I had the absolute pleasure to interview the incredible Jamie Barry about his interesting photography.

Check out the interview below!

1. Tell us a bit about yourself and how did you become a photographer? What inspires you to create?

My names Jamie Barry, I’m 21 years old and live in Melbourne, Australia. I started photography when I was 8 years old with my first little digital camera. During that time, I was also drawing a lot, so I’ve always had a visual outlet. I started taking photography more seriously during high school when I realised how expressive and relaxing it could be. This is still the biggest inspiration motivating me to create today. Especially as I know how happy it makes me. 

2. Did you study art or are you self taught? What are your thoughts on art education and do you think that there are any parts of being a photographer that can’t be taught?

I have never studied photography, however I attended film school for two years between the start of 2017 and the end of 2018. I wouldn’t trade that experience for anything and will always defend education in the arts. The main thing it gave me was a solid network of like-minded people. It blew me away how many others were just like me, with the same passions and dreams. Now I have collaborators for life.

I believe that some people are naturally more observant, and I don’t think that can be taught. Technicalities can come later.

3. There’s always quite a big debate about it, but do you consider photography to be a form of art and what is it about the medium of photography that allows you to create the images you create?

I definitely consider photography to be a form of art. My definition of art (which I’m sure is the same for a lot of people) is that it is something that evokes some kind of response deep inside of you. For example, if a photograph transports you somewhere you’ve never been before, or it gets you thinking or smiling, I consider that art. It doesn’t have to be on a grand scale either, even if you’re impressed by just a shape or colour, that is enough of a feeling.

Photography specifically as a medium allows me to stop time. I get to freeze a moment that can never be replicated ever again. I’ve always found that really interesting.

4. Do you think that the photographic community is in a good place right now, and how do you think it will change over the next few years?

I think the community is in a great place right now. There seems to be resurgence in young people making photographs and I think that’s a great thing. It steps people up and forces you to get better, in order to be noticed in the landscape.

I think things will definitely change in the next few years, especially after the current pandemic. I’m realising how much I was taking for granted being able to walk around snapping pictures. I think we’ll see that in peoples photos after this is all over.

5. Your photographs are extremely intriguing, and I really like the way that you capture places that might seem unimportant or uninteresting to some people. Can you talk a bit about the ideas and themes, if any, you try and explore through your work?

What do you look for in a location and how do you know if a place will make a good image? How do you hope the audience will react to your work?

When I look for a photo I guess I’m always searching for the underdog shot. Something that’s already beautiful, like a sunset or mountain by default never really peaks my interest. That’s the challenge I’m looking for. If you look twice at something and take the time for it, it is interesting.

At a location I’m usually looking for a décor, colour scheme and good light. Instinctually, I like looking for subjects that will transport me back to the moment and the space. For the viewers, I’m always hoping it’ll put them there for the first time.

6. Aside from your portraits, a lot of your images document wide, empty spaces, such as car parks and shopping malls, that are usually filled with people. What do you think it is about images of empty places that intrigues people and what do you think that images of places tell us about the human condition?

Also, do you think your images would have a different impact of they depicted masses of people?

I’ve always found empty spaces so intriguing. When I started shooting them, I was just doing it instinctually. The more I think about it, what I always found interesting was the lack of limitations an empty space puts on an image. It doesn’t restrict itself to a country of origin or year it was taken too much. I get a timeless feeling from it.

7. Can you talk a bit about your creative process for an image, from concept to creation?

At what point does an initial idea become a physical image?

Do you typically plan what/where you are going to shoot beforehand or do you prefer to be more spontaneous?

How many images do you typically shoot, and do you do any post processing to your images?

Additionally, what are your thoughts about post processing and the way in which it can be used to make an image extremely different from the original? Is editing an image ‘cheating?’

I don’t tend to conceptualise things a whole lot beforehand. I certainly prefer to be spontaneous with my photographs. I really respect artists with strong concepts like @the.dr1fter, but it’s never been my strong suit. If I’m doing a photo shoot I’ll know where I’m going and what the space can represent to the subject but that’s about it. For out and about stuff I like to stick to one or two rolls, and usually I’ll take a maximum of two, or three photos of a certain subject. I post process all my images with a few tweaks on the sliders. I’m never altering the image too much; I only go as far as to recapture what I felt it looked like originally in the viewfinder. Therefore, I strongly disagree that it’s cheating to edit an image, even if your edits are making crazy tweaks to colour etc. If that’s your style, it’s your style. How is that cheating?

8. How do you measure the success of an image? Do you judge it by the social media engagement, the views or the amount of money it makes?

I try not to focus too much on the likes. It is hard sometimes, but I suppose it always comes down to personal preference. Do you think the image is successful? Did it come out the way you wanted? If I’m happy with an image and I’m happy enough to share it with the world, it’s a success.

9. There seems to be quite a strong revival for analogue photographers. and as someone who shoots film photographs, what are your opinions about the future of analogue photography? Why do you still shoot using this method and what benefits do you think that analogue photography has over digital?

I absolutely love analogue photography. Simply put, I just like the way it looks. It’s different to digital no matter what anyone says – you can always tell. Another reason I’m drawn to it is because of the process. You buy a film stock, load it up, photograph, develop, and finally scan. It’s just fun, and personally it makes the photos and the memories of those photos feel more real to me. Lastly, it can become a huge waste of money if you don’t put in the care and attention a photo deserves. It forces you to really focus on the frame before taking a picture.

10. As well as being a photographer, you are also a director and part of the Wakefield Film Co. Can you talk a little bit about the company, your role, and the general aim of the company? How was it formed and what would be your dream project to work on?

Additionally, how do you manage to juggle both shooting your own work and helping others, and does being a director influence or impact the way you approach photography?

I started Wakefield Film Co. with five other people I met through film school. All of us worked on my graduate film and as we were making it, we all just had that light bulb moment of “Hey, we all work really well together. Want to keep doing this after school?”. We have a director of photography, an editor, a producer, a gaffer, a composer and I’m a director. There’s a great balance and trust in all of us and our specific talents. The company is still very young but our aims to crack into the Melbourne music scene and the TVC market. There are also a few short films we have ready to make, but yes, plenty going on.

A dream project for me is to direct for Tyler the Creator but he usually directs his own stuff, so I’ll keep dreaming.

I’ve never found it a challenge to juggle shooting for myself and helping others. It’s all the same to me and I’ll always care the same amount.

I think being a director helps my photography because when I go to take a photo, it can feel like I’m blocking a scene or deciding on final frame. I’ve noticed my decisions on composition are more purposeful since becoming a director.

11. In your opinion, what makes a good piece of art? What was the last image or piece of media that captivated you and what was it about it that left an impression on you?

As I said before what makes a good piece of art is something that makes you feel something. In my opinion anything that makes me cry like a baby or laugh hysterically are the highest form of art and I’ll always remember those things the most. Something that really left an impression on me was the Lenny Cooke documentary by the Safdie brothers. It just scared me to death, thinking about what life can be like if you don’t achieve your dreams. It’s really powerful and I think about it most days.

12. What does being a successful artist mean to you and has your opinion of success changed since you first started?

When I first wanted to become a photographer and a director I used to think success was sitting on the Hollywood Reporter round table or shooting for National Geographic, etc. In its purest form though, being a successful artist to me; firstly, means you’re proud of your work, and secondly, you can make a living off it.

13. Social media has completely revolutionised the way that people view and respond to images. What do you think about social media? Is it helpful to artists and how has it impacted your practice? Is it something you enjoy using?

Additionally, with the easy access to a wide array of technology, do you think that anyone can be a photographer? Is there a difference between being an image maker and an image taker?

I know a lot of people who don’t like social media like Instagram to share their art onto, but honestly to me, it’s an amazing platform to get my work out in the world. It is so easily accessible, and everyone and anyone can see it. For example, this interview is a good example of how although I haven’t met anyone behind this blog, we can still connect.

I would say the only drawback for me is that I find I’m always comparing myself to other people and the work they’re doing and the gigs they’re getting, which has been damaging.

I do think anyone can be a photographer – there’s photos people take on their phones that blow me away.

In terms of whether there is a difference in ‘taking an image’ and ‘making an image’, I would say there is one. To ‘make’ an image to me is to modify or direct the frame. For example, moving or guiding something because the light hits it better a certain way, such as a photo shoot. To ‘take’ a photograph is to snap something just the way it is. You were the observer and you found the frame.

14. How important is it for you to show or document the creative process of your work? Do you ever show your ‘failed’ images and should artists be more open about the creative process?

I’ve never really showed the creative process to my work. I will in my directing with BTS but when it comes to photos, I put up my final frames and that’s really it. I’ve never shown failed images but not purposefully. Right now, I have an image of a man on a motorbike at night, that I’m waiting to get developed which I know I screwed up. I didn’t hit focus or exposure in time, but I am excited to see it. So maybe I’ll put it up still. Who knows?

Artists should definitely be more open about the creative process. I know it makes me feel better when someone like Joe Greer says he’s sometimes only happy with a few images from a certain roll. This makes me realise: “ok cool, he makes mistakes like the rest of us”.

15. Are you often satisfied with the work you produce and how do you stay motivated to keep creating? Where do you get your inspiration from?

I usually am satisfied with the work I produce but I can also get very critical. I’ll see mistakes big and small in my work but I’m getting better at reminding myself that now I’ve identified it, I’m less likely to make it again. That would be where motivation comes from. You’re always changing and growing so it’s just fun to see your work do the same thing.

16. Copyright, especially in the technological age, is a huge problem. What actions do you take to ensure that your work is not being used without your permission, and have you had any experiences with plagiarism? Is this an issue that you think about and what are your thoughts about intellectual property rights for artists?

Copyright is a huge problem, but I also think the technological age helps identify the true artist. There are time stamps on everything these days, digital trails, etc. The right people will usually come back to the real owner of an image. I’m lucky enough to never have experienced plagiarism so it’s hard for me to talk too much on this but I will say I agree proprietary rights on arts should be protected, especially when it is someone’s career.

17. What are you currently working on, and where can people find more about you and your work?

At the moment I’m in pre-production for a few live music sets and another music video for RICEWINE. I’m also working on three short film scripts. Just a lot of writing now. In terms of photography, I’m teeing up a few photo shoots with bands after lockdowns over.

People can find more of my work @j.pho_ on Instagram.

https://www.instagram.com/j.pho_/

Or they can also check out my work on the Wakefield Film Co website, facebook page and Instagram. https://www.wakefieldfilmco.com/