bethHERZHAFT - Photographer - Interview: Royce Deans

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It was my pleasure to interview Beth Herzhaft a couple months ago for a piece in Copper Press #28. Now that issue is just hitting the streets it seemed a grand notion to check in with Ms. Herzhaft and see what was going on.

When we first met I was impressed that a photographer with a resume that contains as many heavy hitters as does hers still invests so much energy into her own personal photographic projects. Her unique fly on the wall view of the world is captivating. It helps us to see the absurdity as well as the beauty of the everyday situations that we all come face to face with in our ordinary existences. Most of us just don't pay that much attention. Thankfully someone is keeping an eye out.


Last we spoke I believe you were going to go shoot Teen Prom Magazine. How did that work out?

We don’t need to talk about that, do we? ;-)

Not if you don't want to.


So, before the Teen Prom shoot I guess it was way back in July that we did the whole interview thing for the print version of Copper Press. What have you been doing with yourself?

Mostly art stuff, and also redesigning my website. Also, I got to photograph Nels Cline, which was fantastic.



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(Chinatown, LA)



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(cemetary from "area photos" series)

Are you so talented as to be able to create a successful web site too?

I did the overall look, but of course I did not write the code for the site!

We didn’t talk in our interview too much about the specifics about your portrait work, other than some of the normal challenges of portrait photography that may only be amplified when the subjects you are shooting are celebrities. That said, after having worked with some pretty notable folks, do ever get star struck?
Or are you past that at this point?

There are completely different issues at work when shooting celebrities and people who are not well known or instantly recognizable. Shooting celebs has the issues of ego, and also trying to get an interesting shot of a person while the publicists are relentlessly interfering….But in a way, I think that sometimes people judge portraits of famous people less harshly since they are often looking at who is in the picture, rather than the picture itself. Images of non-celebrities have to be interesting, since there is no “recognizability factor”.

As far as getting star stuck, that does happen sometimes, though at odd times – like when I photographed Bill Gates. It was not his celebrity per se that was so incredible to me, but the fact that This Man Changed History (for better or worse)



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(NAMM trade show, Anaheim, CA)


Alanis Morisette

How does a photo shoot go down when you are set up to shoot the likes so an Alanis Morrisette or a Herbie Hancock? Do they show up with the entourage of agents, PR guys and advertising agents? Or is it more intimate than that?

Entourage for sure. Some larger than others. Usually the more confident the person, the smaller the entourage. I really really wish I could have been around and working in the 60’s or 70’s when an artist and a photographer just got together and took photos – just like that…
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You are a pro and can work pretty well in most situations, but in a perfect world, if a perfect world included famous people needing portraits, what would be your dream studio setup/situation?

Like I said above, dream situation would be just hanging out with someone and taking their photo casually.

Without giving away any of your secrets how does this kind of work find you? Do have a rep or did Jakob Dylan just pick your card off the bulletin board by the automatic doors at the Piggly Wiggly?

How did you know? ;-)

Herbie Hancock and the original Headhunters, Jakob Dylan, Roy Harper


  SKYE      

TATU

Did Tatu show up with a Russian/English dictionary or you have to brush up on your Russian language skills before the shoot? I’ve never seen a Russian/English dictionary, which is why I ask.

Sometimes it is easier to shoot people who do not speak English. You just end up
gesturing and looking like an idiot, which makes them relax and laugh at you, and then you get good shots!

They must exist don’t you think?

Here’s one! http://www.rustran.com/


By the way you outdid yourself with the photo of Kristan Cunningham holding the umbrella. Nice shot. Where you lucky enough to have a rainy day or did you have to fake the rain?

That was one of those ideal situations! They were thinking of canceling the shoot because of the rain and I was like, “No no no!!!”

Kristan Cunningham




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There are several photos in your art section (herzco.com) that I had not seen before. There are a couple of them that want to ask you about, but first what has been catching your eye these days as you make your way through the streets of LA?

Lots of plastic – plastic bags, things covered in plastic, plastic plants. Also portraits of just parts of people, rather than straight on.


So what is the story behind the photo of the horse? It seems slightly out of character for you and a bit disturbing on some level. Tell me.

That looks out of character since it is an older shot – I was out walking one day, and was overlooking a horse corral. This horse saw me, and it must have been in a playful mood since it ran over to me, and then rolled in the dust right in front of me. Then it got up and went on its merry way! Since I had NO time to prepare for the shot, I just took it with the camera set up the way it was – so the image was way underexposed, which lends the dreamy otherworldly air to the photo – the lack of detail and context.
A lucky shot anotherwords….

Equis


Remind me again where you have to go so that you are able to find two worlds that are polar opposites of each other yet so the same in their incredibly bad taste in carpeting? Divided only by a simple sliding door. [I am jealous]

Oh yeah, that was pretty amazing – the Hilton Hotel in Palm Springs. I call that shot “an uneasy truce”.

Uneasy Truce




NY Air Freshener

Again, I have no idea where you find this stuff; it has to be real because no one could think of it. Tell me about the photo of the flowers with the pine tree air freshener attached? Only to be punctuated by an expertly placed roll of toilet paper.

It is just stuff that is hiding in plain sight. Like that old war story where soldiers were going though this guy’s luggage looking for a very important document, and as they were tearing everything apart looking for it, he just sat there calmly READING THE DOCUMENT THEY WERE LOOKING FOR. They never even saw it….

So I think it is a matter of sort of practicing constantly looking for the invisible….


Did we talk about flash vs. natural light? Some of your work is very obviously flash photography. It has to be a conscious decision on your part. Please explain when, other than the times when there is not enough natural light, that you feel using at flash helps accomplish your purposes more than not using it. I ask because so many photographers seem to avoid using a flash so blatantly in their fine art work, and if they do they try to hide the fact as much as possible.

I’ll answer this stuff in response to my art photography only as the commercial work
often NEEDS to have complex flash and studio shots set up.
In keeping with the sort of surreal / hyperreal feeling I am going after, I like adding a little bit of flash in the daytime to make it just a little bit more unnatural or off balance.

Alien Branches



Grand Old Flag Series

I have been thinking a lot about legacy. As an artist I wonder what I want to have left behind. Do you think about stuff like that? Do you keep everything you do as a sacred relics? I am getting to the point where I think I want to burn half the stuff I have sitting around. What do you want to leave behind?

As far as my legacy is concerned....hmmmm. I have not given a great deal of thought to this really. Although I do sometimes wonder what would happen if I were to die suddenly and folks would be forced to figure out for themselves what is "important" and what isn't.

When I look at it that way, none of it seems important really. But I suppose, if I had my choice - and the time - I would sort of make a time capsule of what I feel my most meaningful / personally important images are, and put it with an explanation (if could ever articulate one)

There was a photographer named "Disfarmer". (disfarmer.org) He was an amazing portrait photographer from Heber Springs, Arkansas - I think in the 1940's.

In any case, he just had this small portrait studio and would take pictures of regular folks. But one of the amazing things about his work is that he mostly photographed regular folks, before most people had money to have their portraits taken - it was still largely an upper class thing to do.

So it is really meaningful in that documentary way. Also, speaking of legacy and "meaning" of our art....Disfarmer's glass plate negatives were given to a thrift store after his death - no one thought they were important, naturally, until a curator came upon them
in the thrift store and bought the whole lot, researched Disfarmer, and then published an amazing book of these photos.

Another interesting fact about Disfarmer is that his real name was not Disfarmer. For reasons that are unknown, he got up and moved one day to a different town, left everything of his old life behind (I think) and took on a new name. The reason he took that name was because he was not a farmer - hence DIS-farmer. What an amazing story!

In answer to whether I keep my stuff as sacred relics, I keep most all of my negatives, and often tear sheets, but honestly: if the image looks horrible on the cd cover or whatnot, I just wish it to the cornfield....




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Check out more of Beth's Photography on her web page

herzco

 

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