BRYAN SCHUTMAAT, 26, HOUSTON

Can you explain the process you went through for the Half-Damp Eyes series? From the photographs, it looks like your subjects were friends, relatives maybe. What was the collaboration like, and how did you explain what you were looking for to your subjects?
Yeah, the subjects are friends of mine, some much closer than others. For the most part, I didn’t discuss my concept with them, though I’m sure many had a good idea of what I was trying to achieve tonally and artistically. Explaining what I’m looking for or directing my subjects in any significant way isn’t needed, because I’m really selective about who I photograph (which explains why there are few photos in series at this point), and well before we even get together for the shoot, I’ve already recognized their intrinsic characteristics I want to bring out. The process tends to consist of me making small talk as I look into my prism, pretending I’m dealing with the focus or composition, but really scrupulously observing my sitters as they naturally settle themselves. When they do something I like, I let them know, and from there I’ll make further suggestions if necessary—“hold your hands this way, look here, etc.” Nothing too artificial.

It seems as if you never go anywhere with a project in mind but ultimately “find” your pictures as you wander. What do you look for in a photograph?
Actually, I often do travel with very specific ideas in mind, but I don’t have many fixed preconceptions, so I can see why my work may come across as you described. And yes, I do wander a lot, however, it’s a purposeful wander. This all sounds oxymoronic, I know. But to answer your question, I look for good light, emptiness, placidity, content that evokes a sense of mystery and melancholy, and simple compositions, which I can’t stress enough. For me, photography is an act of simplification. I try not to include what I don’t need; it seems that the less there is in a picture the more there is beneath the surface.

What has working with Peter Brown taught you in any way? What was it in his work that interested you most and what do you think he gained from having his work put online?

I did all the digital editing for the photos on his site, and he also had me curate the galleries on it, so spending time with his work in such an intimate way gave me insight into his photographic thought process and approach. In a way, much of what I said above about simplicity probably comes from him, and it’s no secret I’ve taken influence from his work. I first got into his pictures before I was a photographer. I mentioned this before on my blog, but his book Seasons of Light challenged me at an early age, had me wondering how and why a peanut jar was beautiful. This I later learned was kind of a prominent theme in contemporary photography—beauty in the commonplace and what not. But Peter has a knack for it that resonates deeply with me, and that’s what really attracted me most to what he was doing. As for what he has gained by finally having his work online, I’m not entirely sure. He seems rejuvenated a bit, and he has received exposure from a younger generation and some notable bloggers. However, those visiting his site—who would have otherwise not discovered his work—are really the ones who are gaining something. 

You regularly post movies excerpts and trailers, quotes from various novels, songs and links to other photographers’ work on your blog. What inspires you most, would you say, on a daily basis? And how do you find inspiration?

On the daily, I’d say photography and music inspire me the most, or at least most frequently, as those are immediate, prolific on the web, and don’t take much time investment. Yet, cinema touches me more than any other art form. It hits me in the gut and helps me realize that life is worth living and loving. In my photos, this inspiration can be seen directly and indirectly. From an aesthetic angle, I take a lot of visual cues from cinematography and what I see in movies. Many have compared me to Wim Wenders (and in turn Robby Müller), whose poetic view of the West I channel in my work. And in a less comprehensible and less evident way, cinema just gives me this excitement, appreciation, and energy. I put a lot of that heart into my pictures. But inspiration comes from all over the place, and there are a variety of things that’ll shake off inertia—anything from others’ work, to the expression on a stranger’s face, or to someone asking me good questions.

www.bryanschutmaat.com