Deeper & Wider
Process Driven was all about having deep-dive conversations with artists and creatives from a variety of disciplines about what they do and why they do it. Digital Camera World called one of the 20 best podcasts for photographers three years in a row. Deep Natter explored the philosophical and practical sides of creativity and making art.Later this year, I’ll be taking cues from some of my interview heroes like Dick Cavett, Johnny Carson, and Studs Terkel and expanding my range of guests into a new show. I’m calling it Almost Everything with Jeffery Saddoris and on each episode, I’ll be talking to both creatives and everyday people about their stories and lived experiences.
There are only a handful of photographers whose work is instantly recognizable and fewer still who have become a genre unto themselves. I was first introduced to the pictures of Gregory Crewdson through a body of work called Beneath the Roses. I felt instantly connected to that world he so meticulously crafted and I’ve been a huge admirer of his work ever since.An Eclipse of Moths continues his exploration of themes like brokenness and isolation as well as a profound connection to light and the encroachment of the natural world. To some that world may seem bleak — especially on first glance — but a deeper look will reveal a narrative that is hopeful and rich with possibility.
To listen to my previous conversation with Gregory Crewdson, click HERE.
Gregory Crewdson, Redemption Center, 2018-2019
Digital pigment print, image: 50 × 88 ⅞ inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP © Gregory Crewdson
CONNECT WITH GREGORY
"My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear."
Terms like “icon” and “legend” get thrown around pretty casually these days, but in the case of photographer Joe McNally, they are not only absolutely appropriate but also well-deserved. He’s shot for some of the most prestigious magazines and clients in the world, including TIME, Newsweek, LIFE, Sports Illustrated, New York, and National Geographic. His work has earned him dozens of awards, including the first Alfred Eisenstaedt Award for Journalistic Impact. He’s a best-selling author and has recently released his newest book The Real Deal: Field Notes From the Life of a Working Photographer. He’s also humble, funny, tells terrific stories, and I am so grateful to have had the chance to sit down with him for a bit.
"If you view your life as a piece of fabric or a tapestry, the photography is the stitching. It keeps everything together."
A few months ago, I attended a talk that Dan Winters gave at the Smithsonian and one of the things that struck me straight away was the language he used to describe his relationship to his work. I’ve been a fan for years and own a few of his books, but I never had the opportunity to hear him speak before. There’s such emotion and romance in how he relates to his work, especially in the making or the doing as he calls it. Words like “reverence” and “gratitude” are used often and as you’ll hear in this conversation, these aren’t simply buzzwords. There’s an incredible authenticity to Dan that seems to pervade his entire life, from the work that he does to the people and things he surrounds himself with.
"One's visual language is not something that manifests overnight. It develops organically over a lifetime."
Listen to previous episodes of Process Driven ahead of the upcoming relaunch of the show.
observations and reflections
In my "mostly weekly" newsletter, I share stories and offer suggestions and strategies (my own and from others) for how to work through the challenges around creating and releasing what we make into the world. I also provide occasional links to things I've come across and find interesting enough to share.
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