some notes, because there’s lots of knowledge dished out.
Richard Renaldi on the process of creating a concept for a project…
There isn’t always one reason why a concept grows into a long-term body of work. As I focus on a project, themes often emerge that weren’t part of my initial thinking. Part of the process is giving work the time for those themes to materialize. Knowing when to abandon an uninspired idea is as much a part of this process as being able to identify when a project has the potential to be strong.
William Sutton on how to best set yourself up for success during a long-term project…
Be ambitious […] I think its different for everyone. For me it is important to start with ideas that are meaningful and to believe in the process. I look at new pictures regularly and let the work inform me. I am usually surprised by something new. I review the entire body of work, edit the sequence of pictures dropping pictures that have lost energy, and develop ideas about the direction of the work.
Arno Rafael Minkkinen on whether or not his projects involve a lot of planning or spontaneity…
It can be both ways. Sometimes another idea comes to me in the act of doing what I thought I would do. It’s like an about face or a hold your horses, abandon ship lightning bolt solution that I did not realize was possible when my eye and mind worked on the frame inside the viewfinder. Sometimes, it’s a flip of the coin that sends me to the north face of a mountain instead of the south, or a decision to work an extra half hour that leads to a different lighting situation from which a new and better idea emerges.
Kim Stringfellow on advice for photographers who are having a difficult time thinking of projects and sticking to them…
When a student of mine is having difficulty locating a subject, theme or issue to build an extended body of work or photographic project series I suggest that they consider their own personal interests—what moves them, what interests do they do outside of visual arts? […] One should be either obsessed or extremely passionate about the subject, especially if they are to commit to it over several years as I do with my own research driven projects.
Richard Rothman on the significance of structure when working to create a successful photo project…
I like to begin without structure or a fixed idea. I need to feel a deep sense of curiosity about a subject, a desire to look at it, experience it, and know more about it. […] But in order to complete a project, structure is essential. I like to trust that, given enough time, a resonant and meaningful structure will arise from a pattern of looking with intention that’s ingrained in the photographic experience.
Terri Weifenbach on how to maintain momentum throughout a long project…
Momentum is not a problem for something that possesses you. Think of reading a long, very good book. It is hard to put down and it is in your mind as you walk through your day. You’re eager to pick it back up and be consumed by the world it describes.
Stuart Rome on how to keep a consistent aesthetic throughout a long-term project…
When I begin a project I don’t worry about how cohesive it will be at the end. Even though I begin with parameters, if the idea leads to somewhere unexpected that’s where I go. I keep my feelers out for anything that seems interesting. Once something interesting has developed I usually hone in on that one thing.
Moises Saman on how to know when a project is finished…
It’s a difficult question to answer because i find it a very subjective decision that varies from project to project. I think that the word “complete” can be bit misleading if it is not presented within the context of what you are trying to achieve at a particular stage of your project.
To see the photographers’ complete answers, head on over to ONWARD. You can also subscribe to their newsletter for future content.
Image credits: Mountain Landscape by Unknown Photographer used under CC0 1.0
