Interview with Thomas Fricke

Thomas Fricke wanted to look at the stars, but he couldn't afford a telescope. So he bought a camera. That purchase, at age 19, revealed his hidden passion for photography. But today his lens focuses on a different kind of star ' the kind with names like Patrick Swayze and Daryl Hannah. However, Ficke's work doesn't stop at celebrity portraits. He has built his career taking editorial, documentary and commercial shots for Maclean's, Forbes, Flare, and Chatelaine.

		PHOTOGRAPHER Thomas Fricke Whether he's trekking through cow dung or crouching to catch a child's view of a new place, Fricke tries to bring a unique perspective to every photo he takes. Read on below to get his advice on capturing people from interesting angles. To see photos from Fricke's shoot on Hecla Island, Man., check out the September 2010 issue of Canadian Geographic Travel or visit his website.
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Q You live in Winnipeg close to Hecla Island. Had you been there before?

AYes, I know it well, but it was my first time back in a while. It's a very atmospheric, moody kind of place.

Q What is it like photographing a place that you already know?

AIt's more challenging. When you see a place over and over again, your mind can become desensitized. Things that would be interesting the first time become uninteresting the second time. But you want to look at it from the perspective of the reader who has never seen it before. So I have to kind of pretend and react all over again to the cool things around there.

QI heard that you took a particular interest in a fisherman named Ivan Grimolfson there. What was so compelling about him?

A He just personified Hecla. There's a lot of Icelandic culture there and it felt like I was on the docks of Reykjavik. Grimolfson was walking around with his big beard, and he looks like a local character. I suppose I'm always trying to find people who personify the environment. It gives the reader an idea of what a place really feels like by seeing the people who live there and blend in with the environment.

QWas portraiture always your main interest?

A I enjoy working with people, as opposed to a still life or landscape. I do also enjoy shooting landscapes, but I like to incorporate people into them as well.

Read Thomas Fricke's tips on shooting portraits.

QThe Hecla Island story was about traveling from a child's perspective. How does your approach differ between photographing children and adults?

A With kids you kind of have to dance to their tune. Adults will adapt to you and respond to your direction, but with kids you have to see what frame of mind they're in and adapt to them. It's a bit of a role-reversal.

QWhat is it about photographing people that interests you?

AThere's way more emotion. And there's a relationship happening there, which makes it much more interesting and somewhat edgy. People are just so fascinating, because you're working with someone and all of their history, too. It_s amazing how different people are. Just the difference between them and me can make for a fascinating interaction. There's much to learn and there's an opportunity for personal growth.

QDo you get to know your subjects before taking their picture?

AI always make sure that I take a bit of time to talk with them and learn who they are and what their interests are. I always try to talk with them about something completely outside of their work, to get to the human side of things. And I treat them all equally, whether it's a fisherman or a celebrity. I think people appreciate that.

Q Which celebrities have you photographed?

A Daryl Hannah, Shannen Doherty, Patrick Swayze, Rhea Perlman, Donnie and Marie Osmond

Q What makes a compelling subject?

A It's when I look at someone and something about them moves me. It has to be some distinguishing characteristic, but that's a tough question to answer. Recently I was in Kenora, Ont., walking to down the street and there was this girl working at a stand and she just had this look about her. "We have to do a shot," I told her, "just stand in the middle of the road and I'm going to take a photograph of you."

I like to approach people right away. I guess it's a spontaneous reflex. Often they're a bit shocked and surprised, but I try to have fun with them and they warm up. It's fun to break up their daily routine and make them do something completely out of the ordinary.

Q You seem to focus your portraits around a subject's vocation. Why?

A It really depends on what the story is about, but 90 percent of my work is on location. I try to make the background environment telling of who the subject is. Sometimes the portrait is more of a graphic approach. But most of the time I try to incorporate some kind of element that visually tells the story as much as the words literally tell the story. That's why I love editorial so much. I love trying to tell the story without words.

Q How does your approach change between commercial portraits versus editorial ones?

A In commercial photography the client usually has an idea of what they want. I'm there for the art director's vision. With editorial it's the opposite and I can tell the story in my own way.

Interview by Amy Smart