JONATHAN CHERRY: What gets you up in the morning?

JEREMY EDWARDS: My four year old son and his eternal thirst to begin a new day; the gnawing sound of coffee beans grinding in the kitchen, and the overwhelming weight of meeting my day to day obligations.

JC: Are there any emerging photographers inspiring you at the moment?

JE: Yes, I have an exhaustive list of photographers that I admire on my site. I’m not one to try and define what “emerging” actually means, because I don’t know who or how to measure that. But, here are some that are highly inspiring to me right now: Hudson Gardner, Simon Kossoff, Hee Jin Kang, Jeff Luker, Tony Luong, Tatum Shaw, Daniel Shea, Davin Youngs, Debbie Carlos, Sophie Harris Taylor, Corey Vaughan, Justin Visnesky, and Brian Ferry.

JC: What is your current project all about?

JE: I have various ongoing projects at the moment, but I’m most active and inspired by the “There There Now” project. The project doesn’t necessarily offer any sort of theme or subject matter, rather it functions more as a visual diary of the strange and familiar of my day to day. I don’t think the project is groundbreaking or unique from any other documentary-style photographer, but it’s provocative and captivating for me personally - and I think that’s the most satisfying part of my relationship with photography. The phrase “there there now” is used frequently as a gesture of comfort in the rural life I once knew. So, too, do the images in the series now serve as my visual comforts. The other projects in my portfolio have similar tones stylistically, but have suggestive themes. I’ve grown quite fond of the “Perhaps You Have a Real Gift”, and “There Is No Story Here” projects, as well. I’m deeply inspired by social commentary, the beauty in the mundane, and the absurdity and hilarity of life. 

JC: What draws you to making portraits?

JE: That’s a great question. I’ve never considered myself a portrait photographer. I’m not trained in portraiture, nor do I have the intention of practicing traditional portraiture. I know it may sound elementary and trivial, but I capture portraits when I feel there is something powerful happening in the moment, whether it be expression, posture, or emotion. Often times, I’m drawn to portraits by the lack of emotion, or personality. I feel that I’ve learned a great deal about portraits over the years, and the constant struggle between the photographer and the subject when it comes to maintaining a true identity. I’ve learned that when I’m trusted in the moment, the image is much more powerful. Just like any photographer - light, color, and authenticity draw me to taking photographs of people. 

JC: How do you find juggling personal & commercial work?

JE: Well, I can’t say that I do much commercial work at all, really. Editorial and polished material isn’t quite my thing, as you can see from my portfolio. Don’t get me wrong, I’d love more documentary and story assignments, and perhaps a magazine gig every once in a while. But, I much prefer the narrative over technique - I think that’s sort of become my artistic philosophy, and some may see that as a cop-out, or art-less statement. I do my best at making beautiful images, and I try to maintain that simplicity. If that appeals commercially, that’s fantastic. 

JC: Any advice to recent photography graduates?

JE: I’m not a photography graduate - entirely self-taught. And, I know many talented photographers who are also self-taught. I suppose my only advice would be to stay as true to the reason(s) why you pursued photography in the first place. I believe the common denominator amongst the great image makers, is that there work is simple, authentic, yet thoughtful. Try your best to not over-complicate and distort the simplicity of what first put a camera in your hand. Be reminded of the story, and worry less about technique and the equipment race. 

JC: Favourite tree?

JE: Sugar maple. I grew up surrounded by thousands - and I love me some syrup.