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Member Interviews
 | A DPChallenge Interview with Robert Ward
by Edward James on May 4, 2009
"...I started in 1958 with a simple Kodak, while we lived in Switzerland and traveled around Europe. I stopped shooting when we returned to the USA, then started again in 1966 with a Nikon F 35mm SLR. I've owned Linhof and Sinar view cameras, Nikon and Olympus 35mm gear, a Bronica and a Hasselblad for medium format, a variety of "antique" cameras, and a bunch of Polaroids (LOVED the SX-70, which I still have)...."
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 | A DPChallenge Interview with Judi Liosatos
by John Rummel on Jul 13, 2007
"...The human body is amazing. It is natures most incredible sculpture. I like how the light caresses the skin…shapes the curves, touches the most delicate areas of the human form. People sculpt out of clay, they paint images, they are only doing the same as what photographers are doing. Creating. By using light you are creating a sense, portraying an emotion, a story. The light sculpts for the photograph and yet it paints at the same time. If you have areas that need to be hidden…an artist would cover it with paint, paint in a prop, a piece of clothing…a photographer will alter the light….make it either low or high key, move it into shadow. The light is their tool...."
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 | A DPChallenge Interview with Skip Rowland
by John Rummel on Jul 5, 2007
"...I probably shoot more with my 70-200 than anything else. It absolutely creams the backgrounds, it's fast as lightning, it's tack-sharp; easily one of the best, most durable lenses Canon has ever made. I'm able to use it for just about everything, especially action and portraits...."
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 | A DPChallenge Interview with Cindi Penrod
by John Rummel on Apr 13, 2007
"...I strongly prefer photographing people and have put a great deal of time into studying and practicing portraiture. I shoot mostly people for DPC and have chosen to make portraiture my professional specialty because it is they type of photography that calls to me. I like the challenges presented by shooting people, specifically the way lighting can affect the mood and intention of a portrait and how to take advantage of that. I know I still have much to learn. I see shots done by the real masters of portraiture and feel awkward and stupid and insecure about my own work. That, however, keeps me shooting and trying to improve...."
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 | A DPChallenge Interview with Jason Friesen
by John Rummel on Mar 31, 2007
"...At first I was a bit concerned that I hadn't developed a niche, but now I'm happy about it. I do think I am primarily an outdoor photographer, but I like to be a bit of a jack-of-all-trades. It keeps things fresh. I enjoy macro photography (more now that I'm just getting used to my new lens) and I like the control provided by a set-up studio shot. For portraits, my style is pretty simplistic since I have little experience or professional lighting. I basically employ the "blind squirrel" technique and just keep shooting until I get something good...."
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 | A DPChallenge Interview with Ursula Abresch
by John Rummel on Sep 17, 2006
"...In some ways, all my life, simply because I've always, ever since I was a little girl in Chile, been fascinated with images and the making of images (not only photography, but drawing, watercolors, stuff like that). But I never really gave photography a serious thought until after my husband gave me my first digital camera in 2001 (a Fuji FinePix)...."
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 | A DPChallenge Interview with Jon Lucas
by John Rummel on Aug 27, 2006
"...My first camera was a Kodak Instamatic 100. There was a drought of photography for me until my college education during which I purchased a Pentax K1000. This was my first experience with a 'real' camera and I loved it. At this time I was lucky to be able to develop and print my own photos - a greatly satisfying process and one which required much attention and skill to get the desired results - especially at the film processing stage...."
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 | A DPChallenge Interview with Pedro
by Ian York on Oct 10, 2005
"...It [photography] tickles the right side of my brain. The left side does most of the work day-to-day, so it’s nice to have something a little more creative than “buy low, sell high”...."
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 | A DPChallenge Interview with Sher Hogue
by Peter Pan-tsless on Jun 24, 2005
"...I’m constantly searching for my photo of a lifetime. (BTW, if you’re a nervous passenger, I don’t recommend letting me drive. I’ve been known to slam on my brakes in the middle of a bridge and get out of the car just to get the perfect angle on a shot.) I don’t think I can describe what the photo would look like. I just can hope that I recognize it when I see it...."
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 | A DPChallenge Interview with Zeus Zen
by Robert Ward on May 5, 2005
"...I have never, consciously, attempted to take a picture in a particular style. Style, I believe, evolves as a result of looking at things closely, intently and with interest. Since there is no one else there to look at the same thing with the same eyes, heart and mind, everything is unique...."
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 | A DPChallenge Interview with Yanik Chauvin
by Dan Hare on Mar 9, 2005
"...You know how we all hope our images will make the ribbons. :-) Some you know that won’t and others you hope they will. My "Never go to bed mad" shot was one that I thought wouldn't even come close to ribbon. It was a last minute idea and colors were awful so I submitted it in B&W. Boy was I surprised!..."
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 | A DPChallenge Interview with Ed Clarke
by Dan Hare on Aug 5, 2004
"...One should play with one's tools until absolutely in control of them. The most important skill is the ability to look at your images and see the finished thing within it -- once you can do that, you'll know how to use the tools to get there. You shouldn't have to think whilst you're post-processing about how to do what you're trying to do...."
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 | A DPChallenge Interview with Gary Kapluggin
by Dan Hare on Jul 18, 2004
"...Simplicity is really the key to good photography, well for me anyway. Everything I have seen that I really like is so simple! Look at most of the blue ribbon winners here on DPC and you will see that they all possess that element of simplicity. One main subject standing out. It is always a winner. Cluttered and busy images just don't come over well..."
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 | A DPChallenge Interview with Jacques Doucette
by Dan Hare on Jul 2, 2004
"...I believe that you should try to get the most out of an image. This requires some editing. The most rewarding images are the ones that are almost untouched (including not having to crop). I don't feel an image that has been edited is less of an image. I just believe that it is more rewarding when the image that came out of the camera is the one you want to show the world...."
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 | A DPChallenge Interview with Mehmet Alci
by Dan Hare on Jun 29, 2004
"...My involvement with photography has been an on and off engagement in the past. My family had an old 35 mm film camera and I used to love to play around with it and as the years passed by I developed other interests such as graphic design and 3D animation...."
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 | A DPChallenge Interview with Julia Bailey
by Dan Hare on Jun 23, 2004
"...In a small sense, it was quite the bummer to lose a red ribbon... I had never achieved such a thing before. Although, I never expected it to do so well and had long ago quit caring of scores... so this really didn't bother me...."
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 | A DPChallenge Interview with John Setzler
by Dan Hare on Jun 20, 2004
"...Some artists think that critics are useless. A critic can give you nothing more than an individual opinion. If an artist is truly happy with a piece of work, criticism is not required. In fact, it can be annoying...."
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