Interview with Cheryl Jacobs Nicolai

Sarah Wilkerson recently got the chance to get together with the phenomenal Cheryl Jacobs Nicolai — who not only agreed to grant us an interview here on the CMblog but also accepted an invitation to join our CMPro ranks (insert giddy squeal here!).    There’s a whole lot of awesome in that one sentence alone, so I will stop the babble and  give you Sarah Wilkerson and Cheryl Jacobs Nicolai. Enjoy!

Interview | Cheryl Jacobs Nicolai

I’ve been an admirer of the moody, provocative images of Cheryl Jacobs Nicolai ever since my friend  Jodi McKitrick introduced me to her work a few years ago, and I recently had the extraordinary opportunity to meet up with her for a portfolio critique, discussion, and even some mom-to-mom commiseration at a Starbucks just up the road. To say that I walked away inspired is an understatement.  CJ’s presence is every bit as powerful as her images are, and it becomes clear very quickly that the depth of her images derives from utter emotional commitment to her art. She’s not just a master of her camera — she is an artist with a story to tell.

Clickin Moms is thrilled to share with you our interview with Cheryl Jacobs. Prepare to be inspired:

Preferred Subject Matter:

People of any age

Photographer Since:

2002

Camera:

Bronica SQ-Ai

Go-To Lens(es):

80mm f/2.8

When and why did you decide to pursue photography?

I fell backward into photography. I was raised on art (mostly drawing) and music (singing and piano), which morphed into painting, then handcoloring—remember that trend?—and finally into photography. It was a natural progression. I took to photography in a way that I never did to other visual arts; with drawing, I could keep reworking the picture until I ruined it, whereas with film photography, once the shutter was released, it was basically a done deal. I learned to do it right the first time, and couldn’t drive myself nuts with revisions. I learned discipline, and I learned to say “good enough.”

Do you have any formal education or training in photography?

None whatsoever, and I’m grateful for that. I’ve never attended a workshop or a class, with the exception of my own. That does not mean I’m anti-education, it’s just that I learn by doing, and am a natural copycat. Learning in a vacuum helped me to find my own voice from the very beginning, instead of having to learn how to separate myself from the pack later on. While I’m very social in my daily life and my music, I’m really a loner where my photography is concerned. It’s a solitary activity in a way.

My first gallery show was in 2004. At the opening, I overheard so many people comment that my work was clearly influenced by Sally Mann. I had never heard of her. I had to google her. Although I could definitely see parallels, I could honestly say that we arrived in a similar place from different paths, and that was rewarding for me.

How would you describe your artistic style?

Soulful is the word I typically use, and I think it fits. I rarely take a photograph designed just to be pretty. It has to mean something, to say something, to elicit something more than “that’s cute.” In my evolution over the last year or so, I would say that I like to incorporate natural chaos, and then use light to interpret the scene. You can see a lot of that in my Life Backstage project. I get so tired of hearing “that’s distracting.” Context is not a distraction, if the photographer has successfully directed the viewer’s eye through the image. Thumb through an old Life Magazine and see just how many of those iconic images would be criticized as “cluttered” on photography forums today.

What qualities make an image successful for you?

The ability to elicit emotion, to raise the question but not spoon-feed an answer, and staying power. I think we put too much emphasis on creativity. I don’t go for images that are just weird; creativity for it’s own sake can be a learning tool, but for me, rarely makes for a great image.

An example of incredibly successful image would be Eugene Smith’s “Tomoko Uemura In Her Bath”—I challenge you to find a more emotionally arresting image. It’s hard to look at, but it’s also painfully beautiful and speaks in such a soft, strong voice. I’ve had the privilege of seeing an original print of this image at the Camera Obscura gallery in Denver before it closed last month. It was a high point in my photographic life.

I suppose I see technique as inherent when it comes to a successful image. I’ve always said that the best thing technique can do is get out of the way. Effective lighting, composition, and framing should be a given. It takes more than that to create a great image.

What inspires you to shoot?

Light and a good story. Honestly, I could see the coolest scene ever, and if the light isn’t effective, the most I’ll do is take a snap with my camera phone. The light has to work, or I won’t take the shot. If I did, I’d just be mad later. To me, lighting is the difference between a “hot damn” and an “almost”. I’ve been known to make photographs of water on a linoleum floor because the light was beautiful.

Other than light, I’m inspired by honest emotion. I don’t care what the emotion is, as long as it’s committed. Sometimes I’m motivated by frustration and/or depression. If I’m shooting for myself, I’m more likely to shoot on a day that I’m discontent than on a happy day.

Can you describe a turning point in your artistic development?

Absolutely, and I have an image to go with it. It was a day, back before I was in business, when I felt like I should be shooting. So I took my daughter, who was two years old at the time, out to the park to shoot. She was dressed in overalls with a big bow in her hair (ugh!) and I suppose I was trying to make some kind of forced masterpiece. Of course it wasn’t working, so I came home frustrated. When I got to my house, I saw the neighbor’s daughter sitting in my backyard, lost in a daydream, looking so disheveled from a day of playing outside, yet so beautifully dreamy. I had to photograph her, and we made several images. That’s when I realized that, for me, an image is a reflection. As a child, I stayed to myself a lot, was very happy being alone. That’s what I was photographing that day. Now, I think of every photograph as a self-portrait, and I’ve learned how to balance observing and influencing. It changed the way I work completely.

What aspects of photography do you find most challenging?

Honestly? What’s most challenging is finding a way to stay challenged! When I first started making portraits in my clients’ homes, lighting was tough, working around clutter and in small spaces was a challenge, but it became second nature quickly. After that came a fairly long period of being bored with photography. That’s when I started doing self-assignments. I did street photography, still life projects, photographed the regulars at my local tavern (and THAT was a challenge!) and most recently embarked on the Life Backstage project, which incorporated several aspects of my life and has been, I feel, my best work ever.

How do you get yourself out of a creative rut?

Self-assignments, as I mentioned previously. But sometimes, I just have to put the camera down and walk away for a while. Good timing on this question—I just picked up the camera today for the first time in almost three months, to photograph my three kids. I literally had to dust cobwebs and dog hair off my camera bag. I always tell my kids, “I can’t miss you if you won’t go away.” It’s the same with photography. Sometimes I just have to give myself time to miss making art and documenting what I see. That’s usually when I submerse myself into music. I think it’s very important to have another artistic outlet besides photography, to stay motivated and fresh.

If you could shoot alongside any photographer, dead or alive, who would it be and why?

I’m too solitary in my photography to want to work with any other photographer. However, given the chance, I would have loved to watch Eugene Smith work. He was a creative and technical genius and had such a unique way of portraying his subjects. He had some serious emotional and psychological issues, which makes him even more interesting to me. I’d have particularly loved to watch him (and interrogate him) during the days of the Jazz Loft in New York City. I have a pretty interesting personal collection with that period in his life, too long to talk about here, but it’s on my blog from a few summers ago.

If you could pick one celebrity (and/or their family) to shoot, who would it be and why?

That’s a tough one. I hate the concept of photographing someone just because they’re famous or beautiful. That’s just not how I work, and it’s why I don’t like photographing professional models. They’re just so good at giving camera face, and I’m not into that.

I just finished reading Life Is So Good by George Dawson, the grandson of a slave who learned to read at age 98. When he died at 103, he was studying for his GED. That’s someone I would have loved to photograph, because he had depth and character, and a story to tell. I have an extreme love of texture, depth, and so-called imperfections, which is why I love to photograph elderly subjects. To photograph someone with so much history, determination, and obstinate optimism would be incredible.

Which image from your portfolio is your favorite? Is there a story behind it?

That’s a tough question. Kind of like asking which of your children is your favorite. There are definitely images that I’m more attached to, but it changes pretty often. I have sort of a warped sense of humor, so the image of my daughter holding a kitten by the neck has been a long-time favorite for me. It was a totally harmless moment, but watching cat lovers freak out over it kind of gives me a giggle.

If I were pressed, I’d have to say Lighten Up, the image of my son in silhouette with an umbrella. It opened some doors for me and looking at it always makes me smile. Hard to believe we made that image close to eight years ago.

You capture human relationships brilliantly. Are you totally hands-off when capturing these moments, or do you help to set them up in any way?

Almost nothing I do is totally hands-off. I love interacting with people too much. That doesn’t mean I pose people. I use conversation and body language to subtly direct people into an effective image that is still true to their nature. It’s a subtle process. Direction is most effective when it isn’t overt.

Can you describe how you approach a scene, subject, or situation you are going to shoot?

I’m always looking for light first. That means either photographing what’s already in the light, or placing subjects in the light intentionally. If I’m shooting an on-location session, I’ll tour the location first to find the light I’m looking for. After that, I use my hand-held meter to set my exposure and to get an idea of my contrast range. (As a film shooter, that’s important, as it helps me determine how to rate my film and how to develop the film for the desired effect.) I like to set my camera, pre-focus, and only then get my subjects into position. That way, my subjects aren’t focused on the technical aspects of being photographed, and it’s easier to put them at ease.

I’m a very conversational shooter. To me, the connection between my subjects and me is absolutely critical, and I find it takes more than just chatting about the weather to accomplish that.

You shoot black and white only. When and why did you make the decision to take this approach?

That’s how it’s always been for me. Partly, that’s just how I see. I see in tones and light rather than in color. I appreciate well-crafted color photographs, but it’s just not what I do. I prefer my portfolio to be as timeless as possible, and B&W helps with that. On a practical level, I shoot film exclusively and process it all myself at home, so it just makes sense.

If you could change one thing about the photography industry today, what would it be?

Just one thing? That’s tough. I think these days, there’s a weird dichotomy of competitiveness and homogenization. Back in the Life Magazine era, photographers were truly artists, each having their own established style and voice, and yet they collaborated and were fast friends and true contemporaries. These days, so much looks alike, and I think it’s bred an unhealthy rivalry among us. The Internet is a huge factor there. It’s just too easy to see what everyone else is doing, and follow suit. I do lots of critiques for professional photographers, and it’s always so refreshing to see someone doing work that is a genuine extension of their personality and values, that I wouldn’t confuse with anyone else’s. That’s why I love critiquing, to find what each artist does well and to encourage them on that path. So rewarding for me.

In that same vein, I have to also say that I think photographers need to be encouraged not to jump into business too fast. It’s not just a matter of developing very strong and consistent technical skills. Photographers need time to become artists, to have a defined style and to know themselves. It’s so hard to do that after you have an established clientele. An artist works in his or her own style, and grows a clientele who appreciates it.

Quickie Questions:  One Word Answers!

*Canon or Nikon? (or Other!)

Bronica

*Prime or zoom?

Prime

*Studio or on location?

Location

*Natural light or flash?

Available light

*Neck strap or wrist strap?

None, too claustrophobic

*Color or black and white?

B&W

*Mac or PC?

Mac

*Night owl or morning person?

Night owl

*Sunrise or sunset?

Sunset

*Heels or flip flops?

Stilettos

Thanks so much for the candid interview and the inspiration, CJ!

You can view Portraits by Cheryl Jacobs Nicolai here and her commercial and fine art work (including the amazing Life Backstage project) here.