Peter Konerko
Chase the Light
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Dear Peter, thank you for the opportunity to speak with you. Your honesty, dedication, and truthful approach to photography and in life really come through in all your shots. Thank you for taking the time to share your thoughts and work with us and our audience. How do you read distinct individual qualities to highlight them in your portraits? |
photo by Jackson Davis |
There are many ways to approach it depending on what I am trying to communicate. I hate getting in the way, so at first I look at the shapes that on the face: mouth, eyes, nose, eyebrows, etc. I also like to think about what the person does in everyday life and sometimes try to accentuate the "doing" parts of their body. Sometimes that can lead to an obvious shot, but most of my clients are not in the spotlight so it works well for me.
What makes a timeless image?
A timeless image is impervious to trend. It usually captures something that we can relate to, or at least, find a piece of ourselves within the photograph. Something we believe as "true" or "honest". We connect personally. We are part of the equation. I also believe style can help create a timeless image...it can also be the thing that makes a timeless subject trendy by being too heavy handed.
You have said you love photographing interesting people. Who are the most important interesting people you have photographed? Have you ever come across someone who was a little tough to crack and maybe not all that interesting. No names needed of course…
I photographed my grandfather playing the piano. It was about a month before he went into full time care for Alzheimer’s. This was the last time I listened to him play. It was deep. Everything right on the surface of the skin. The shots are not technically great, but that kind of emotion is beyond technique or craft, or maybe that is photography at its best. Emotion takes over. Those shots are for me. I don’t share them. Like a memory.
As far as tough subjects, I don't try to crack people. What they give in that moment is the most honest. It is where they are at that very moment. Then I just have to accept it and get it.
Your work is about creating stories and portraits that are authentic and uniquely personal. Is there any research involved beforehand or is it just character study based on meetings with the people you photograph?
I do very little research. I may know one or two small, very important details, but I like the conversation to flow naturally. I find information about their likes rather than their career or accomplishments. Food, kids, travel, great films. Wonderful subjects to discuss. You can speak passionately about them. "Where can I get great pizza in LA???" Brings it all down to earth and into the present. I like to be genuine on my end. I mean, is it not weird to meet someone for the first time and they know everything about you. What do you talk about? How many times have they answered that question?
What makes a timeless image?
A timeless image is impervious to trend. It usually captures something that we can relate to, or at least, find a piece of ourselves within the photograph. Something we believe as "true" or "honest". We connect personally. We are part of the equation. I also believe style can help create a timeless image...it can also be the thing that makes a timeless subject trendy by being too heavy handed.
You have said you love photographing interesting people. Who are the most important interesting people you have photographed? Have you ever come across someone who was a little tough to crack and maybe not all that interesting. No names needed of course…
I photographed my grandfather playing the piano. It was about a month before he went into full time care for Alzheimer’s. This was the last time I listened to him play. It was deep. Everything right on the surface of the skin. The shots are not technically great, but that kind of emotion is beyond technique or craft, or maybe that is photography at its best. Emotion takes over. Those shots are for me. I don’t share them. Like a memory.
As far as tough subjects, I don't try to crack people. What they give in that moment is the most honest. It is where they are at that very moment. Then I just have to accept it and get it.
Your work is about creating stories and portraits that are authentic and uniquely personal. Is there any research involved beforehand or is it just character study based on meetings with the people you photograph?
I do very little research. I may know one or two small, very important details, but I like the conversation to flow naturally. I find information about their likes rather than their career or accomplishments. Food, kids, travel, great films. Wonderful subjects to discuss. You can speak passionately about them. "Where can I get great pizza in LA???" Brings it all down to earth and into the present. I like to be genuine on my end. I mean, is it not weird to meet someone for the first time and they know everything about you. What do you talk about? How many times have they answered that question?
Who are the artists who have had an impact on your own style? Where do you look for motivation and inspiration?
I look at so much visual art everyday, but I am not sure if I can distill it down to a list of artists. I know I love Paolo Roversi, Peter Lindbergh, and Irving Penn, but the Beastie Boys (still cannot believe MCA is gone) have had a much larger impact on my life.
I'm sure there is a piece of art that I saw somewhere influences me everyday...but I am completely unaware of it. Wish I had a better answer for you.
Light inspires me.
When I feel unmotivated, I chase the light. I literally search for beautiful light. Most of the time I don't take any pictures when I find it. I just try to remember it and recreate it on a different day.
What are your rules when working with working artists, famous actors, and important people from important fields of work?
I have no rules. Zero. Most of the time I have no idea what to expect so I just go with it, man. Let it happen.
What makes LA and NYC so cool that they are the reigning creativity kingdoms for the longest time? What makes LA & NYC difficult at times although not to the point to say goodbye forever. What other cities rate high in your book for cool vibes and artists?
I believe New York and Los Angeles are places where people come to pursue their dreams. In all fields, not just art. I can feel it. I feel that pulse more in New York, but I make better work in Los Angeles. I am able to focus on the work in LA and not everything around the work, as I do in NYC.
Here's the catch: if you are an artist you can be anywhere. It comes from within. Anyone who says they "need" to be in LA or NYC to be a "real" artist is just interested in the lifestyle and not the day to day work. As far as cool neighborhoods and places for artists, I have no idea. Artists are nomadic. They go where they can make their work.
I look at so much visual art everyday, but I am not sure if I can distill it down to a list of artists. I know I love Paolo Roversi, Peter Lindbergh, and Irving Penn, but the Beastie Boys (still cannot believe MCA is gone) have had a much larger impact on my life.
I'm sure there is a piece of art that I saw somewhere influences me everyday...but I am completely unaware of it. Wish I had a better answer for you.
Light inspires me.
When I feel unmotivated, I chase the light. I literally search for beautiful light. Most of the time I don't take any pictures when I find it. I just try to remember it and recreate it on a different day.
What are your rules when working with working artists, famous actors, and important people from important fields of work?
I have no rules. Zero. Most of the time I have no idea what to expect so I just go with it, man. Let it happen.
What makes LA and NYC so cool that they are the reigning creativity kingdoms for the longest time? What makes LA & NYC difficult at times although not to the point to say goodbye forever. What other cities rate high in your book for cool vibes and artists?
I believe New York and Los Angeles are places where people come to pursue their dreams. In all fields, not just art. I can feel it. I feel that pulse more in New York, but I make better work in Los Angeles. I am able to focus on the work in LA and not everything around the work, as I do in NYC.
Here's the catch: if you are an artist you can be anywhere. It comes from within. Anyone who says they "need" to be in LA or NYC to be a "real" artist is just interested in the lifestyle and not the day to day work. As far as cool neighborhoods and places for artists, I have no idea. Artists are nomadic. They go where they can make their work.
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What do you do to unwind?
I do hot yoga four days a week. Love it. Yes, this is how I unwind. I also like to mix in a few days of juicing. Not super sexy, but it works. I also like to shoot my Polaroid Land Camera now and then. Do some emulsion lifts. That really slows me down. I get crafty.
The nice thing about the immediate like and love buttons with regards to photography and art nowadays?
I love reaching thousands within seconds. That is truly an awesome feeling. I always try to share something of real value. Not always, but I try. You know, everyone likes to be "liked". However, If you are making photos with the idea of accumulating likes then just take pictures of food, cats or girls in bikinis. Honestly though, the more people taking pictures and being creative the better. Everybody wins.
Do you ever take any assignments to dare or test yourself or do you have other sets of criteria when signing on to a project?
I challenge myself everyday. If I am not shooting something for work, I am testing a new lighting setup or I am shooting film. If I don't have a job for a couple of days I will buy some chemistry and develop some black and white film just to stay in touch.
If I am being paid, I deliver. I don’t take jobs on a dare. That is unfair to the client. I will risk something while I am shooting to find the happy accident, but I know I am delivering. You make what the client orders, but with some special sauce on the side.
What is the coolest realization you have faced recently through your photography?
Honestly, I am finally over the gear accumulation syndrome. I spent so much time focusing on the gear that I was getting lost. I do love cameras, but I have bought and sold so many cameras that I feel like I have put my hands on everything. I have learned a ton. It’s just gear.
Now I focus on the work. Whichever tool will give me what I want, I use it. What do I want to say? What will get me there? Use it. Last year, I used my iPhone to shoot a movie poster because it gave us the look we wanted...and I had my Hasselblad H3D sitting right there. Crazy.
What words of encouragement can you share with new artists despite slim chances of earning enough money right away to afford a $3000 studio and a $300 dinner?
You have to be consistent. Working artists are consistent. Can you execute today, tomorrow, next week, next month, next year, five years from now, ten years from now? If you can focus on your very next shot and nothing else, you will be consistent. The studio, the dinners, and the lifestyle will come...but all that really matters now, is your next shot.
I do hot yoga four days a week. Love it. Yes, this is how I unwind. I also like to mix in a few days of juicing. Not super sexy, but it works. I also like to shoot my Polaroid Land Camera now and then. Do some emulsion lifts. That really slows me down. I get crafty.
The nice thing about the immediate like and love buttons with regards to photography and art nowadays?
I love reaching thousands within seconds. That is truly an awesome feeling. I always try to share something of real value. Not always, but I try. You know, everyone likes to be "liked". However, If you are making photos with the idea of accumulating likes then just take pictures of food, cats or girls in bikinis. Honestly though, the more people taking pictures and being creative the better. Everybody wins.
Do you ever take any assignments to dare or test yourself or do you have other sets of criteria when signing on to a project?
I challenge myself everyday. If I am not shooting something for work, I am testing a new lighting setup or I am shooting film. If I don't have a job for a couple of days I will buy some chemistry and develop some black and white film just to stay in touch.
If I am being paid, I deliver. I don’t take jobs on a dare. That is unfair to the client. I will risk something while I am shooting to find the happy accident, but I know I am delivering. You make what the client orders, but with some special sauce on the side.
What is the coolest realization you have faced recently through your photography?
Honestly, I am finally over the gear accumulation syndrome. I spent so much time focusing on the gear that I was getting lost. I do love cameras, but I have bought and sold so many cameras that I feel like I have put my hands on everything. I have learned a ton. It’s just gear.
Now I focus on the work. Whichever tool will give me what I want, I use it. What do I want to say? What will get me there? Use it. Last year, I used my iPhone to shoot a movie poster because it gave us the look we wanted...and I had my Hasselblad H3D sitting right there. Crazy.
What words of encouragement can you share with new artists despite slim chances of earning enough money right away to afford a $3000 studio and a $300 dinner?
You have to be consistent. Working artists are consistent. Can you execute today, tomorrow, next week, next month, next year, five years from now, ten years from now? If you can focus on your very next shot and nothing else, you will be consistent. The studio, the dinners, and the lifestyle will come...but all that really matters now, is your next shot.
