BY GREGORY E. JONES
1. First off, tell us a bit about how you got started in photography. Who are some of your biggest influences, and where do you find your inspiration?
«I guess I’ve been interested in describing things visually from an early age. Photography seemed to be the most practical way for me to do that. Although, I didn’t really feel confident in what I was doing photographically until several years after college. I suppose my main influences in the photo world come from exploratory photographers such as Carlton Watkins and Joel Sternfeld. I like the idea of exploring the world and photographing along the way, not knowing what you might find. Other inspirations come from all over including friends».
2. Your project, Sansaram, or “Mountain People,” documents hikers within the Sobaek Mountains of South Korea. Your method of photographing them describes them as dignified and proud, and it seems that there is more to this story than simple recreation. Talk a bit about the significance of these mountains, and what they mean to those who undertake them.
«I’m not sure what the mountains mean to those individuals who climb them, but the mountains do have a spiritual, folk, and religious history that goes way back. I think it boils down to an individuals respect for the mountains and nature in general and what they get out of the experience. While I was living in Korea, I could tell that that the enthusiasm and enjoyment in hiking up mountains was high. The amount of people on the mountains at one time, the amenities at the base of the mountains, and the serious hiking gear being worn, led me to believe that this was something important for the Korean people to do».
3. Another similar project you shot was of Haenyo, or Female Divers. Please explain their story. What drew you to photograph them?
«The Haeyno, or female divers, project stemmed from an assignment, but what led me to really embrace this project was similar to the reason I was drawn to the hikers, the commune with nature. Whether it be the climbing the steep incline of a mountain, or diving into the cold depths of the sea, there is a challenge to overtake these elements, but there is also a beauty in it. The Haenyo dive without oxygen tanks for seafood such as sea urchin and octopi as a way to support their families. It’s a role reversal compared to the typically patriarchal dynamic found throughout the rest of the country. The tradition is dying out though as the younger generations are not interested in this extremely demanding profession».
4. How did your experience in photographing these two groups affect your perceptions of South Korea as a whole. Did you leave the country with things you did not bring, so to speak?
«It certainly did change my perception of the country, or rather added a lot to it. I didn’t really have too much knowledge about South Korea when I went there, besides a bit about the food and a small bit about the history, but to see all the subtle and profound differences in everyday life was really interesting. I’m kind of glad I didn’t know what to expect as it allowed me the pleasure of discovery».
5. Lastly, what are you looking forward to in 2012, photographically or otherwise?
«I’m looking forward to a change in scenery. It’s been way too long since I’ve been on a nice long trip. I’ve got some domestic projects in mind as well, but It would be great if I could photograph hikers throughout the world. Feel like that must have been done already though. Still it would be nice».
© All copyright Ian Baguskas