About: Q&A
A Casual Conversation with Corey Perrine
Q: How do you pronounce your last name?
A: Per. Rine.
Q: How did it all begin?
A: I was originally intending on graphic design as my major. However, that all changed the day photography walked into my life, literally. You see, at Brigham Young University, all freshman art majors are required to take a half-credit lecture course that discusses each artistic medium offered in the program. When John Telford, photographic professor, showed the slides produced by students, I was hooked. I called my dad on the phone that day and told him. I think he thought I'd never do anything with it but was supportive nonetheless. He helped me purchase my first camera, a Nikon F50. Halfway through my course track, I realized I was not much of a studio-based photographer. I wanted reality. I wanted truth. I wanted to know people and their stories. I was guided to join The Daily Universe, the student-run newspaper, to quench my documentary thirst. I was too far along in my course load to switch colleges anyway so stuck it out learning light, fine art and digital Photoshop-heavy photography.
Since, it's been a great ride. Some moments have been bumpy but most have been smooth. I wouldn't want any other career. Well . . . a racecar driver, disc jockey or pro baseball player were my other options but I chose truth with a camera instead. I mean who wants millions of dollars and large fan base? So. Over. Rated. :)
Q: Why do you do this work?
A: I have a firm belief that photographs have the power to change a society for the better. While the camera is mostly seen as an idealistic hobby, it's real intent is to provoke thought and spawn action. Painting with moment and light is more than words can say.
Q: What kind of gear do you use?
A: Canon SLRs with zoom L glass. I dislike the fact that most think, the more expensive gear, the better the photograph. Advertising is good at making us all believe that newer, bigger and faster equates to a better photograph. Yes, I've been found guilty. However, my professor said it best, "Cameras don't take pictures, people do." Case and point, there is a photograph on this site taken with a point and shoot, guess which one it is.
Q: What is your photographic philosophy?
A: Keep shooting as long as issues arise and the world needs changing. Keep shooting as long as we are breathing and others cannot. We are a voice to the voiceless, fearless in a time of darkness. We run into burning buildings, proverbial and literal, when people need saving. We cover the issues only others cringe at but need to look. We cover things that make us laugh, cry, jump for joy and yes, sometimes are depressing and or controversial. We are there when you want us and when you don't. When you think it's not an "appropriate" situation to shoot we are there to record history as it unfolds because the value to learn from that moment is greater than gold. We have forsight of seeing history in the present. We are a rare breed us photojournalists. We take a job with little pay, lack of sleep and no reward. We seek out a spiritual path through images, sound, people, emotion and issues. Not because we exploit but because we care and love all that is around seeking change in a sometimes-crooked world.
Q: What makes photojournalists different from photographers?
A: Ethics. Ethics is something not talked about in most photography classes because most classes teach "art." A pretty picture is nice but if you don't have ethics to back it, truth can be skewed. In a nutshell, I can't tell a person to do something over again. I can't move objects to create a better composition. I can't ask to change the light. I can't influence someone to travel a certain path or pose a certain way. I can't recreate the scene after the fact. I can't publish an image when I know someone was acting for the camera. I can't Photoshop someone or something in or out of the frame. I can't merge two images. Plainly, if I missed it in camera, the moment is gone and I move on. However, I can label the photo as a photo illustration if I create something to illustrate a point. Portraits are noted as such when they are confused with a real moment but most of my portrait moments are real moments unless noted.
Another thing that sets us apart is the reporting we do to gain caption information. We gather light and moments but also information. We gain insight and intimate information only by bonding with the people.
Q: What elements make a good photograph?
A: This is debated by many. To me, I follow this visual hierarchy: 1.) Moment. 2.) Light. 3.) Composition. 4.) Subject matter. If you don't have a moment, you rarely have a story-telling photograph. However, if you have all four elements, then you've got an image that hits home, tugs at the heart and cause the viewer to act. This business is about communicating. If you don't tell a story you have just another pretty or not-so-pretty picture.
Q: Who has influenced your work the most?
A: Preston Gannaway and Chip Litherland.
Q: How would you describe your style?
A: Commercial meets editorial. I've wrestled with it a lot. Especially when there are so many talented photographers out there and different styles I could be. But at the end of the day, I like me. I like my style, for now. I say "for now," because as you grow, you evolve and you see the world differently at different stages in life. I don't see like I did three years ago, I refer to it as visual maturation. However, I like what I offer to the table in the photojournalism world. It may be a small offering, but it's me. My eyes. My soul. I think Oprah put it best, and don’t ask me how I know this, "I've got me down. You need to focus on being you." My advice to young photojournalists is this: Forget trying to shoot like so and so and just be you. Pave your own path. Accept your strengths and weaknesses. Do your job and let the critics decide where to place you.
Q: How do you take pictures, operate on assignment?
A: First, I always ask, "What is my story?" If I don't know the story, I don't know what to focus on and what to record. Second, "What are my limits?" Limits define how much you can pull out of an assignment visually. How high, low, left or right you can access the angle of a subject. If you just shoot everything mundane and repetitious, your photos will reflect that. Third, "How can I see this differently?" I try to always imagine if 1,000 photographers were sent to the same assignment, what am I going to do to make a different photo effective? Seeing with new eyes on a daily basis is not an easy task and takes time and experience. Fourth, "How am I feeling today?" Believe it or not, personal life can affect how photojournalists work. I make sure each day to place myself in check and make sure I have a positive demeanor. If I am lazy, my photos reflect that. It's important to remember the camera records from not just the lens but the viewfinder as well. Fifth, "Did I bleed and sweat for my images today?" I loathe mediocre photos. I loathe it even more when it comes from myself. The reason an image will fail is usually because a of lack of access and time but 80% it's because the photographer failed. Failed to utilize their resources. Failed to see the potential. Failed to be brilliant in that moment. Failed because they made excuses.
Q: What is a typical day like?
A: Most people don't realize what I do for a living. They think I take "pretty pictures" and my job is "cute," or "fun," or "cool," in the hobby sense. No, this is not my hobby, this is my life. Yes, those adjectives describe some of the time. But my job is more of a spiritual path. Assignments to me are taken with seriousness and care, especially the ones with a tougher theme. In short, I deal with life, death and everything else in-between.
Currently I'm the 2-10 p.m. shift guy. Don’t worry, I like the night shift, it exposes me to the nightlife of Nashua and surrounding areas. Assignments range from sporting assignments to accidents and fires, to documentary stories, to cute puppy parades. I cover it all. I am responsible to be the eyes and ears of the community, no pressure.
Q: What direction do you want to take your photography?
A: I consider myself a jack-of-all-trades type of photojournalist. I don't favor a particular subject matter. I love people. I love stories. I'm compelled to issue reporting. I love sports. I'm confident in lighting, illustrations, long-term documentaries and anything else thrown my way. However, in the future I'd like to direct more towards social issues on a freelance basis. I’d like to have a home base studio to tackle commercial assignments as well.
When too old to work in the field I'd like to be a professor and pass this knowledge on.
Q: I notice you served a mission. How has spirituality played an influence in your work?
A: Yes, I am an active Latter-day Saint and love God with all my heart. Without him I couldn't be sustained each day to carry out what I consider a calling. My missionary work in southern Oregon helped me to fall in love with people and their stories. It gave me an opportunity to ask and answer tough questions. Quite honestly, in a way it was a precursor to becoming a photojournalist. Things I learned on my feet there translate so easily to my job as a staff photographer here in New Hampshire.
Q: Do you shoot weddings?
A: I shoot anything under the sun and you can contact me if you need anything photographed.
Q: Do you shoot video?
A: I can. But I'm still trying to find my effective voice with video. It’s a whole other way to think and move. It might be awhile before you see a video I'm proud of enough to have in my portfolio. Give me time and keep checking back.
Q: Has sports played a role in your work?
A: Absolutely. I wrestled and played baseball in high school. Sports have helped me to have a friendly competitive edge in my work. It has taught me to be strong and athletic in this profession, taught me awareness of my surroundings and never to quit or give up. My wrestling coach Dan Daus taught me that, "Tough times don't last, tough people do." So too with photojournalism, it's a physical job lugging gear, setting up lights, running during sporting assignments and managing an ever-changing daily schedule.
Q: What is your favorite photo?
A: I don't have one. Each day brings a new visual experience and all have taught me a different message. However, the theme of "life is short, make each day count," is the echo I hear from my frames. The body of work is a constant reminder and testament of how to love and cherish those special moments. In short, as much as I love this job, there's more to life than putting people in a rectangular frame.
Q: What is your advice to aspiring photojournalists?
A: This is not a 9-5 job. This is life. Knowing how to balance it all is a daunting task at times. It can consume you but you need to have outlets that help you to balance it all out. Know life; go out experience people, light, situations and things before picking up the camera. The job asks for much but rewards just as much in return. It's a rare rigorous path but in the end you will be glad you tread "the road less traveled." This job is a privilege and only those who feel it as a calling will last. It will kick your butt, smack you around but you have to have the courage and gumption to get back up again and again. The more the failure, the closer you are to success.
To those who consider this path there are many great colleges out there like Ohio University, Western Kentucky, Brooks Institute, Syracuse, San Jose State, Rochester Institute of Technology and others. Finding the one that fits for you is up to research. A degree in photojournalism is not an absolute. However, a keen mind, curious heart and sharp eye are chief.
Jobs in the newspaper field are sparse with the ever-changing World Wide Web. However, I'm blindly optimistic that newspapers will learn how to thrive as they did in the 1980's. Right now the storm has taken a toll on good journalists in the industry but after the storm comes the dawn and rebuilding. I want to be a part of the rebuilding history so I stay here in newspapers, for now.
Q: Do you offer help to young photojournalists?
A: Yes, I’d like to offer my services, free of charge, as a mentor and guide for budding photojournalists, i.e., in a college program, recent graduates or those who feel they are just in a funk. I have a lot to offer in way of critiques, resume building, application process and other keys to success. I’m currently taking three candidates and will consider more in the future.
My services include phone, email and/or iChat contact for critiques on a weekly basis for one year.
Don't hesitate to ask if you'd like to be taken under my wing and like the direction of my work. It's my way of giving back and helping those along the way.
*******************************************************