ACHE Magazine: What do you try to convey through your work? Why do you photograph? Jon Duenas: I’m all about being in the moment. I take photos as a way to slow down and appreciate the moment. Sometimes photography is just an excuse for me get out and experience awesome things and get to know people in ways I wouldn’t otherwise. But when it comes down to it, I hope my work conveys what’s going on in my head when I’m in these moments. I’m not very good at describing these things with words, so photography is a way to express the kind of feeling I get when I stare at the open ocean or look into a moving flame. AM: How long have you been shooting? How has your photography changed since you started? JD: I started shooting on a terrible digital pointand-shoot back in 2004, but that’s when my interest started. I definitely wasn’t one of those photographers who dove in headfirst as soon as they started. My development was a lot slower. I didn’t start taking it seriously until 2008 when I realized I wanted to try and make a living off of it. My work has changed a lot since I started. The biggest constant has been my interest in portraits, but the biggest change is the fact that I started with digital, but now I shoot mostly film (since it’s usually the opposite for most people). AM: How would you describe yourself as a person and as a photographer? JD: The way I shoot is very much in line with my personality. I’m pretty introverted and quiet in my personal life. It takes me some time to warm up to people, and I’m not a huge fan of big groups. So when I’m shooting, I’m pretty much the same. I give direction when I feel I need to, but it’s often said in quiet, hushed tones. And sometimes I just sit and look and think. I’ll explore my subject, waiting for the moment to speak to me. I’m definitely in my head a lot when I shoot. I think these qualities are part of what gives me the kinds of results I get.
AM: Who or what inspires you? JD: As an artist, I’m always inspired by the need for change and progression. I find I constantly get into ruts where I’m burned out on my current work. Inevitably, this motivates me to push through and find some new way of seeing things. I’m also really motivated by my desire to explore, especially out here in the epic scenery of the Pacific Northwest. AM: Why do you use film? JD: Medium format film is unmatched by digital. In recent experiments, I’ve been able to get close to 35mm film with my digital work, but medium format is still so unique. I just love the physical nature of film and how I’m not distracted by looking at a screen. On top of that, shooting film allows my creative decisions to be right in line with the moment. I can look at a scene and think, “This is the type of film and the camera, and this is how I should expose it to get the exact look to match the feeling I’m having right now in this moment.” But with digital, you’re separating that decision from the moment and instead deciding later, and a lot of times it can be hard to remember exactly what you were feeling when you took them. AM: Who is your favorite photographer, and how have you been influenced by his/her work? JD: Lately, Tim Walker has been a huge influence, as well as photographers like Paolo Roversi and Sarah Moon. Walker has influenced a lot of my indoor studio work. He’s a master at capturing beautiful set styling along with his model in such a way that neither takes all the focus of the shot. Roversi and Moon have been influencing me and the mood my work takes on. I love the almost Rennaissancestyle drama of their work and lighting. It challenges the popular notion, especially in a lot of fashion photography, of photos having to be technically super clean, sharp perfection. I like a photo with some grain and softness and some raw imperfection of the model and setup, with roughness around the edges showing.
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