In collaboration with [Photo L.A](https://www.photola.com)., Flaunt has focused of showcasing artists and galleries that represent a broad depiction of creative and conceptual photo works. This time around we focus of [Jeffrey Conley](https://www.jeffreyconley.com) showing with [Peter Fetterman Gallery](https://www.peterfetterman.com).
Originally from New York state, the photographer received a BFA in Photographic Studies at Rochester Institute of Technology before moving to Yosemite National Park in 1991. His work's subject matter spans a diverse range of urban landscapes but is more prolifically known for his studies of pristine wilderness. His work’s in black and white greatly distill a grand vision of nature and expands on the element of sublime transcendence. We spoke to the Conley ahead of his show at LA Photo.
**How did you find your passion for photography in general and specifically landscape photography?**
Great question! I’ll try to keep this brief, but the answer to this question could be a book in itself. It’s probably this way for many photographers, but for myself, I feel that being a photographer is simply the logical endpoint for being someone who has a certain type of ability to observe. As a child, I noticed all sorts of things - some might say I was easily distracted, but really it was my early and formative time of refining my vision. I can’t stress enough how important observation is as the foundational component of being a photographer. It is all about noticing things; light, texture, form, the confluence of these elements within infinite combinations. Essentially my passion for landscape photography came through being a person who is a certain type of observant as well as someone who has always felt at peace and tremendously as ease out in nature.
From my preface & artist statement to my book, REVERENCE, published by Nazraeli Press in 2018:
“_For as long as I can remember I have felt most at peace outdoors. Nature has always been my refuge and sanctuary. I find the natural world to be endlessly wondrous in its range of character and texture, from moments of delicate intimacy and subtlety to the massively expansive and powerful. Nature is in constant change, and photography is particularly well suited to capture and amplify the swirling fluidity and the wonderfully serendipitous moments born of the ephemeral. Photographing nature is a very specific kind of exercise in mindfulness; to be out in nature with senses responsive, keenly aware of circumstances and completely receptive, yielding to the present. The photographs in this book represent some of my observations while investigating nature over these last several years; moments that represent my awe, wonder, and affinity towards our Earth.”_
I feel as though I discovered the observational part of photography well before discovering the craft part of photography. In high school, my epiphany was taking a photography class and the subsequent darkroom experience. I absolutely loved the entire process. It was – and still is – extraordinarily gratifying to make prints. Although it could be explained through chemistry and physics, making prints was simply magical.
**Can you describe your process of setting up, capturing, and darkroom process, especially with shooting nature being all about timing.**
When I go out to photograph, I am wandering with a purpose. I am particularly captivated to the quietness and quality of light in the very early morning hours. I can control where I am and when I’m there- beyond that I am perfectly comfortable, with senses responsive, letting events unfold on their own terms. It’s similar to an exercise in mindfulness. Just because I’m out wandering with the camera doesn’t necessarily mean any meaningful photograph will come together- some days no photographs coalesce, while other days there can be an avalanche of imagery that comes to fruition. To my way of thinking, it isn’t a fulfilling process to force images to manifest, but rather let a place in time reveal itself. Perhaps it's obvious, but perhaps the most vitally important ingredient is putting yourself in the position to be there with senses aware- and to do that over and over again.
I think of being out in the landscape as a time to harvest observations - then in the darkroom is the time where the observation finds its voice, its landing space in its physical manifestation as a platinum/ palladium print.
My prints are made in a darkroom utilizing the platinum method, a 19th century hand-made printmaking process evocative of alchemy. Each unique print is hand-coated with a hand-mixed emulsion formula featuring platinum and palladium metals. Platinum prints are considered among the most permanent of the photographic printmaking processes due to the incredible stability of the platinum group of noble metals. The prints are characterized by an exceptionally long and delicate range of velvety tones and a warm image color. I feel that the platinum process bestows a radiant shine and the resultant prints possess a distinctive luminosity.
**How has your admiration for the quiet and nature influenced you as an artist? What was your experience moving to Yosemite?**
My reverence for nature is really the foundational element to my work, it’s the motivational force behind my photographs. Being out in nature and making photographs and the subsequent prints gives me a specific feeling of sustenance and completion. My time living in Yosemite was of paramount importance as I was just out of college with a degree in photography. Being in Yosemite gave me a vital combination of employment, housing, and time to photograph.
**How do you believe your photography provides a kind of meditation and place of refuge for your audience?**
Art and perception are subjective in so many ways and it would be audacious to presume I know how individuals perceive my work. That being said, my belief is that a photograph allows an audience to share an observation of something special- as a creator, it’s my opportunity to say, “Hey, look at this moment I experienced and loved so much that I wanted to hold on to it and share it with you”. I am fortunate that there is an audience who appreciates and seems to relate to the observations I make and the platinum/ palladium prints those observations lead to.
**Did you discover anything new while you were leading seminars in photographic instructions?**
Teaching photography is gratifying on so many levels. In the most rewarding of circumstances, there can be one epiphany after another. I was teaching in Yosemite well before the rise of digital photography, so everyone was using film. To explain how film combined with the camera/ lens combination “saw” the world was very helpful, it seemed to many students. One of the principal questions was always “how come my pictures don’t look like what I saw?”- and to breakdown how the camera and film combined to represent a scene was helpful.
Another point that was important and I still think it's very relevant is the process of differentiating between what you are seeing and what you are feeling- as it's very easy for these feelings to jade our objectivity. A great experience in the landscape doesn't always yield a great photograph- and that's okay! It is very easy to conflate experience and fail to see the photograph in an objective way.
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Jeffrey Conley will be on display at [Peter Fetterman Gallery](https://www.peterfetterman.com) as part of Photo LA at Barker Hanger from January 30 - February 2, 2020
[Get tickets here](https://www.photola.com/)
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