A little while ago I asked a whole bunch of photographers to share their thoughts about the whole Kodak fiasco:

PETER BAKER: It is pretty sad to see the company that essentially created the industry that we’re all obsessed with struggle to adapt to the changes in that industry. There’s no reason that Kodak shouldn’t have been able to take it’s imaging expertise – or moreover it’s brand recognition – and been the major provider of digital sensors to other camera makers. Something akin to “Kodak Inside” a la Intel.

There is a seriously romantic component involved in this though. Kodak isn’t just another company that we buy products from. Kodak, in a very real way, is responsible for many of our favorite memories, and nobody wants to see them go away.

YAAKOV ISRAEL: I’m always hoping that somebody will take over the film manufacturing at least but its very sad that this part of the American history of photography won’t be around any more!

As it is the prices of film & paper are rocket high and I find myself thinking that its nearly unethical to ask my students to buy printing paper.

But I’m a big believer in the discipline you develop when using film as you are always on a budget so you think well before you press the shutter.

PHILLIP TOLEDANO: To be honest, I haven’t really thought about it at all … I’m strangely unattached to technology. Whatever Kodak did, will be replaced by something else and in a few years we’ll know it as an interesting photoshop filter …

RYAN PFLUGER: It’s just one of those things you would never think about. It’s like there being no more oil paints or colored pencils. It just seems so bizarre. But we will have to wait and see what happens.

I guess there is always Fuji …… gross

DAVID WRIGHT: It is a very sad day to see Kodak go by the wayside.

GEORDIE WOOD: Kodak is tragic for sure man. It’s too bad they weren’t the lightest on their toes but I guess you get slow after being such a powerhouse for decades. I hope the film won’t disappear but I’m sure it will live on in some capacity.

I’ve spent a bunch of time in Central New York between college and shooting. Whether it’s the Erie Canal, Carrier or Kodak the families of CNY have seen industry come and go for the last century. I think about all the middle class families in Rochester who made their living with Kodak and who are now left behind once again.

NOAH KALINA: It’s unfortunate but not totally surprising. What is shocking is that they were the ones who invented digital. how were they not able to transform their business and move it towards digital?

AARON WOJACK: Perhaps it is just the end of an era. It chills my spine to think that the day may actually come where you will not be able to buy commercial film. I suppose it is inevitable, but I don’t want to see it happen. 

On the other hand it reminds me that the state of the photo industry is in flux and that we all need to be innovative and creative or we won’t make it. This shouldn’t be news to anyone. Things like this a are very persuasive inspiration to get your game plan sorted. 

ALEXANDER MCLUCKIE: In all honesty mate I came to terms with it when they discontinued Kodachrome. I don’t think I’ve shot a single roll of Kodak since they stopped it.

ERIC WILLIAM CARROLL: To me, Kodak is in the same position that American auto-makers were in a few years back, albeit without the support of a government bailout. Kodak had such a strong brand to help it’s business, but they totally dropped the ball when it came to evolving with photography on a basic consumer level-Kodak should’ve been Flickr, they should’ve been Instagram, they should’ve been Snapfish. All of these chances were squandered and instead Kodak spent years making sub-par digital cameras and printers when they should’ve been re-thinking photography from the ground-up. Sure, I’ll miss my Tri-x if they go under, but hopefully they’ll use bankruptcy as a chance to get some fresh blood and new ideas into their corporate offices and reinvent Kodak’s purpose and practice. The old Kodak moment has come and gone-it’s time for them to realize that and create a new contemporary one.

EMILIANO GRANADO: I guess I’ll have to buy Fuji.

Aren’t we all secretly preparing for an all digital world? How much longer can film really exist? 10 years? In a way though, my abrupt sarcasm is telling of how I experience film and photography in general. The subtleties don’t matter. Kodak is richer, warmer. Fuji is cooler. Whatever. I don’t care. I can print it differently. The EXPERIENCE and my INTENTION are all that matter. I’m a photographer cuz I love to photograph. Fuck the technique and the color cast and the digi vs film and all that shit.

With that said, I prefer the experience of slower, bigger, and bulkier cameras. but WHATEVER.

JAKE STANGEL: I’ll be drinking alot more …

DAREK FORTAS: Cannot imagine not shooting 6x7 or 4x5 in the future … heard some gossip of medium format rolls going up 100%; it scares shit out me …

—

Thanks so much to everyone who took time out to share with MULL IT OVER.

So happy that Ryan agreed to MULL IT OVER.

JONATHAN CHERRY: What gets you out of bed in the morning?

RYAN PFLUGER: I want to say it’s my drive to work and accomplish things everyday, but it’s not. It’s my dog. She wakes me up on cue every single day, and honestly, I wouldn’t want it any other way.

JC: Any emerging artists inspiring you at the moment?

RP: I still consider myself an emerging artist. I have been around the block a bit, but there is always more to learn, more people to meet and so on. I’m really inspired by my peers, and their genuine drive to push themselves as artists. Daniel Shea, Jake Stangel, Emiliano Granado, Christopher Schreck, Rick Yribe and Benjamin Fredrickson just to name a few.

JC: What is Portraits in the Park all about and what inspired you to do it?

RP: Portraits in the Park is my latest personal project, and the first I’ve completely devoted myself to, since my MFA thesis. My work has always been about my relationship with my subjects and our intimate interactions. I wanted to challenge myself and also make a commentary on portraiture and place, by photographing in a public place people gather in. The series took place in four different parks in NYC, yet shot in the exact same way with the only changes being that of daylight throughout the day. I just set up shop and allowed anyone who was willing to sit for a portrait. This project is also definitely about the quantity … an archetype of these people I’ve collected.

JC: Tell us a little bit about how you manage to juggle personal & commercial work?

RP: It’s definitely a juggle. Doing editorial and commercial work allows me to have the money to make personal work. Yet, working all the time makes it difficult to have the time to make personal work. The main thing is that I never compromise who I am as an artist and I always make the time for both.

JC: What has the rest of 2011 got in store for you?

RP: Well, I can’t believe there is so little left of 2011! I will finish editing the Portraits in the Park series, and put out 2 more volumes of zines related to it. I will also be starting a kickstarter to raise funds for the book I’m putting together of it. I’ll also be doing my first cross-country photographs right after christmas.

JC: What one piece of advice would you give to recent photography graduates?

RP: Never stop shooting and always find a reason to shoot. Photography students have the tendency to talk about all their great ideas, but don’t follow through enough. Work through your ideas by making new work. Challenge yourself at all times and always get input from your peers.

JC: Favourite breakfast food?

RP: Coffee and granola. It’s how I start almost every morning.

JONATHAN CHERRY: What did you have for breakfast this morning?

RYAN PFLUGER: Granola with soy milk, iced coffee (I refuse to switch to hot coffee despite the 20 degree weather, in my head it’s 90 degrees out) and a banana.

JC: Have you got any new photography books / magazine recently?

RP: I just bought Patti Smith - American Artist which is a great book with portraits of her.

JC: Who was the last emerging artist to inspire you?

RP: I’m constantly inspired, which may not be the norm as I love to give out a compliment. Photographers can be very, how do I put this, harsh to each other and catty. I love seeing other people do what they love and make beautiful work. Emiliano Granado, Gregg Evans, Jake Stangel, Paul Salveson, and Adam Ryder.

JC: What is your current project all about?

RP: Well, I have two projects I’m currently working on. One I’ve been doing for about a year, and have shown a few images from it called Memento. They are photographs of objects from my past, that I’m memorializing before I let go of them all. Originally it was going to be just a typographical body of work, but now it has more underlying themes of sexuality and lost youth. On the other end, I’m doing a complimentary project that I won’t be showing for a while but is all about people’s collections. It involves portraits and environmental work. My obsession on the emotional attachment we put on objects has kind of taken over my life.

JC: What is it that draws you to portraiture?

RP: As I was growing up I learned very quickly how relationships can dissipate before you even realize it. As a result I began finding a need to create really specific memories and interactions with people through photography. I always say that my camera is my therapist. Despite my social awkwardness at times, I can always use photography as my means of connecting with someone. I guess you can say I’m a people collector. There is something really special that happens when it’s just you, your subject and a camera. Everything else kind of falls away for awhile and I’d be happy living in that state for the rest of my life.

JC: What is Not Without My Father all about?

RP: My father and I had a very estranged relationship for most of my life. He was in and out of rehab, had a damaged relationship with my mother and worked ridiculously long hours. Growing up with an addict is extremely difficult when you’re young. While I was in grad school, my father and I started having really open dialogues as he was sober for a few years. As I talked about earlier, I wanted to use my camera as a way to facilitate a new relationship with him and at the same time re-visit things from our past. I photographed him for about a year, alongside doing some constructed still life work. The work itself really talks about the father/son relationship, what memories we are expected to have as children and coming to an understanding about the differences in our sexualities.

JC: What equipment are you currently using?

RP: I use a Mamiya RZ Pro ll for almost everything I do. My studio work is sometimes done on my 5D, but I try and stick to film for as much as possible. I shoot slides and try and use natural lighting as much as possible.

JC: Any pearls of wisdom to recent photography graduates?

RP: Work your butt off to be honest. This is not a business where things just come to you (at least 90% of the time). Put yourself out there, have a good attitude and don’t feel like you are above doing certain things. You need to have experiences in order to learn from them. You probably will have to do jobs for free, work long hours with not a lot of financial pay-off, and constantly re-evaluate your work and where you are going with it. Be yourself and be confident in what you do. Being a photographer isn’t just a profession, it’s a life choice. You have to live and breathe what you do, and preferably with a smile on your face. Also, contact people that you are inspired by or look up to. Ask for advice, assist, be aware of the work that is going on around you.

JC: Other thoughts?

RP: I really love video games.