Jessica Watson interviews David Simone, Oregon Crafted Board Member and photographer:

-Where are you from originally? How long have you been in Eugene?
I grew up in California and Hawaii. I wanted out of the frenzied life of the Bay area so moved to Southern Oregon 37 years ago and to Eugene four years later. I've been here ever since.

-When did you first become interested in photography? Were there any gateway mediums prior to finding photography?
I enrolled in an industrial arts program in High School - in a print shop program. I liked the copy camera and darkroom and soon also got involved in photography classes. I'd always liked taking pictures but learning about complex cameras and darkroom work engaged me in making images in a way I'd never experienced.

-What/who are your inspirations?
Some of my inspirations come other artists and some from the natural world. The work of Paul Strand, Minor White, Paul Caponigro, and many others, put a spin on the natural world revealing the unusual within the ordinary. For me this spin is most interesting when images are both simple and elegant. I build on the visual vocabulary of painters, printmakers and photographers of the ages in presenting landscape and abstract photography of this amazing planet. I am very fortunate to be able to travel in the natural world as much as I do. Many of my travels are on water. Kayaking the rivers of the west and sailing with friends in Centeral America has been a great pleasure. Hiking and photographing on these trips is very rewarding.

-When did you start Lightworks Photography?
After receiving a BFA from the UO, I continued making images and showing in local exhibitions and in helping to run two photographic galleries. I made most of my income from work in a aerial photography business doing mostly large format lab services. In 1993 I launched Lightworks Photography doing commercial and architectural photography and portrait work. This wide range of photographic experiences honed my skills in my personal work as well.

-I see that you work with both film and digital photography. What are some of your favorite qualities of each? Do you have a preference between the two?
In 2002 I began working with digital photography but I was very skeptical the quality would ever be as good as film. In 2010 it's startling how good it has become and as startling are the changes to the medium and the profession of photography. It is wonderful how photography has become much more accessible to the "the common man." However, in print and on the internet, I see a lot of poor quality images. Those who want to get consistently good photographs, must still work to achieve technical proficiency and artistic vision. A problem arises when a person or company isn't there yet but chooses to use slightly or clearly substandard images to represent themselves or their company. If this practice is wide spread enough it leads to a dumbing down of the visual standards that are acceptable in the marketplace. This can create an opportunity for those who make or acquire higher quality images to really stand out from the crowd.
Which do I prefer? Digital has many advantages. Often in the studio, I photograph connected to the computer. The photographs come up large on screen. With film we had to shoot with a polaroid back connected to our camera to get a preview of what we were getting through the lens. With digital the image processing possibilities in Photoshop and other programs are truly amazing. However, medium and large format film still has the edge on image quality. Film is used primarily for high end magazines and the uncompromising photo artist.

-Your website shows you photograph machinery, architecture, people, and artist portfolios. How has this diversity influenced you as an artist?
As a professional photographer, I strive to bring out the best in the client's products or artwork. I really enjoy photographing architecture or making a portrait that shows the essence of an individual or group. Now 17 years later I have the equipment and technical abilities to do these things but it is all trumped by the vision an artist must have to create fine images. I feel I have grown in this aspect also. It has been a challenge to have enough time to work as an artist while photographing for clients. I am enjoying working on my own images more over the last few years.


-Has being a member of Oregon Crafted helped you? How?
As well as being a member, I am on the Oregon Crafted board of directors. I am helping to steer the organization in new directions that I am sure are going to benefit the membership. It's exciting.

-What is your opinion of the current state of the arts?
The state of the arts is fantastic - people are making wonderful and creative things. However, not enough people are buying them. That makes it hard. Artists want to both create and prosper. We have to become more effective at marketing our work.

-Are you excited about participating in “Descending Light,” a photography show at Olive Grand that will be taking place in the month of August? I am excited about the show at Olive Grand this August. I am also excited to see how my work will interact with the other artists and the nice interior of the Olive Grand. I will be showing two color images I made while on a canoe trip in Southeastern Utah a few months ago. One is an image that's rather abstract and real at the same time, and the other a representational view of an amazing pool. I will also be showing two Black and white infra-red landscapes from that same trip. Shooting infra-red film has always intrigued me for it's other worldly qualities. But infra-red light has a habit of recording in unexpected ways and shooting IR film is fraught with challenges. With IR film, an opaque filter was placed over the lens to block visible light rays. This made a tripod a mandatory piece of equipment. I now have a digital camera body that only captures BW infra-red images. Now I can see if I'm getting a proper exposure.

-What are your plans for the future, either personally or as an artist?
I have many ideas and techniques I want to work on over the next few years. Stay tuned at www.davidsimone.com.