Personal one - Michael corridore interview
How are you today? I’m doing fine. I woke up to a new day.
To begin, could you introduce yourself and tell us a little about your journey as a photographer? Before High-school ended, I decided to pursue photography, architecture or graphic design. My primary interest was graphic design, photography was an elective recommended to me as a skill to support graphic design at the time, architecture was removed as an option due to my math grade’s. Creating photographs, observing the play of light, and capturing fleeting moments became a preoccupation. In brief, I studied photography at tertiary level, became a freelance assistant and began small shoots, and transitioned to full-time professional photographer over a span of eight years. It made no economic sense at the time, probably not much better now, but it’s a career driven by something other the economic rewards. I’ve always created my own projects outside the parameters of commerce photography offers so many possibilities. These self-led explorations tend to be photographed over time frames uninhibited by deadlines. One of my projects, “Angry Black Snake”, was photographed over a twelve-year period, and to this day, I continue to see potential for expansion. Art and commerce sometimes merge, there was a short period of time where art influenced commerce, it became expected that we could show that in our portfolio’s, but that moment was fleeting. I’m the type that needs to create, making downtime enjoyable. My current projects span many fields like filmmaking, writing, printmaking, and painting.
“ While technology has had some impact on the change, my experiences and worldview are what have truly shaped me.
How would you describe your style or approach to photography? My work often examines human interaction and its effects on the environment. Both good and bad exist, but environmental abuse is omnipresent. Avoiding this is a challenge. My attempts at making beautiful sculptural representation still-lives of objects from waste, but became overwhelmed and depressed by the unfathomable scale of the exercise. From a commercial perspective, I develop and shape concepts from briefs coherently, while staying disciplined and mindful of people’s needs and budgets. All this, while hopefully avoid adding to the proliferation of visual pollution out there.
When did you first hear about this exhibition? I’ve been fortunate to be involved in earlier incarnations, and waited with baited breath to be invited again.
Is this your first time participating, or have you been part of it before? I think of been in every exhibition, maybe not the first edition? Trying to pick my brain.
If you’ve attended in past years, what’s your strongest memory of the exhibition? The sense of community and bringing people together, linger long in my memory. The great causes that receive broader attention and benefit from sales are also extremely important.
How did it feel to see all the works displayed together on the wall in past editions? An honour to be chosen and a part of, it serves as a great reflection of a moment in time.
What does it mean to you personally to be part of this collective exhibition? It’s like satellites converging in one place, we are all off making work and doing our own thing. It's like a shared record of a specific side of Australian photography, which is generally unrepresented.
“ When I started out decades and decades ago, my camera kit cost more than the equivalent gear now.
What do you hope audiences will take away from experiencing your work here? Firstly, it’s great that people outside my immediate circle get to see the work. The work I’ll put forward will be about the environmental implications of progress for the sake of humanity. And I hope they enjoy the image on the surface but are left with lingering thoughts of what the image represents.
How do you see the photography scene today, especially with younger generations coming through? Like any creative field, commercial or fine art, new generations have a responsibility to challenge convention. With our ever-expanding knowledge, I hope generational change inspires improvement on many levels. There appears to be a strong societally motivated push back out there right now, mostly a consequence of resistance to change, ignoring this is difficult, but push through we must, and not just the new kids on the block, but we as a collective whole. Equipment is more affordable, without a doubt. When I started out decades and decades ago, my camera kit cost more than the equivalent gear now. While the cost of living goes up, and equipment prices went down, fees haven’t changed in two decades. You want to do this because you have an inherent need to, while avoiding exploitation.
Has the exhibition influenced or inspired your perspective on photography in any way? I think it's a forum where creative communities can connect with each other. I don’t think it directly influences the work we
choose to make. It absolutely provides the push to create and make new works.
What projects have you been working on recently (If you can tell)?
Narrative, film, photography and printmaking right now. Plus, I've written about 65k words of a crime fiction manuscript. This process has improved my structural and plot skills.
Is there a future project you’re particularly excited about and would like to share? There are a few, as outlined above. The most immediate work would be a photogravure printmaking project, working from photographs. The others are slow burn, which are in development.
Looking back, is there a past project you consider a milestone or turning point in your career?
There are a few, both personal and commercial. My fine art project which I referenced earlier, “Angry Black Snake.” Was a definite turning point. That long-term project won the inaugural APERTURE Foundation Portfolio Prize in New York. The work was exhibited at the APERTURE gallery in Chelsea, NY. A number of commercial works I photographed won Gold at Cannes International AD festival. Those works illustrated a different approach to AD photography and character direction and
performance at that time. Both experiences led to mostly positive change in numerous ways·
How has your photography evolved from when you first started until today?
Indeed. A thread runs through the work, though it’s altered. While technology has had some impact on the change, my experiences and worldview are what have truly shaped me.
What inspires you right now—whether in photography or beyond? Storytelling and narrative form.
What equipment are you currently using, and why?
Fujifilm GFX system is my go-to for both personal and commercial commissions. That system is an incredible work horse that renders wonderful files that can accommodate ridiculous formats that commercial media demands. The system does require discipline, auto focus desperately needs an upgrade (hello Fujifilm, are you listening?) For speed, I rely on my
Nikon z9, another incredible piece of equipment. I still have my older F lenses, and even AIS manual lenses, which are wonderful.
How does your gear shape your process or the kind of results you aim for? This really does depend on the brief. One needs to arrive with the tools required for the project. Film shoots require dedicated gear and crews. Hybrid systems are okay to a point but aren’t quite the answer that budgets are hoping for. Both Fujifim and Nikon offer plenty of scope for most projects. Advance in LED lighting tech have changed the way we light and work. In many ways, LED developments take us back to old school lighting set ups, which combined with incredible low light capabilities of sensors, make for a evolution of styles.
Is there a photographer, work, or experience that has been especially influential in your path? So many. They tend to come from non-commercial or journalism backgrounds. Robert Frank, Lilian Bassman, Rineke Dijkstra, William Eggleston, Viviane Sassen, Guy Bourdain plus so many emerging talents, where does one begin?
What advice would you give to amateur photographers visiting the exhibition?
Soak it up. Spend time with the work. Come back after the opening and immerse yourself in the exhibition as a whole, and then scrutinise the work that resonates, ask yourself why and what the appeal is?
Anything you want to add? I hope this exhibition and forum can continue and offer opportunities to emerging photographers.
