Sean Perry is a fine-art photographer living and working in New York City and Austin, Texas. His photographs and books center on architecture, space and light Ė expressing the ambiance felt within built environments. He is currently completing three series/books on New York City entitled Monolith, Gotham and Fotopolis, as well as exhibiting a recently completed body of work on the dreamscape of temporary environments, Fairgrounds.
Perry attended Berklee College of Music and was a working musician before turning to photography in 1996. His photographs and books have been acquired by notable private collectors including Manfred Heiting and Alan Siegel in addition to being held in the permanent collections of the Museum Fine Arts Houston, the Amon Carter Museum, Wittliff Gallery of Southwestern & Mexican Photography, and the Harry Ransom Center.
Cloverleaf Press published Perry's first limited edition book, Transitory in 2006, and followed with a second title, Fairgrounds in the Fall of 2008. In 2009 he was selected as a finalist for the Hasselblad Masters award for his work and book Fairgrounds. His photographs have been published widely including the New York Times Sunday Magazine, Graphis, Camera Arts, New York Magazine, Billboard and American Photography.
He has served as an adjunct Professor of Photography in Austin since 2001 as well as an adjunct Professor for the School of Visual Arts in New York City since 2006. Perry frequently contributes his photographs to auctions that benefit photographic and social concerns. His work is represented by the Stephen L. Clark Gallery, Austin.All about Sean Perry:AAP: When did you realize you wanted to be a photographer?
SP: When I was younger I didn't know or have access to any professional photographers, but I really loved movies and looked at a lot of books. At that time I got into music and everything else was just secondary. As a musician I always thought about pictures and the visual atmosphere great songs provoke and in my thirties I started photographing and havenít stopped.AAP: Where did you study photography? With whom?
SP: I donít have a formal background studying photography but itís not quite right to say
Iím self taught either. One of my old bandmates, Jeff Miller is a brother to me, a great
photographer and my first teacher Ė I learned about cameras, making good pictures and
printing in the darkroom. That experience was also my first big introduction to
contemporary artists like Joel-Peter Witkin and The Starns. I later had important mentors
in a photographer I assisted for, Frank Curry and a sculptor who has had a tremendous
influence on me as an artist and photographer, John Christensen.AAP:Do you have a mentor?
SP: I have a few friends and colleagues who I admire and trust that I ask for insight and guidance with various things... Elizabeth Avedon, Jace Graf, Stephen Clark Ė there are others. I ask different people, different questions for different reasons if that makes sense. I think itís important to deeply consider who you ask and why. Iíve been a client of Mary Virginia Swanson for many years and her savvy is always invaluable, I truly owe her a great deal. Iím always learning and seeking out the chance to improve and grow.AAP: How long have you been a photographer?
SP: I have been making pictures consistently since 1996 and started working professionally in 1998.AAP: Do you remember your first shot? What was it?
SP: What I remember most are the pictures that when I saw the film, they made me feel
that the image was somehow better, or more than my capability at the time. It would lead
to months of chasing and trying to catch up to the image. The first time that happened
was of a barren tree in the wintertime, backlit. I remember making the other pictures
from that time, but the experience of seeing something unexpected back on the contact
sheets always sticks with me as meaningful.AAP: What or who inspires you?
SP: Music always. Also the discovery and study of people that give themselves to their pursuits with the discipline and heart to be excellent. New York City. Late fall leading to snow and cold weather makes me happy.AAP: How could you describe your style?
SP: A little romantic but not sentimental Ė sci-fi but not overtly conceptual. I always work to make beautiful images and objects that donít apologize for their consideration of aesthetic and design. My experience has taught me there is a strange, small line between beautiful and pretty, arbitrary and yet often substantial. I think my favorite word or aim for my work is earnest, and hopefully elegant. I try to be consistent and to quote someone I deeply respect, Paul Rand Ė ďDonít try to be original, just try to be good.ĒAAP: What kind of gear do you use? Camera, lens, digital, film?
SP: Iím fluent in digital tools and use them to manage images online etcetera, but I have used the same camera gear for over twelve years. Hasselblad 501CM with a 120mm lens and 25A Red filter. Tri-X film in A12 backs. Processed in D76, 1 to 1. Silver gelatin prints bleached and then toned in combinations of sepia and selenium or platinumĖpalladium prints from enlarged negatives.AAP: Do you spend a lot of time editing your images?
SP: I tend to run film and then not look at it for a while.... I then go through the contact sheets and make work prints of the things that seem to have promise. As the series and work evolves the process of editing, sequencing and design kicks in. After the edges of a project are more or less in place, Iíll go back again and see what I may have missed on the contact sheets.AAP: Favorite(s) photographer(s)?
SP: If I am only allowed one, Irving Penn Ė hands down, no one else. I love books and too many favorites to list, but in no particular order others would be Saul Leiter, Ted Croner, Robert & Shana Parke-Harrison, Tom Baril, Louis Faurer, Edward Burtynsky, Albert Watson, Hiroshi Sugimoto, Berenice Abbott and Matt Mahurin.AAP: What advice would you give a young photographer?
SP: Fearlessly make all the bad pictures you need to in order to get to the good ones. Not
thoughtlessly in the number of images, but without hesitation in the intent to chase your
ideas. When you are disappointed, try to understand why specifically Ė was it a technical
mistake your effort and experience will resolve over time or was it about vision in what
you could or could not see at that moment. The technical things are usually easier to
improve upon, I have found the other takes additional perseverance and courage. For
myself there is always the confrontation of closing the distance between the potency Iím
after and the many challenges at hand while guiding it there. I think the biggest secret is simply not to quit.AAP: What mistake should a young photographer avoid?
SP: Everyone is different, so very hard to say. I believe one truth for myself has been itís more valuable to invest time in what your pictures, your life, your point of view are all about and less energy worrying about the urgency sometimes encouraged in technology and shorter term concerns. Play long ball.AAP: An idea, a sentence, a project you would like to share?
SP: I am currently administrating an ambitious project that connects college students with high school students, creating mentorship and the development of visual language. For the college students it is to illustrate the value of mentorship from both sides, as well
as create meaningful dialogue about photography and image making. It provides a
mechanism for high school students to share and express their photographic work with a
new audience and has direct, tangible advantages for everyone involved Ė accenting the
importance of communication and emphasizing the photography communityís tradition
of portfolio review. www.thepicturereview.comAAP: Your best memory has a photographer?
SP: All of my favorite memories are darkroom related. My first darkroom was in John Christensenís studio, I deeply miss those days and that place. I would often print all day and all night Ė itís where I learned about photo-chemistry and the subtleties of split-toning and other irresistible alchemy.AAP: Your worst souvenir as a photographer?
SP: My checking account.AAP: If you could have taken the photographs of someone else who would it be?
SP: Itís an interesting question but it reminds me of a rock & roll story, urban legend I
remember as a kid and recently retold in Esquire Magazine. When Van Halen was touring
in the late 70ís they were opening for Ted Nugent who admired Eddie Van Halenís guitar
tone. Among other things, Eddie would hide one of his effect pedals (a tape echo) in an
old bomb casing, adding to the mystery of his great tone and why he sounded the way he
did. Everyone believed he had a ďmagicĒ black box. During sound check, Ted Nugent got
the chance to play through Eddieís rig and was disappointed to discover his guitar tone
was unchanged Ė he sounded like he always did and whatever he loved about Eddieís
tone was in his hands and not in the gear.
I think photographs are like that, there are many pictures I would be thrilled if I had produced but in the end I can only make what is in my hands and heart. The images I love that others have made donít represent my life and could never belong to me. I remain a fan and audience to my heroes, happily so.