Nirvana has been shot by Kirk Weddle! But then, he's also shot some Sheriffs, a few corporate hotshots and some well-known folks! For a photographer who has shot virtually everything from above ground to under water, virtually nothing is out of the ordinary as Fotoflock.com finds out in a talk with Kirk. Don't miss the stunning images!

Your work captures subjects in a natural manner without the overarching necessity of ‘glam’. What do you think is the magic you do with your lens?
When I’m shooting a portrait, I try we keep the person relaxed. If he/she is comfortable it will come across in the image. I like to pre-light on someone else so that things go smoothly when we’re really shooting. I think simple images and a strong concept are the best.

Your underwater photography showcases a unique side of your work; it’s something that’s not too common with photographers who’re working in the ‘industry’. Have you always loved being around water bodies?

Absolutely, I love the water. But it’s very difficult to shoot in. The models can’t see underwater, you can’t talk to them, and they have to hold their breath and look relaxed. Water shots are tough and time consuming, but well worth the time and effort. I love it when an art director or designer wants to jump outside the box and create a story for a person or a product that typically wouldn’t be photographed underwater. The image is always unique and memorable.

You shot the Nevermind album cover for the iconic grunge rock band, Nirvana. That must have been a crazy experience. Do tell us more. Did you work with any other rock bands after that?
I shot the Nevermind cover and I shot the band, Nirvana, underwater about six months later. The baby shot was pretty easy. I got very lucky with the kid. Spencer Elden was a natural born swimmer. He was very mellow in the pool. We recreated the shot again when he was 10 for Rolling Stone Magazine. He’s still great in the water I’d like to shoot him in the pool every ten years and watch him age.

The band shoot was difficult. For an ad, I cast models underwater and I know their abilities in the water before the shoot. When I shot the band underwater there was no time to prep and not much time to practice.

My career path didn’t change towards shooting bands after the Nirvana shoot. But the images gave me a lot of exposure and, it opened up the doors to shooting more underwater.

You do quite a bit of environmental portraits. Have you exhibited any of this work so far? If not, would you consider doing one in the near future?
I’m working on a project traveling the hill country documenting the sheriffs of central Texas. I want to capture the rural lawman in his environment. This is a personal production and I hope to get a book out of it. And I would love to exhibit my images. Texas lawmen are a unique group of people and my photos show their “true grit” – unique, individual, tough, yet personable.

You say, “My goal for every image that I shoot is to freeze-frame a special moment in time and bring to life each person’s unique personality.” How have you solidified the concept over the years? Any interesting learning gained that you could share with us?
Well, when I’m shooting a portrait, it’s a balance between pushing someone to do something that you want and not making it too artificial. I like the subject to be real.

I sit down and talk with the person(s) before the shoot and get to know them a bit and vice versa. If a person feels comfortable with me, I can get them to show their true self, who ever they are and what ever it may be that they do for a living – it needs to come out in the image.

You studied photography at the Art Center College of Design. How was the experience? Would you recommend amateurs who’re looking at taking photography as a profession to study at an institute or college? Would it better their chances to work in the industry?
I learned a lot at ArtCenter. In the beginning it’s a lot like boot camp. They smash you over the head with so much work. The beginning terms really teach you the foundation of photography. I think I learned as much if not more from my fellow students that I did from the instructors.

ArtCenter is probably the best commercial photo school, and working with the student designers and art directors is fantastic. But ArtCenter is so damn expensive. I think a young shooter might do better assisting top notch photographers and get paid to learn. You could spend your tuition on portfolios and test shooting. However, if you have the money to go ArtCenter, then go.

How important do you think technology is for photography? Do you feel that digitization has erased the traditional concepts of photography that were cherished back then?
Well, the industry has changed so much and so fast. Digital makes underwater a hell of lot easier. Nobody likes to be confined to 36 images in the open sea or pool. It’s nice to look at that big monitor and know you’ve got a great image in the can. I guess the downside of digital is all the post-production work.

What kind of research and planning should a photographer do if he/she was considering operating out of a studio?
I think it’s important not to make the studio your career but to concentrate on making strong images. I like sharing a studio. It’s vital to keep your overhead low and collaboration helps out quite a bit.

Your corporate work is interesting; how has it been dealing with corporate clients? What suggestions would you give someone who’s considering corporate photography as a specialty?
It’s hard to crack the corporate world. It’s difficult to find the right person to contact. But corporate work is lower key than AD work and pretty open.

Photos by Kirk | Fotosocial