Interview with Raúl Vega
Could you share with us the story of how you first became interested in photography? What were your initial steps in this field, and who or what were your early inspirations and influences?
While at the school of Architecture in Florence, Italy I became a very good friend of a fellow student who was also very interested in photography. We ended up traveling together through parts of Europe and N. Africa after the school year taking pictures. We inspired each other. My early inspirations were Avedon. My first serious camera was a Rolleiflex twin lens reflex because that's what he used. Then later, I loved the work of Guy Bourdin and Hiro.
Your photographs have graced the covers of prestigious magazines like Time, Vanity Fair, and Vogue. What do you believe is the key element in creating a cover image that not only captures the essence of the subject but also resonates with a wide audience?
Sometimes the photo idea comes from the subject or his/her work. My approach is to make the subject feel comfortable and relaxed. I sometimes get clues from the subject while talking about where they're from or how they grew up. I try to reveal something that may be unexpected. After all, we both want a good photo/image. Sometimes what appears in publication isn't always my favorite choice.
You've been awarded the National Publications Design Award for your Time cover of Carl Sagan. Could you walk us through the creative process behind this particular shoot and how you conceptualize and execute a cover shoot for such high-profile figures?
This Time cover portrait of Carl Sagan was also selected as part of a special exhibit by the National Portrait Gallery: Forces of Nature: Voices that Shaped Environmentalism. The idea for the Time cover came from the work of Carl Sagan - "Man evolved from the depths of the Ocean. . . . " So the creative department at Time and I discussed how we could incorporate that idea in a photo. I almost lost Mr. Sagan. Just before we were ready to shoot he decided he didn't want to do it. So I had to call NY and get Mr. Sagan on the phone with the Time people. We found a pay phone near us. He finally relented. His only request: "Can I take off my shoes?"The day of the shoot was grey and overcast at the beach so I decided to shoot with type B film which is a film that compensates for Tungsten light (light bulbs) Type B film made the sky blue instead of grey. which made the photo more dynamic. I had my strobe lights filtered for this film to make Carl Sagan look natural in color. I strobe lights overcompensated for the natural light to make the photo pop.
Your portfolio includes an impressive array of musicians from different genres, including legends like Dolly Parton and The Red Hot Chili Peppers. How do you adapt your photographic style to suit the unique persona of each musician, and could you share a memorable experience from one of these music shoots?
I have photographed many rock groups and they worked with me because of what I offer in terms of location, setting and what I do with light. With Dolly Parton I rented a beautiful house designed by a Brazilian architect that faced the ocean. The house had a huge glass block wall that allowed for a wonderful lighting effect in the afternoon. I had colored gels taped to different parts of the glass block wall which gave the space an etherial quality. Dolly gave me good energy.
In your 'New Abstractions' collection, you've merged traditional photography with modern digital techniques. What inspired you to explore this fusion, and how did you find the balance between the two?
I went back to school to learn the "new" digital platforms. Otherwise I'd be a dinosaur. It was there that assignments made me incorporate different elements. I'm surprised and pleased that I made that decision because I feel I'm doing something unique. I feel like I'm painting with photos. Fourteen years ago I didn't know that I'd be doing what I'm now doing.
Your work has been widely recognized and celebrated. How do you feel about the influence and responsibility that comes with being a well-known figure in the photography world?
I don't think of myself as a "well known figure in the photography world." I just keep going. As I said, this has been a delightful, wonderful experience. Who knows where this will lead. I'm hoping other photographers will discover for themselves that the doors are open to new visual experiences and to trust their instincts.
Photography, as an art form, continues to evolve, especially with technological advancements. How do you incorporate new technologies into your work while maintaining your distinctive style?
It wouldn't be possible to do what I'm doing 15 - 18 years ago so I'm always looking to try and play with new features to image making. It seems I'm always pushing against my own visual restraints. Some of the artists I respect aren't photographers. I respect people like Marcel Duchamp, Josef Albers, Helen Frankenthaler, Gerhardt Richter and Sigmar Polke to name a few.
How do you think the ephemeral nature of moments captured in photography affects our understanding of time and memory?
I always look for things that have some graphic integrity. I look at street art, things that seem ignored and cultural iconography that you discover because you're there. I look through my car windshield as I drive and stop anytime I see somethhing of interest. I don't always use what I photograph today but I may find purpose later on. I pull imagery together from different places and time.
Reflecting on your career, what advice would you give aspiring photographers?
Its not always easy but you've got to push through those moments because they are just moments. Look forward to the wondrous opportunities yet to come.
