As a photojournalist based in California's Central Valley, Thom Halls
has devoted much of his professional life to recording the details of a
landscape and a people whose simple exterior masks a deep
complexity. Based in a region of the state most people drive by on their
way to somewhere else, Halls' work chronicles the subtleties of a vital,
some would say fragile, way of life. His published works include
The
Harbor, a
portfolio of images depicting life in a seaport that capture the
human quest to find a safe place in this world.

websites:  
www.thomhalls.com
   www.f64gallery.com/thom.html
The Creekwalker Interview
July 2007
Creekwalker:  Photographers, like painters and poets, find inspiration in
certain geographies. You have chosen an area of California - the Central
Valley - known for agriculture and a spare topography similar in certain
aspects to the Mid-West. Can you comment on the appeal of this particular
geography?

Over the years I’ve come to discover this as home.  Like most people I found
it appealing to move out and find “my own horizon”.  I moved out and like so
many people, found that very “horizon” brought me back here.

There is a simple reflective comfortable place. I’ve traveled to New York City
several times and loved the excitement and glamour of it.  However after
about five days or so I found a curious thing; I wanted to see a grapevine.  
Seemed crazy, but what I needed was something that reminded me of home.

Clearing Storm
Old Fisherwoman
I love Central California partly because so many overlook it or dismiss it as
inconsequential.  I also love the diversity, not only in the landscape, but the people.
 You have everything here.   I have appreciation for the farmers, the farm workers
and small towns that dot the main arterial highways up and down the Valley.  
Within a three-hour drive I can be on the Central Coast staring at the Pacific or at
the 5,000-foot elevation looking at some of the largest and oldest trees on earth. It
is just awesome to be right in the middle of it.
Creekwalker:  Your photograph "Old Fisherwoman" taken in Selma, California
in 1983 demonstrates superb composition and lighting. Can you comment on
the story behind this photograph?

One day I was driving around one day looking for pictures. I came upon a place
called Rockwell Pond, which is a man-made reservoir just outside of Selma,
Calif.  

On this late spring day I found the pond drained down by irrigation.  On a small
peninsula stood this small black woman with several lines in the water.  She
was successfully catching catfish.  

We struck up a conversation and I found myself engaged for over an hour and a
half with her.  She had a lively personality and her eyes danced with life’s
enthusiasm.
Journey
Creekwalker:  Another photograph, "Journey", taken in San Luis Obispo in 1975, has a
haunting quality about it. I was reminded of Andrew Wyeth's painting Christina's World in
terms of the slope of the landscape and the minimal use of elements. Can you comment on
the composition of "Journey"?

Journey is actually a self-portrait. For several years while living and working in San Luis
Obispo I had noticed this wonderful composition of this fence disappearing over a hill in a
nearby field.  

In the afternoon during the summer months in this area, the wind blows very hard and when
it does the coastal fog comes in about 5 p.m. This turns what was a beautiful sunny
afternoon into a dreary evening.

During this period of my life I faced many difficult decisions regarding family, career.  My
marriage was in trouble.  All I set out to do that day was to make an interesting photograph.  
Lacking a subject I used myself as the subject with the help of the camera’s self-timer.

Little did I know upon reflection this photograph would be not only a strong document of my
mental state of mind at the time, but an iconic image that many have appreciated over the
years.
Creekwalker:  What camera(s) and lenses do you consider to be your base gear
setup?

My base gear is Nikon digital.  A D2x and D100 bodies with 17-55mm f2.8 and
70-200mm f2.8 lenses.  I also have an extensive film set up and on occasion will
shoot 4x5 format.
Hallway to Nowhere
Creekwalker:  What process, software and equipment do you
use in your developing process?

I have a very simple workflow.  I do not believe the process
process are lost.  I think too many photographers get tangled
in technology and should be so complicated that the joy and
the excitement of the discovery in the lose the glory excitement
of creating.process are lost.  I think too many photographers
get tangled in technology and lose the glory excitement of
creating.
Creekwalker:  There is a moral and spiritual sensibility about your work. How
have your spiritual beliefs influenced your perspective?

I am a Christian and my Lord is Jesus Christ.  From that perspective I strive to
follow in “in his steps.”  To that purpose my work has one direction: to show the
glory that God has showered on this earth. But also to show man’s response
including his triumphs and tragedies, handling it in a way that glorifies God.

While I revel in this opportunity I know that my efforts fall pitifully short.

As it says in Matthew 6:22 “The eye is the lamp of the body. If you eyes are good,
your whole body will be full of light.”  I wish to portray this magnificent world God
has graced us and man’s response with in such a way that praises Him so that
others may see the “light” that I see.
Creekwalker:  Documenting the Central Valley region remains an important aspect of your work as a
photographer. You refer to yourself as "a reluctant recorder" of the past and present. What are some of the
issues that most concern you about the Valley?

The Valley, and California in general is under tremendous pressure from population. Though we still have vast
expanses; regulation, pollution and lack of resources (water) are limiting what can be accomplished.   The
infrastructure of the state, are being squeezed by a commercialization transforming the Valley’s way of life.

Though we can’t turn back the clock, nor should we, we need a thoughtful, considerate framework of the past
to proceed into the future.   As a documentary photographer I have a healthy respect for history.   Too many of
the new residents of this region have none and therefore could be doomed to repeat the mistakes of the past.  
The most glaring of these issues is water.

I can remember having to carry water in large buckets from the deeper well of the neighbors’ house when our
well ran dry during drought years.  Today, there is no consideration for the important of California’s “liquid
gold”.  People in the past have died over the right to this water.  Dreams have been dashed and lives ruined
because people did not consider the consequences of what happens when nature turns off the faucet.

Today I’m a “reluctant recorder” because I have this historical perspective and I want a certain level of the
agricultural and historical uniqueness of this region to survive.  I know it will change, and I embrace that, but at
the same time we cannot ignore or pretend the past did not happen.
Creekwalker:  What places are on your short list of
geographies you hope to photograph someday?

Eastern Sierra, Texas, The Carrizo Plains (Eastern San
Luis Obispo County, Ca.) North Coast of California.
Lagoon
While this is new aspect of the process is not all bad, and in some cases can
makes a much better photograph, I feel there are probably great pictures deleted
because of the nonobjective influence of the subject.  This deletion of history will
have tremendous impact photography as we look back in history.

final image brought about.final image brought about.
Creekwalker:  Whom do you consider your major influences in
the art of fine art photography?

Dorthea Lange, Elliot Erwitt, Ansel Adams, Paul Strand, and Helen
Levitt, in that order.
Creekwalker:  How has your training and background in journalism influenced
your approach to photography?

An old editor of mine once gave me a great piece of advice.  He told me that
when I worked a story, and  “when you get stopped…just remember to always
persevere and find alternate sources.”

Now he was speaking specifically of reporting, but I have found his advice very
sound for life in general.

As a photographer we battle creativity all the time. Let’s face it sometimes you
really just don’t feel like making a picture, but you have to. This is where you can
get stopped.  This small piece of advice has helped me regroup my thoughts,
focus my energy on the task at hand, and when I don’t ‘feel’ creative, look for an
alternative source for my inspiration.  It has really served me well.   
© Copyright 2007 Creekwalker.  All Rights Reserved.
All Photography © Thom Halls.
Creekwalker:  What advice - artistic and commercial - would you give a novice who
desires to make a living through photography?

Get a very sound technical background behind you. Know your craft from the bottom
up and keep learning all the time.  Not a day goes by that I don’t learn something new
in my craft.  The day you know it all…. you should be dead.

Lastly, whenever someone, a client or patron, asks you for something, give them
more than they asked for.  Nothing benefits a person more than hard work.

I’ve been at this since I was 15 years old.  I truly feel like I have never worked in my
life.  Don’t get me wrong.  I have worked hard in photography, but when it is your
passion, you feel the joy work and not the burden.

The last word is if you want to work in photograph get ready for a great ride.  
Photography has taken me to places I never thought I’d see and other places I never
want see again.  I’ve seen man’s elation at accomplishment and his despair beyond
belief.

The irony is this incredible journey would not have happened if not for the fact that I
carried a camera around my neck and had a desire to discover.
Love Tatoo
Creekwalker:  You have witnessed the accelerating shift from film
to digital. How has your use of digital photography evolved over the
years?

I started experimenting with digital photograph in 1989 while
Director of Photography for the Fresno Bee. When I started my own
business I switched from film to digital in 2002.  While I see many
advantages to digital I also see areas where film is of great value.

The biggest change with digital is the opportunity for the subject to
influence the photographer’s thought and editing process.   

When film was the only option the photographer maintained strict
control over what was shown to the subject. This delay allowed
time for introspection and decision-making by the photographer in
creating in the processing cycle.  Today after a picture is taken, the
photographer and subject alike want to see it immediately.  
Comments are exchanged on site and decisions based on that
conversation are put in place or cemented into the brain of the
photographer.  Immediacy has taken the place of introspection and
careful image decisions.
Thom Halls
_________________________________________________________________________________________