Anthony Figalora

"I still consider myself to be learning something new every time I start a project and I'm always striving to try something different."

It's easy to travel and snap a shot of the first pretty sight that crosses your path. Anthony Figalora distinguishes himself in his ability to capture the essence and the true, undisturbed nature of place. His images feel more like the photographer, and consequently the viewer, is actually part of the scene, rather than an outsider looking in. The light in his night photography is so lively, it reminds the viewer of the energy that is still present even in the middle of a deep, dark night.

 

GE: Although the subject matter of your photography covers landscape, architecture, and portraiture – do you have any preference towards one type of subject?

AF: Although I'll shoot anything and enjoy it, I will always love doing night photography the most, specifically architecture at night. There is just something about the colors you get at night - they are so deep and rich. Shooting at night also allows me to slow my shutter speed and really capture the movement of light and create some beautiful images.

GE: How important is photo editing software in the making of your images?

AF: As much as I try to get the best shot I can straight from the camera, most of the time some sort of editing is done. The things you can do with Photoshop are amazing and if you know what you're doing you can take a good photo and make it a great one. For example, my original shot of the carousel in Boston, “The Night Shift.” To start with, I was able to get a pretty good shot that didn't require a lot of correction, but there was a lamp post and building on the left that really took away from the focus of the image. With Photoshop, I was able to completely take the lamp and building out of the image and I think it really makes the image better.

 

GE: What things do you keep in mind when composing a good composition in a photograph?

AF: I always try to get the most interesting angles and colors when I take a photo. Anyone can take a good photo straight on but I think that its the angles that really add to a shot and the colors that really make a beautiful picture. When it comes to color, I love deep rich colors. Whether in black & white or in color, I think its the richness that really adds to it all.

GE: If you had the opportunity to put together a photography exhibition of two or more artists, who would you include and why?

AF: First would be Chase Jarvis, a commercial photographer based out in Seattle. He does anything from action to model shots and his work really motivates me to want to try new things. He also coined the phrase "The best camera is the one you have with you," which basically just means you don't need the best tech to take a good picture - he even produced a book of just his iPhone photography.

Second would be Michael Kenna. Kenna is a British photographer who focuses on long exposures and unusual landscapes. Even though he shoots in black & white, his night time images truly capture what is so amazing about shooting at night. All his images show incredible detail and beautiful use of light. 

GE: In what way, if any, do all of your art practices (photography, sculpture, web design) relate?

AF: I think the biggest way they relate at the moment is how I approach lines and shapes. Whether its in a photo, website, or a sculpture, I love finding the most interesting way to show a pattern or demonstrate how different lines and shapes can interact. On top of that, they all challenge me to try new things. I still consider myself to be learning something new every time I start a project and I'm always striving to try something different.

GE: In your academic career, you made trips to Japan and Italy. What did you take from each experience and where do you want to go next?

AF: I learned A LOT from these experiences. While abroad, I've learned things relating to both my personal life as well as my career. Being able to see the 2011 Venice Biennale, as well as all the other amazing galleries and museums that Japan and Italy had to offer, gave me so much inspiration as well as helped me to better understand which direction I want to go with my own work. Also, foreign cities offer amazing photo opportunities unlike anything you would see here in America.

Personally, I think it really helped me grow and mature. You have to learn, to adapt, and do things in a new way when you're abroad and many times you have to figure out that way for yourself. Its even harder when there's a huge language barrier like in Japan. I don’t think I would be the person I am today without these experiences.

As for where I want to go next, I would love to go to either Munich, Germany or Dublin, Ireland. Both cities look absolutely amazing and I know I would love them. I’m hoping to find a job that will let me travel a lot so I can see as much of the world as I can.

GE: The photograph of the little Asian school children in two lines is one of my favorites of your work. What was happening in this scene?

AF: This photo was taken at the Children's Peace Monument in Hiroshima, Japan. The monument was created in remembrance of one girl who was affected by nuclear disaster and in order to make herself better, she made 1000 paper cranes, which according to Japanese lore will make one wish come true. Unfortunately, she passed away. Today, children come with their own paper cranes and pray at the monument. It was a very moving sight.

GE: Is education something that you learn in school?

AF: I believe you can get an education from anywhere. In my four years at Marist College I learned a lot about photography, as well as many other subjects, and have built a really good foundation. After a certain point you can only learn so much at school and you need to start learning on your own. I’ve learned so much through hands-on experience, but with out that foundation I built with my classes, I don’t think I’d be able to teach myself as much as I have.