BY STEVE BISSON
1. Tell us about your approach to photography. How it all started? What are your memories of your first shots? How did your research evolve with respect to those early days?
1. My approach to photography has evolved over the years in many ways! Yet, in some ways it has come full circle once again. What do I mean by that? Mainly that, when I first began to photograph, without the aid of a formal photographic education, I felt a freedom to explore and not have the sense that someone was looking over my shoulder each time I made a picture. The photographs made in school were made under a great deal of pressure and emotional duress. Unfortunately, I’m bi-polar and that complicated things greatly! Photographing and presenting work under the magnifying glass of the structure of a critique of faculty, peers, and whomever happened to be in attendance that night was unnerving but it did toughen my artistic skin. A running joke among my peers, in relation to my critiques, is that I used to talk to the photographs on the wall rather than the audience.
My main problem with my work at the time was trying to define a subject! I would drive around endlessly looking for something that was undefinable for me at the time. One of my professor’s once stated, that if I had come up with a grand plan in response to my quest for defining a subject, that usually ninety percent of the photographs made would be dull and lifeless. Yet, the photographs made on the way and back from the trip would possess a certain magic which transcended the others. It was difficult hearing this but he was absolutely right. What he meant (I believe) is to be completely open to the moment and to photograph without preconception. I first experienced this way of working when I took a two week trip to Georgia. Since, that was the first time I had travelled in the South everything was a revelation. I was seeing with fresh eyes!
© Michael Bach, Star emblazoned pillow lying in the thicket and wildflowers, Mt. Ida, Troy NY, September 2012.
After graduate school I continued to pursue this methodology of working. I would continue working for another ten years until I suffered a nervous breakdown. After being diagnosed with bi-polar disorder I struggled for the next fifteen years and didn’t photograph. A new anti-depressant allowed me to once again find my passion for the medium of photography. I haven’t stopped since that time. The marvels of modern medicine!
My first photographic memories involve using the family Kodak Instamatic on vacations. I used to love looking at the square color prints. They were like little worlds to me. Perhaps, that’s part of my attraction to working with a ground glass oriented camera.
2. Tell us about your educational path. You hold a B.A. in photography from Bard College and you graduated from the Yale School of Art. Tell us about those experiences. What are your best memories of your studies? What was your relationship with photography at that time?
My photographic education began at the Junior College of Albany. At the time, I had no awareness of fine art or fine arts photography. My original intention was to learn a trade and become a commercial photographer. The program required that you take general drawing, life drawing, perceptual design, sculptural design and art history. I wouldn’t take a photography class until my second year. At first, this was distressing because I didn’t see the validity of it at the time. This changed as I soon discovered the world of art and art practice. A history of photography class was an introduction into the medium. The professor, a working fine art photographer started to show me photographers outside of Beaumont Newhall’s scope.
I had the great fortune of viewing, Renato Danese’s, “American Images”, at the Albany State Museum. I would return six times to visit the exhibit until it came down. The exhibit was like a who’s who of contemporary fine art photography at that time (1981-1982). Robert Adams, Frank Gohlke, Nicholas Nixon, Stephen Shore, Larry Fink, Jan Groover and on and on. Upon viewing the exhibition, my life path was given to me, changing my life forever.
© Michael Bach, Sleeping bag, overalls and a hair dresser’s dolls head assembled to resemble a human figure on the ground, Mt. Ida, Troy NY, October 2010
In 1983, I was accepted into the Bard College Undergraduate Photography Program. I remember my first meeting with Stephen Shore in his office. It was a blistering hot August day! I had just walked about a 1/4 mile with a heavy box full of framed prints and sort of spilled into his office. I remember him being amused by my unfortunate predicament. He was gracious! As he looked through mostly experimental work, he stated that the program centered around the idea of straight or unmanipulated photography. He stated, would I be able to work under those conditions? Of course, my answer was yes!
While at Bard, I was blessed with good fortune in having the opportunity to work independently with Stephen Shore. During that time, I experimented with three different camera formats 35mm, 2 1/4 twin lens reflex, and the school’s 4x5 outfit. My displeasure with the small negative led me to buy a Rolliecord. I used this camera for some time. When the opportunity to work with a 4x5 view camera presented itself, I seized the opportunity. The 4x5 proved to be my most prolific vehicle of expression. I experimented with environmental portraiture, familial portraiture, documentation of a neighborhood, a construction project, and ultimately the landscape on and near the Bard campus. This later work would turn out to be my senior project.
Upon graduation, I bought my own 4x5 field camera, lens, tripod, and some holders. I processed the film in my parents’ cellar. While I was still at Bard, I had applied to the Yale School of Art Graduate Photography Program. Ultimately, I was accepted as an alternate, yet no one declined. I began working on a new project which centered around the Albany Pine Bush. I reapplied with this body of work! I also applied to the San Francisco Art Institute. I was accepted by San Francisco but I knew I wouldn’t be able to afford to live there. I interviewed at Yale once more! The letter arrived stating that I’m accepted as an alternate once again. This time around, someone declined admission.
My time at Yale, could best be described by that of being a state of constant fear and awe. Even though I was among the chosen few, I felt out of place, inferior, and whatever negative connotation you can conjure. I was severely depressed, yet I didn’t seek help because of the stigma behind mental illness prevalent at that time. I allowed that kind of thinking to dictate my actions for a very long time. I didn’t seek help until I had no choice!
© Michael Bach, Article of clothing, Mt.Ida, Troy NY, August 2012.
3. Any professor or teacher that has allowed you to better understand your work?
Any class taught by Ben Lifson still resonates in my mind. He was a critical thinker and would be able to infuse his passion for literature and the arts effortlessly. More importantly, he would be able to do it in a manner where the student truly understood and could engage in the conversation at hand. There now is a giant hole within the realm of the history of photography and criticism that cannot be filled by anyone who comes close to a man with Ben’s passion.
I would have to say that Stephen Shore and Ben Lifson have given me great advice and criticism toward my work. To be fair, all of my professors have had an impact in my artistic growth.
4. What about Internet. How do you use this resource?
The internet didn’t exist when I was a student back in the eighties. Did the computer? Since my re-emergment from my fifteen year period of photographic non-activity, the internet has been like a revelation that I can reach out to other photographer’s from around the world through FlakPhotoNetwork and Facebook. I also subscribe to online magazines such as Urbanautica and others. When there is a call for submission I usually respond if I know the publication. It’s all very new and exciting to me. It’s an incredible opportunity to show work and to also get feedback about the work.
5. About your work now. How would you describe your personal research in general?
My personal approach to my work, regardless of subject matter, is to let go and to shed away preconceptions. I try to be an open conduit to whatever it is that I’m photographing. I use the term the social landscape to generally describe the work that I do. I’d rather be photographing than analyzing what it is I do. If I knew, the answer, then what would be the point. The photographs are the questions to a quizzical world.
© Michael Bach, Sleeping bag, Mt. Ida, Troy NY, November 2012
6. Do you have any preferences in terms of cameras and format? At this time, we read, you’re working with an 8x10 view camera and using black and white materials exclusively? How is that?
I’ll work with any camera that is available! That said, my preference is the 8x10 view camera. The transformation that takes place when viewing the world within the frame of the ground glass, still to this day, fascinates me and it is still magical I relate to the slow methodical movement and the stationary position. I love fiddling with the camera movements and observing their actions on the ground glass. I relate to the uncanny feeling one gets toward the proper placement of the camera. There is an incredible energy involved! On some days it all seems effortless and right! Yet, at other times, it can be pure drudgery and the photographs usually reflect that. That’s when it’s time to pack it in for the day. The ability to intensely observe your subject is probably the most important reason I use the view camera.
7. Tell us about your project on the Mt. Ida area of Troy, New York.
The Mt. Ida project involves a landscape located in Troy New York. It also involves the permanent banishment of the homeless from this land. The City of Troy and a local university banned together to create a construction project “City Station” which consisted of three graduate housing complexes, commercial stores at the bottom level, and a parking garage. The homeless were the only thing that was stopping their project from being realized. In 2010, They permanently banished the homeless from Mt. Ida. It was then that I decided to carry out the project “A Pall of Gloom Has Descended Upon Thee.” to be a memorial to the landscape and a testament to the people who called this place home.
© Michael Bach, Newly built parking lot at Dusk, Mt. Ida, Troy NY, September 2012
8. Is there any show you’ve seen recently that you find inspiring?
Embarrassingly, I don’t go to see shows! I do try to keep up with what is being shown and where. I do also apply for grants and enter juried shows. All found on the internet. My favorite photographer is Eugene Atget! I did have the great fortune of seeing his work at MOMA several years ago. What an incredible vision he possessed!
9. Plans for the future?
My plans for the future is to work on a book of the Mt. Ida work. As well as continue to photograph.
10. Three books of photography that you recommend?
'The Work of Atget' published by MOMA
'American Photographs' by Walker Evans
'The American's' by Robert Frank