ThisIsInspired Magazine

ThisIsInspired sits down and chats every once in a while with artists and designers — finding out how they got started and what gets them inspired. Each of our interviews gives you the designer’s perspective and a cool angle on their work – and on creativity in general.

Who Is Jim Coon?

Jim Coon has worked as in independent photographer in his own studio since 1980, and his list of clients includes Aetna, Cabot, Fortune Brands, Motorola, and Reebok — among many others — and if you’ve read Communication Arts, Graphis or How magazines you’ve probably seen Jim’s work. Jim is passionate and creative about what he does and when he’s not working out of his studio he’s on assignment all over the world.

The Interview

ThisIsInspired
The first question is kind of the typical, “starter”: How did you get into Photography in beginning? Creative people seem to have any number of outlets or avenues to pursue – what was it that made you choose Photography?

Jim Coon
I have always been an artist. I started drawing, like most kids, at an early age, but I was encouraged by my parents to continue. When I was 12, I asked for a real film camera that would allow me to pursue photography as a hobby. Instead, I got a Kodak Instamatic, which discouraged my interest for years. I continued my drawing and painting, however and planned to attend an art college after high school, but may parents would not allow me to follow a career, “where you couldn’t make any money”. I continued painting, especially water color, but in grad school I again picked up the camera. This time it was true love. This was the 1970s, so being a photographer was hip. After some attempts at an academic career I decided to pursue photography as a full time gig. I then got a job as a photo assistant, opening my own studio 2 years later.

ThisIsInspired
For web or graphic designers, they can see a design and point to specific rules or guidelines that were followed to make the finished piece. In your profession, when you see a photograph in a professional publication or website are you able to tell what steps were taken or what the process was to get that final result?

Jim Coon
For me beauty rules. When I see a good photo, it’s like a painting. If it speaks to me, I listen with my eyes and my emotions. If I can feel what the photographer is saying, I am not very interested in how it was done. At the point the I start to analyze the technique, the photo has lost much of it’s impact. Of course there are times when the technique is so drastic, like cross processing film, or HDR (High Dynamic Range imaging) that it speaks louder than the image. There are times too when a photographer’s lighting or sense of focus captivate me a second or two after encounter the image. But mostly I am not a technical photographer. I like to explore my own way into arresting images.

ThisIsInspired
Most of our readers are web designers. Photography, though, seems to be a more technical profession (as you just said), more ‘nailed down’ to hardware, if you will. What, would you say, is the window for creativity in your field? For example, as a web designer the browser window is almost a blank canvas – How would you describe your blank canvas, as a photographer?

Jim Coon
As a person enters photography, it can be very technical — looking at things like f-stops and depth of field and lighting ratios, but these processes have to be internalized if one is to achieve mastery. It’s very much like playing a guitar. At first there is so much to learn and practice before you can really play a song. I realized early in the process that photography is a window for discovery: a window that allows me to discover the world around me as well as my internal world. For example, many students start learning photographic composition using “the rule of thirds”. I learned what this meant, but for me a great photo feels a certain way. I don’t have to measure the relative weight of elements in the picture; I know because I feel it in my body.

“The blank canvas for an inspired photographer is his/her eye in conjunction with feelings.”

For example, I can shoot a product 50 different ways, but only one is exactly right for that moment. And often I will expose tons of shots, not because I feel insecure, but because I keep seeing new things that inspire me.

ThisIsInspired
In almost all forms of creative art we have periods or leading artists — Cubist, Mies van der Rohe, for example — and we can date a design based on these styles or schools of design. Outside the obvious Andy Warhol, can you tell what period a photograph is by the style or setting?

Jim Coon
I Think there are giants of photography just as in other art forms (Eugene Atget, Ansel Adams, Man Ray, and Irving Penn to name a few), but for me identifying periods is more difficult. When I first started shooting, Phil Marco was the commercial photography hero. Later in my career Pete Turner’s super saturated photos cast a long shadow and of course I always admired the work of Mark Seliger. But two things happened in the 1990s that changed everything for me: first I discovered selective focus; and second I began to be much more interested in what designers were doing. This sea-change allowed me to shift into annual reports as my preferred form of photographic expression. I cultivated designers and was hired to shoot their annuals and collateral materials.

ThisIsInspired
If you can spot the period or era of a given photograph, Which one(s) are your favorite, and why?

Jim Coon
I actually love the experimental period of photography, during the 1920s and 30s with people like Man Ray, Lisette Model, and Manuel Alvarez Bravo. These people were pioneers. Nobody was sure what photography was, or what it could do. If you look at Man Ray’s work you can see that he is looking through eyes that are innocent of modern influences. He does not have to light or compose in any particular way, so he is free to experiment –– free to associate moods and objects that you would not find on the internet.

ThisIsInspired
Creative professionals often relax by doing other creative things. For example, I’m a web designer but I play the guitar in my spare time or to rejuvenate my brain. What do you do creatively that helps perk up your brain?

Jim Coon
I’m also a guitar player. I used to be the lead singer of a covers band, but I always wanted to do original stuff. So when I started learning guitar, I decided to write my own songs and record them. I’m fascinated by indie rock experimenters like Mars Volta and Land of Talk. Like Man Ray, they are trying to use their muse to reveal some unique experience. I love weaving the sounds from guitar pedals and drum beats to make a song. I do the same kind of thing as a photographer. I will use anything at hand to get a lighting effect, just ask my clients.

ThisIsInspired
Here’s the Big Hypothetical Question: Imagine you have a day off; You’ve been working nonstop for weeks, and you have a day to yourself to recharge. The ideal day. How would you begin and end that day?

Jim Coon
My day would begin with a quick glance at the web to see what shows or exhibits were running in New York museums and galleries. When I do have time off, I usually end up looking at painting or photography. There are some good galleries in Connecticut, but if this is my dream day, I will be heading for New York. Next, I’d lunch at one of New York’s great sushi parlors and then on to more art. In the evening I would hit an indie rock concert or head down to the Village for some jazz. Since it’s a vision I can’t tell you who I would be going to see.

ThisIsInspired
Imagine (again!) you have a client that says they want something new and adventurous. For you, what is the key to approaching a project with a creative blank slate? (eg: a good night’s sleep, avoiding photography books or galleries lest you be influenced, etc)

Jim Coon
The best way for me to clear out the cobwebs is to exercise and do some yoga. I think real creativity becomes possible when I can be in the present moment with my client and with what needs to be photographed. I’ve been in some tough spots and still created cool shots because I was able to focus on what was in front of me instead of thinking about how it should have been. For example, when I got to Indonesia last February, I found out the factory I had been sent to shoot was closed. After looking at various alternatives I ended up shooting inside the cabin of a 747 using only a hand strobe for lighting. It is still one of my favorite shots.

ThisIsInspired
It seems every type of creative person has a trademark habit, hobby, or interest. Certain types of designers love expensive coffee while others always seem to have a cat, etc. In your experience, what’s the ‘trademark’ habit or possession of a photographer?

Jim Coon
For a lot of photographers, I think having the newest and best equipment means a lot. It seems that whenever photographers meet, talk turns to cameras and strobes and lighting techniques. More recently, they seem to be talking about Photoshop and Lightroom tricks. Outside of that I think having a beautiful studio and talented assistants provides karma. Personally, I like good equipment, but it’s the photographic image that matters. And I am not alone. Many photographers care more about their personal work than any status symbol. Personal work is what got us into the field and keeps us going even after we leave the commercial arena. I’ve been exhibiting personal work at a Connecticut gallery since 1991.

ThisIsInspired
Last question: Outside town where I live there’s a billboard advertisement for a law firm. The advertisement uses as a centerpiece for the ad two hands clasped in a wonderful, friendly, trustful handshake. It’s no different from myriad other ‘handshake’ photos on stock photography sites. Coming from the photography industry, What goes through your mind when you see the stale, ever-popular-with-executives “handshake” photo?

Jim Coon
I always think “what a waste”. I mean the idea is useful or you wouldn’t see it repeatedly. But it is not memorable. The message might be understood by the viewer, but will she remember where she saw it? I know photographers and designers can do so much better if we are given the chance. Clients are hurting themselves by spending big dollars to put up billboards that everybody forgets two seconds later. As a society we are in image overload. Using visual cliches only makes it worse. My hope is that consumers will get tired of stock and vote with their wallets. I think it’s already happening in certain industries like luxury goods and technology. And I think photographers and designers have a responsibility to their clients to make sure the message is clear and memorable. For me that means exploring what I see in the present moment with innocent eyes and a sense of humor.

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Jim Coon was one of the first friendly people I found on the ever-popular Twitter.com. I’d like to thank Jim for his time and friendliness over the past year and especially for agreeing to the interview even in the midst of a major holiday.