Bill Zorn
The Creekwalker Interview April 2007
In a world of compartmentalized knowledge, Bill Zorn has the ability to understand the
connections that run through fields as diverse and specialized as medicine, music and
photography. As a guitarist, he has performed throughout the South. After earning a
medical degree from Tulane University he practiced emergency medicine in South Georgia.
Since retiring from his medical practice, he has devoted his time to capturing people,
places and landscapes from Appalachia and the American West to China and Iran.
website: www.billzorn.com/
connections that run through fields as diverse and specialized as medicine, music and
photography. As a guitarist, he has performed throughout the South. After earning a
medical degree from Tulane University he practiced emergency medicine in South Georgia.
Since retiring from his medical practice, he has devoted his time to capturing people,
places and landscapes from Appalachia and the American West to China and Iran.
website: www.billzorn.com/
Mother and Child, Goddess Gorge
Creekwalker: Your photograph "Mother and Child, Goddess Gorge" shows exquisite lighting and contrast. Can you talk about how you set up and developed that particular shot?
Zorn: The quality of the light in this area is aided by the constant haze from pollution, which softens contrast in the subject, allowing a wider range of possibilities in printing. This image was taken in a peasant's home with light from a doorway coming in from the left. To provide shadow detail, I had a large reflector just out of frame on the right. The biggest obstacle here was keeping Mom from waking up the child and posing him.
Creekwalker: What was the process that led you to choose black & white as your photographic medium?
Zorn: I initially started working in color, but almost immediately knew that black and white provided the distance from reality that allowed me to idealize my subjects. I had been exposed to the great western
landscape photographers and appreciated their work. I prefer drawings or etchings to oils, chamber music to symphonies, jazz combo to big band; form seems to appeal to me most when unemcumbered by embellishment.
Zorn: The quality of the light in this area is aided by the constant haze from pollution, which softens contrast in the subject, allowing a wider range of possibilities in printing. This image was taken in a peasant's home with light from a doorway coming in from the left. To provide shadow detail, I had a large reflector just out of frame on the right. The biggest obstacle here was keeping Mom from waking up the child and posing him.
Creekwalker: What was the process that led you to choose black & white as your photographic medium?
Zorn: I initially started working in color, but almost immediately knew that black and white provided the distance from reality that allowed me to idealize my subjects. I had been exposed to the great western
landscape photographers and appreciated their work. I prefer drawings or etchings to oils, chamber music to symphonies, jazz combo to big band; form seems to appeal to me most when unemcumbered by embellishment.
Boatman, Chanting
Creekwalker: Has your training in the science of medicine and the art of music affected your work as a photographer?
Zorn: A degree in chemistry didn't hurt. The discipline one acquires in rigorous study programs certainly aids in learning the techniques.But probably what helped me most from my medical experience is an understanding of the human condition. I think this contributes to my ability to work with people in portraiture.
Monk, China
Creekwalker: Do you use any type of system (Zone, etc.) in creating your photographs?
Zorn: Yes, I use the Zorn system...close my eyes and mash the button. Actually, I use the zone system to some extent in every exposure. For sheet film, I employ almost every technique Ansel Adams taught.
Creekwalker: You have photographed extensively in China. What are some of the challenges you encountered while touring that country?
Zorn: On my first visit in 2001, I was detained and interrogated for 3 days by local authorities who tried to confiscate my film. On my second trip a year later I used one of my interrogators as a guide. But I've had very few problems there, thanks mostly to the efforts of my good Chinese friends.
Tower of Silence, Zoroastrian Village, Yazd
Creekwalker: Iran is in the news these days. What are your impressions of the Republic?
Zorn: Iran as a country is a fascinating place. The experiences are amazing. In one day you can see the prison that held Alexander the Great, Xerxes' capital Persepolis, the tomb of Cyrus the Great and the most exquisite Islamic
architecture anywhere. The populace is the most pro-American in the area. I felt safe and roamed freely, often unaccompanied.
Unfortunately, the history of Iranian-American relations doesn't reflect well on us here in the U.S., and most here are unaware of the details. In spite of this and for many reasons, they are our likeliest allies in the region, though we're certainly not moving in this direction at present.
The government in Iran is not so nice. And I became tired of kebab.
Creekwalker: What camera(s), lenses and film do you consider to be your base gear setup?
Zorn: I use film, for the proven longevity and esthetic qualities of outputting the image on silver/gelatin papers. Whenever possible I use a large format camera (a 4x5) for the ability to resolve detail and versatility inherent in this design, especially with landscape and architectural subjects. I carry a very large assortment of lenses for this type of camera, ranging from 47mm to 500mm (similar to a 18mm to 175mm range in a 35mm camera). In this format I use Kodak Tri-X and T-Max 100.
I also use medium format (6x7 or 645), for action or handheld work, or when my back's acting up! I use mostly T-Max films in these, with a little Ilford Delta 3200
for work that requires high speed film. I use all the lenses available for these cameras, ranging from 35mm to 300mm. I don't use zoom lenses, and can't afford the very expensive APO lenses available for these cameras.
Zorn: Iran as a country is a fascinating place. The experiences are amazing. In one day you can see the prison that held Alexander the Great, Xerxes' capital Persepolis, the tomb of Cyrus the Great and the most exquisite Islamic
architecture anywhere. The populace is the most pro-American in the area. I felt safe and roamed freely, often unaccompanied.
Unfortunately, the history of Iranian-American relations doesn't reflect well on us here in the U.S., and most here are unaware of the details. In spite of this and for many reasons, they are our likeliest allies in the region, though we're certainly not moving in this direction at present.
The government in Iran is not so nice. And I became tired of kebab.
Creekwalker: What camera(s), lenses and film do you consider to be your base gear setup?
Zorn: I use film, for the proven longevity and esthetic qualities of outputting the image on silver/gelatin papers. Whenever possible I use a large format camera (a 4x5) for the ability to resolve detail and versatility inherent in this design, especially with landscape and architectural subjects. I carry a very large assortment of lenses for this type of camera, ranging from 47mm to 500mm (similar to a 18mm to 175mm range in a 35mm camera). In this format I use Kodak Tri-X and T-Max 100.
I also use medium format (6x7 or 645), for action or handheld work, or when my back's acting up! I use mostly T-Max films in these, with a little Ilford Delta 3200
for work that requires high speed film. I use all the lenses available for these cameras, ranging from 35mm to 300mm. I don't use zoom lenses, and can't afford the very expensive APO lenses available for these cameras.
Gould's Inlet & Piet
Creekwalker: What darkroom equipment do you use?
Zorn: I use an LPL/Saunders 4x5 enlarger with a variable contrast b/w head. I scan all my negatives with an Imacon scanner and manipulate them in Photoshop first, then try to duplicate it in the darkroom. I develop my film in a Jobo processor and my prints in trays. I use all the traditional developing and printing techniques. I prefer glossy papers with neutral tones, and tone all my images in selenium.
Jekyll Deadwood
Creekwalker: There is a lively debate on the issue of digital vs film. What are your thoughts? Do you use digital equipment during any phase of your artistic process (scanners, Photoshop)?
Zorn: For me, the quality of the image is the only thing that counts. I would prefer to never use the darkroom just because, well, it's dark in there. Digital black and white output is still not quite up to traditional in my opinion, and I question the longevity claims of many printers and papers. I seek out subjects that in my opinion are timeless (probably defined as already out of 'fashion') and am egotistical enough to hope that a century or two from now someone will be able to find and appreciate them.
That being said, I have tried most of the digital techniques and won't hesitate to use anything.
Creekwalker: Whom do you consider your major influences in the art of photography?
Zorn: Brett Weston is my favorite photographer. Ansel Adams, Morley Baer, Sebastiao Salgado, Sally Mann.
Zorn: For me, the quality of the image is the only thing that counts. I would prefer to never use the darkroom just because, well, it's dark in there. Digital black and white output is still not quite up to traditional in my opinion, and I question the longevity claims of many printers and papers. I seek out subjects that in my opinion are timeless (probably defined as already out of 'fashion') and am egotistical enough to hope that a century or two from now someone will be able to find and appreciate them.
That being said, I have tried most of the digital techniques and won't hesitate to use anything.
Creekwalker: Whom do you consider your major influences in the art of photography?
Zorn: Brett Weston is my favorite photographer. Ansel Adams, Morley Baer, Sebastiao Salgado, Sally Mann.
Schaffer Canyon, Arizona
Creekwalker: With regard to equipment and technique, what advice would you give someone starting out in black & white photography?
Zorn: If you have time, space, funds and a penchant for self-flagellation, there is something magical about traditional darkroom technique. Funds might not be an issue these days, with the divestment of traditional equipment by individuals and labs through Ebay and the like.
But the present and future of photography is digital. High quality images can be produced with relatively little outlay, especially if the goal is mainly self-expression.
And then, become aware of the giants whose shoulders we all stand upon; build up your knowledge base, both in technique and visual vocabulary, hopefully to get to the point whereby you can know what it is you want to do, and be able to use the gear transparently, with little conscious thought, to be able to put on the paper what the mind visualizes, not what the eye sees.
Zorn: If you have time, space, funds and a penchant for self-flagellation, there is something magical about traditional darkroom technique. Funds might not be an issue these days, with the divestment of traditional equipment by individuals and labs through Ebay and the like.
But the present and future of photography is digital. High quality images can be produced with relatively little outlay, especially if the goal is mainly self-expression.
And then, become aware of the giants whose shoulders we all stand upon; build up your knowledge base, both in technique and visual vocabulary, hopefully to get to the point whereby you can know what it is you want to do, and be able to use the gear transparently, with little conscious thought, to be able to put on the paper what the mind visualizes, not what the eye sees.
© Copyright 2007 Creekwalker. Photography © Bill Zorn. All rights reserved.
