Feaverish Photography Blog

It’s ‘Roid Week 2009, and to celebrate I interviewed one of my favorite Polaroid photographers, Jena Ardell. Let’s get to it!

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Feaverish Photography) When I think of your photography, the first thing that comes to mind is always your Polaroids, so let’s just start there: Why Polaroid?

(Jena) For me, it’s all about “transporting people back in time”. When someone looks at my Polaroid collection, I want them to feel as though they stumbled across a box of old photos in their attic. I want my images to be the good ones they set aside before they put the box back where they found it. I do not have time or carpal tunnels to edit digital photos to look like vintage photos. Plus, a Photoshop creation will NEVER look as authentic as a Polaroid. My goal is to appear authentic. You can achieve a vintage-look with lighting, but until I have the budget or equipment for that caliber of a production, I’ll stick with Polaroids.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena, cont.) I love the format; the loading of the film; the sound the camera makes. I love the fact that there are imperfections. I love the grain and flattering soft focus. I love how over the top I can be while still achieving something subtle. I love the instant gratification of having a handful of Polaroids after a shoot. It feels good to create something tangible. Plus, there is something magical about seeing an image develop before your eyes. The surprise factor is either a blessing or a curse because, unlike digital, you never know how your image is going to develop.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(FP) A lot of people are very opinionated about the digital vs. film debate. You shoot a great mix of film and digital, so I assume you’ve come to terms with using both? What makes you reach for one camera or another?

(Jena) Certain subjects or settings require a certain camera. I usually carry an arsenal of four or five cameras on me: my Canon 5D, a Polaroid camera and a handful of Lomo/toy cameras. Since Polaroid film is relatively scarce (and costs upwards of $1 per shot), I can’t go around shooting 100 or so shots of an abandoned house with my Polaroid camera. It’d be a waste of film and I’d be limited as far as focal length and ISO, so I only use my Polaroid camera for planned shoots.

When I first got serious about photography, I felt pressured to buy a 10+ Megapixel SLR camera. I thought in order to become a photographer, I had to own what the professionals owned. Most people seem to think “you’re only as good as your equipment”, but that’s not always the case. I am a firm believer in using what is available. The more limitations you have, the more creative you are forced to become.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena, cont.) At first, shooting Polaroids felt like a guilty pleasure. I would upload them onto Flickr and receive positive feedback, but I didn’t see the commercial value in them. Magazines weren’t using Polaroids in photo spreads like they are now. There wasn’t such a buzz about Polaroid. I felt like I had to crop off the Polaroid edges in order to be taken seriously. I didn’t realize I was onto something until I started working for photographer Dave Nagel, who really encouraged me and made me see the value in my work. It felt so good to hear such high praise coming from an established professional photographer.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(FP) Has working for a commercial photographer changed your own photography, or made you feel differently about the photo business?

(Jena) I’ve assisted numerous jobs for six or seven different photographers and it has certainly been an eye-opening experience. I was a site rep for a shoot for a national alcoholic ad campaign (my job was to make sure the crew didn’t damage a historical mansion). I watched grips set up all the lights; PAs unpack a moving truck full of furniture; prop stylists create an entire room from nothing; and the photographer arrive a few hours later to press the shutter release. I was both envious and turned off by the photographer’s lack of involvement. I’m sure he earned the luxury of his level of detachment, but I am more impressed and inspired by photographers who continually play multiple roles within their own productions.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena, cont.) I primarily work with commercial photographer Dave Nagel who has taught me a lot about the business aspect of photography. I’m lucky to have found someone who allows me to take on multiple roles and involves me in the entire process. I worked as a production assistant until Dave prepared me to be an assistant producer — which is a role I love. I can’t wait until the day I produce a BIG shoot entirely on my own. The role of producer is definitely something I would like to explore further. Not a lot of people realize the actual photo shoot is only 1/4 of the process. First, you have to bid on a job; next, there are days of pre-production; then, the actual shoot days; and finally, post-production — each segment requiring attention to a plethora of small details and what ifs.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena, cont.) Working for a commercial photographer hasn’t changed my style of photography, but the experience has definitely made me feel differently about the industry. It has made me realize I would like to establish myself as a fine art photographer who also shoots commercial work as opposed to a commercial photographer who also shoots fine art images. It’s a situation similar to a singer who became an actress vs. an actress who became a singer — the latter has to work harder to gain respect as an artist.

(FP) How about being on the model side of things?

(Jena) Having been required to lug equipment, set up lights and stand around awaiting orders, I’ve certainly been envious of the model role from time to time (especially on location shoots with lots of stairs!!). I’ve had the opportunity to model a few times and loved every minute of it. Getting my hair and makeup done is my favorite part because afterward, (while I am still dolled up), I shoot self portraits at home. I often use myself as a model for my own shoots because I know exactly what I am trying to achieve in the photograph… and I’ve always secretly wanted to become a model.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena) I enjoy being in front of the camera as much as I enjoy being behind of the camera, but being behind the camera is much more empowering. Everyone listens to the person holding the camera. It’s good to start as an assistant and work your way to the top, but you have to leave your aspirations at home while you’re assisting another photographer. If you’re an assistant who believes you can replace the photographer or model, it will start to show and disrupt the photographer. My boss Dave has had a few assistants go down that path and those are people he does not hire again.

(FP) You have a ton of sunny, beachy Southern California shots, with a bold yellow/blue/pink color palette. Obviously the sun and sand here inspire you, but do you think you’d be as active a photographer if you lived someplace more dreary? Would London Jena have thousands of photos of stormy skies and clouds reflected in puddles?

(Jena) First of all, I would never live in London, and Seattle would be hell on earth for me. I refuse to shoot on dreary days. I am definitely a sunny weather, beach person and being near the ocean greatly inspires me. I’ve eagerly anticipated Summer every year since elementary school. The irony of all of my Summer Love/beach shots is that 90% of them were shot on the East Coast. I think it’s humorous and flattering people are envying the “Californian lifestyle” by looking at images I shot in New Jersey.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

(Jena) I love the weather in California, but I actually hate the beaches here. The water is cold and polluted and I’m not sure if it’s my imagination or not, but the Atlantic Ocean looks more inviting than the Pacific Ocean. I try not to take photos on Californian beaches because the feelings I try so hard to capture do not translate. The spirit of Summer isn’t in California because Californians do not know what it is to miss Summer. Most native Californians actually despise the Summer months because to them Summer represents heat waves, rolling blackouts and wild fires. Plus, there is a phenomenon known as “June Gloom” when the Marine Layer gives California gray, depressing skies for a month. Meanwhile, on the East Coast, temperatures are slowly climbing and children are dreaming of Dairy Queen and lightning bugs.

The photographer would rather you not take this image, please.

Photo by Jena Ardell

Mmm…just mentioning Dairy Queen makes me crave a Peanut Buster Parfait (which has a web page, as it happens). Thanks for stopping by, Jena!

You can see more of Jena’s photography at her website and her Flickr page, and even buy prints at her Etsy shop.