As mentioned last week, here is the interview I did with photojournalist and educator Niko J Kalliantiotis for the project From America with Love a curated platform hosted by the organization Orama Photos, Greece. The interview discusses the Mainline Project as well as my overall approach to photography and will be part of a larger survey showcasing the current state of contemporary American photography. Enjoy!
NJK: You have been working on the Railroad project for approximately ten years. Can you please discuss the nature of the project from its inception to its current state
MFP: When I started the project From the Mainline, I was looking for something that connected a number of different personal interests, something big that I could dive into in phases and that would provide a sort of long-term return creatively. The railroad is what initially led me to pick up a camera, I wanted to get back to the subject but not in the sense of the trains themselves, I instead wanted to focus on the surviving infrastructure and landscape. I chose the Pennsylvania Railroad (PRR) because of its historical significance and the amount of surviving elements that would provide visual clues to juxtapose its past and current importance. My initial approach was pretty simple, go out and follow the railroad between Harrisburg and Pittsburgh exploring the railroad right of way and the places the railroad served.
Between trips I took a lot of time to look at the work and figure out what was missing, what the project needed to convey the scale and significance of the PRR. I turned to the historical work of William H. Rau, a commercial photographer who was commissioned in the 1890s by the PRR to illustrate the railroad for marketing purposes. The work really struck me on both a technical and conceptual level. Here you had a photographer who was looking at the pinnacle of transportation and engineering utilizing a medium that was also coming into its own. Photographing a railroad that spanned the wilds of western PA, a corridor of modernity that was the lifeline for industry and people alike, an engineered landscape very different from its surroundings. It was Rau’s work and others like him that enlightened me to just how significant the railroad was, not just in the sense of the their engineering accomplishments but also how towns and industry flourished because of the railroad’s presence. In addition to Rau the writing of Harvard Landscape Studies professor John Stilgoe helped to better understand the physical, cultural and social impact the railroads had, and how to sort of recognize these attributes in my own work. From this research my approach became more informed, thus did the work. I was beginning to realize my photographs along with writing and historical resources could do a more effective job in telling the story of the railroad and the towns it served. It was the story of America’s rise in the industrial revolution, developing the east and concurring the west. My role is to illustrate and disseminate the layers of history along this engineered landscape. Utilizing both the exhibition format and a more in depth blog format allows the work to be both creative and historically informative, something that really appeals to my creative approach. Like the photographers before me who were hired to document the American scene, I continue a tradition in celebrating one of the most important transportation networks in the United States and how it remains a different but vital part of the American landscape.
NJK: There is a consistency in the aesthetic decisions and a timeless quality in the work. Can you talk briefly about your concept behind those aesthetic decisions?
MFP: Photography is great medium in that for me it is still part science, part creativity and make no mistake about it, the two are closely related. I typically work with a view camera, which lends itself to a slow methodical way of making pictures. The process, from lens selection, composition, exposure, development, scans and print is all very intuitive, very intentional. Recently I have introduced digital capture into the mix and even that is treated the same way. I have preferences in what light I like to work in, though sometimes beggars can’t be choosers, when you are 100 miles from home and railroad officials have committed to you for the day you have to make due with what you’re given. Being a good photographer means knowing the limits of your materials and how to manipulate what you have to get it to fit your visual aesthetic. I prefer black and white, I tend to print a little dark and a little flat, I like my work to be void of people, not because I don’t like them, but really because its about the timeless quality of these landscapes. The hand of industry and the railroads is implied, it doesn’t always need to be seen.
NJK: I find in the mood and testimony of the photographs a link to the current industrial situation in small town America. Is there a connection towards that territory or is the project strictly based on the documentation of the PRR?
MFP: Like many other photographers in this genre I am not trying to make a political statement I am simply conveying the information to the viewer (though that sounds a bit oversimplified). Yes the work is about the railroad, but if you don’t connect it to the landscape it travels and the industry it serves or once served you are missing the point. The landscape and the railroad developed for two reasons, need and opportunity, there is a very important relationship between the two, and when industry or the railroad left small towns, it brought despair, hardship and wave of social and economical issues.
I was in Mingo Junction, Ohio on a trip once, home to a massive Wheeling-Pitt steel plant and part of the PRR mainline to St Louis. I stopped to ask a gas station attendant if I could use the property to make a photograph of the mill, his reply was, “take all the pictures you want, the mill just closed yesterday, over 500 people are without jobs now”. I haven’t been back since, but I bet its different, I bet its pretty sad, but you know what, I’ve been to the towns where the mill still works, its not much different these days, the culture has changed. The owners of these mills are often international corporations, they aren’t building communities to attract employees anymore, and they are barely treading water to stay alive in cutthroat markets. In the ten years I have been doing this I have seen whole neighborhoods disappear, mills close, even rail lines abandoned, its part of the life cycle and unfortunately some parts of the country suffer from it more while others are insulated from just how bad it gets when the jobs leave town. The railroad is literally the string that threads together modern economies and those of the past, its an essential part to understanding the importance and heritage of these places and one of biggest reasons I embarked on this project.
NKJ: From where do you derive inspiration for your work and what are some of the difficulties working on a project of such a large scale?
MFP: My inspiration comes from a number of sources. Photographically I can ramble off a dozen or more photographers: Walker Evans, Frank Gohlke, David Plowden, William Clift, William Rau, Carleton Watkins… the list goes on. But I also draw inspiration from the virtually nameless photographers, illustrators and graphic artists who worked for the railroads at various capacities. Graphic artists that captivated the fascination of potential travelers in brilliant full color adds, illustrators that sold albums of lithographs highlighting scenic vistas along the mainline. Company photographers who were the day-to-day people chronicling the less than glamorous life of small towns and railroad construction and maintenance, anonymous photos of natural disasters and even the occasional train wreck. They captured the energy, excitement and details of life along the line; for this project it is often the historical imagery that feeds the creative imagination.
As far as working on a large-scale project, I don’t see any issues to it; it’s like a long-term investment. In this day and age people have such a short attention span I often wonder if I am shooting myself in the foot, but our quest in life is to do something you enjoy and be excited about right? Well, guess what… I still am after 10 years. When I am not excited anymore, I’ll stop and move on, but honestly with the depth of history of the PRR and the landscape it travels I don’t see myself loosing interest anytime soon. For me its not just about making art, it’s about preservation and that is not always something that happens overnight.
NJK: What are your intentions in communicating the work with the public and how do you promote and distinguish your work among a dense photographic community?
MFP: While I target the photographic community, most of my aim is toward a larger audience. I accomplish this through the usual mix of social media, email campaigns, and networking. Last year I had the opportunity to put together an exhibition for the Monmouth Museum in Lincroft, NJ, a sort of a visual history of the last 100 years of railroading. It was great to put my work in the context of some the photographers in my top ten list of all time favorites, it was also fun to put together a show that had a level of visual sophistication that transcended a show of just a bunch of “train pictures” as some people would dismiss it as.
I try to distinguish my work as being creative but also historically minded. I haven’t seen too many people with the level of commitment to a subject like this who have the balance between a good photographic and historical aesthetic, but as you said this is very saturated market. I am certainly not the only one reinventing the wheel.
NJK: How is the work received among the preservation community, considering the historical component?
MFP: In the historical field abroad the work has been received with open arms, and I am forever grateful for that. These are people that have worked so hard to preserve so many facets of the late Pennsylvania Railroad and many others, some even worked from the railroads at one point or another. I was born 8 years after the company’s demise; I am just going on imagination and my visual ability to present historical facts and images along side my own perception of the railroad. To me the recognition from the historical community is more important and far more gratifying than making it big in the art world, it’s a diverse group of people who never cease to amaze me with their generosity, intellect and conversation.
NJK: What is your advice to students and emerging photographers?
MFP: Don’t let a rejection set you back, present yourself as a professional and work as such. Even if it’s an assignment that doesn’t peak your personal interest dive into it head on, you might learn something. If you want to work in the field or be successful stick to your passion and always look to different mediums to expand your outlook on a given subject.
NJK: What is your opinion on the current state of American Photography, and the work that is promoted by photography dedicated platforms and social media nowadays?
MFP: I think it’s the same as it was 100 years ago. There are a lot of talented photographers out there, some rise to the top, some stay in the middle and others go unknown. The difference today is technology has leveled the playing field to a certain degree, but in reality, if you want to be successful you need to be visually literate and able to convey an idea in your own creative and unique way. That goes for fine art or commercial work. Social media floods us with visual resources day in and day out, most of it is crap, a few get lucky, but you can always pick out the professionals in their imagery, composition and presentation.