I had the pleasure of visiting Jay Seldin in his New Jersey studio, and was treated to beautiful photography and beautifully printed photography. We talked about everything under the sun, and I was impressed by the breadth of his career and Jay's continuing involvement in photographic education. He holds photography workshops both here and abroad, is a member of NJASMP, and is also the newest Canson Infinity artist/photographer--so I asked Jay about his work and his career.

Tell me a bit about your background
I have a BFA in Art from Long Island University and a MA in Visual Art/Photography from William Paterson University. My first photo related job was working at Vogue Wright Studios here in NYC in the early 70’s. I did a little bit of everything there; assistant, carpenter, set painter, you name it I did it.

A few years later I returned to school to become certified as an art teacher so I could pursue a career teaching photography in the NY and NJ public schools. I thought that this might be a little more challenging then my job as a slave--I mean photo assistant!

I continued my personal approach to photography building my portfolio of images while continuing my education in photography.
During my tenure as a photo teacher I received a sabbatical to study photography. I sent my portfolio to the Ansel Adams’ group (The Friends of Photography) hoping to be accepted to his personal program. A few weeks later I received a letter from Ansel congratulating me on being accepted into his program in Carmel CA. The program afforded me a unique opportunity to meet many of the “West Coast” photographers and other contemporary visionaries of our time.

Who are your influences/Whose work do you like?
Certainly Ansel Adams for one. He was a tremendous influence, and of course I love his work.
Walker Evans, Dorothea Lange, Edward Weston, Ruth Bernhard, Mary Ellen Mark, Eugene Richards, Michael Kenna, Henri-Cartier Bresson, Robert Frank, Bruce Davidson, George Tice, I have a long list that also includes: Robert Rauschenberg, Jasper Johns, Sally Mann, Nicolas Nixon, Bill Owens, Garry Winogrand, and Jerry Danzig.

Tell us about your workshops (how they started, where you go, how long have you done it, what’s the best part, the hardest part?
My workshops started about 5 years ago shortly after I built my studio out here in Jersey. Once a teacher always a teacher. So I had a need to continue teaching after I retired from my college and high school teaching careers. It just started with people asking me to show them how to make a B&W print like the ones I was producing for myself, using my digital workflow and printers.
Now I offer two types of workshops. In-Studio and Travel. The In-Studio workshops include: Photoshop or Lightroom two day workshops, Digital Bookmaking a 2-day workshop, Digital Printmaking a 2-day workshop. Plus private tutoring in PhotoShop and Digital Printmaking .
My travel workshops have two sides to them. Local and International. The Local Workshops have included photo excursions to NYC, “The Mermaid Parade”, Coney Island, Across the Brooklyn Bridge, Lower Manhattan, and The Cloisters, just to name a few. I’m always adding new experiences.

The International Photo Workshops have included Italy and now India. This is a new part of my company. Our first trip was to Italy: Tuscany and Umbria and we are going to Southern India this coming Nov 2009.

The best part is always meeting new people. For me every experience is unique and rewarding. Plus I get to follow my passion, which is traveling and picture taking.
The hardest part is always the planning. I spend a lot of time making sure I have all the pieces of the puzzle fitting together. I want to make it uncomplicated for the people who travel with me. That’s the difficult part.

Talk about the value of printing your own images.
The printing part is almost as important to me as the visual statement that the image makes. I believe that if your print is muddy, unsharp with poor contrast choice and not toned properly, no one will appreciate it. On the other hand, without a visual impact a great printing job means nothing. All my B&W prints are controlled by proper profiling, the use of a RIP, pigment inks and the finest digital papers. All my prints are being printed on Canson Infinity digital papers. My choice of their paper stock is Rag Photograhique 310g/m.

You’re primarily a B&W photographer, what made you start adding color?
It was just a natural process for me, because I prepare all my images through Photoshop. My ability to mask color back in, just seemed like a natural evolution for me. These photos I create are part of a new generation of image making in the 21st century! Photography has gone through many changes in imaging in the past 120 years. It will continue to change in the future, I have no doubt.


Tell me story about the Cuban woman chewing the cigar
She’s a fixture at that spot! It’s her wall, figuratively that is. She owns that pose though. The image was taken in the “Old Havana” part of the city where the government is renovating most of the building. This is the “tourist section”. So with that in mind she has a purpose and that’s to make money from the tourists that pass by.

Is there a future for professional photographers?
Good question. I’m sure there is a future. But what it is I don’t know. More and more people who have digital cameras all think they are professionals. Fortunately, the camera still requires a person to create a composition and visual structure.

What has been lost, what is great now?
I not sure anything has been lost. I put my B&W darkroom to sleep a few years ago when I finally figured out how to make a B&W print digitally, that emulated the look I was getting when I was printing on Agfa Portriga Rapid. I think I’ve done that now. As far as what is great. I’m a technology junkie. I love being challenged by Photoshop and the printing process today.

Best career advice?
Become an accountant!

What do you say to young photographers?
Follow your passion and your sixth sense! Always make photographs for you first.