Oliver Klink
Last fall, at the Review Santa Fe portfolio review event, I had been graciously invited to review the work of many of the 2019 participants. One such individual, Oliver Klink, sat down in front of me and placed an incredible book of images, Cultures in Transition, before me looking for feedback. It was clear from the outset that he didn’t need my feedback as he was already fully engaged and fully at the helm of his photographic endeavors. Looking for feedback at his stage of the game (not a game at all) clearly said to me that what you are really after are the thoughts and ideas out there to help you refine and further your knowledge in the constant search of your creative aesthetic. As artists, we are always searching and always yearning for more, never completely satisfied. Both a blessing and a curse, right? Klink knows this, and this is why he is so successful in realizing his potential for creating mesmerizing images that both enlighten and inform. Looking back at my time with him, I realize I was an immediate fan, and yes, it was because of these traits as much as the images themselves.
Oliver Klink’s shooting and printing techniques result in technically astounding prints. Sharpness and detail are everywhere, and both lend a hand in continuing to pull you into the image. One tends to get lost in each image (as one should) and it can be said that this results in an even deeper experience with his work. Why would you not want to be transported by these photographs? Klink’s photographs carefully surround you and quietly whisper the knowledge of the lives and cultures he is investigating.
It is with these thoughts that I felt the need to investigate the creative life of Oliver Klink. He is the consummate professional, with a need and desire to bring his works to as many people as possible - both to highlight the incredible effort he has put forth and to educate the masses about the people he is memorializing in his photographs. Who better than to ask some questions about the creative process? This, and all of these interviews, make me feel blessed to participate in this process, and I thank Oliver for his time spent in working with me. Cheers!
Safe Heaven, Myanmar, 2018
Bio -
Oliver Klink studies in physics and photography were the catalyst for his love of light and the complexity of our existence. He captures our cultural changes, the environments we inhabit, and the insights into the modern world constantly unfolding in new and unexpected ways.
Klink was awarded Black and White Photographer of the year 2018 by Dodho Magazine, selected as Top 50 Fine Artist by Critical Mass (Photolucida) in 2016 & 2018, received the Spotlight Award by Black and White Magazine (2018). His book, Cultures in Transition won EIGHT awards for best photography book of 2019. He has been published with National Geographic, Days of Japan, Black & White Magazine, Popular Photography Magazine, DailyMail, My Modern Met, FeatureShoot, 6 mois Magazine, and Weather.com, among others.
Klink solo shows include: the Middlebury Institute of International Studies, Monterey, California; Orange Coast College Museum, Costa Mesa, California; PhotoCentral Gallery, Hayward, California; ArtArk Gallery, San Jose, California; ViewPoint Gallery, Sacramento, California; Pictura Gallery, Bloomington, Indiana; Camerawork Gallery, Portland, Oregon; Black Rapid Gallery, Seattle, Washington; BWGallerist, RedFilter Online Gallery; Galerie Shadows, Arles, France; Fotofever Art Fair, Paris, France; Conti Museum, Buenos Aires, Argentina.
Klink is a master of the new digital printing process called Piezography. By using a combination of pigment ink and a proprietary profiling process he produces enhanced highlight and shadow details that exceed what is capable of using silver-based or platinum-based traditional darkroom processes.
Originally from Switzerland, Klink currently resides in the San Francisco Bay Area with his wife.
Interview -
Michael Kirchoff: Every photographer experiences that spark that drives them into the direction of image-making. How did you get your start, and what were your early influences?
Oliver Klink: My father was a printmaker. At a very young age, I saw many fine art books of painters, illustrators and photographers being printed in his shop. I marveled at the quality of light from the painters, the “fun” from the illustrators, and the deep black and white from the photographers. When I received my first camera, I was inspired to replicate these masters and realized how challenging it was. It only took me forty years to print an image that “had it all”.
MK: Is there another artistic medium that informs your work and process? Music? Film? Writing?
OK: My photography is about telling stories, capturing moods, and making people dream. Films are great sources of inspiration to find appealing color palettes (Avatar, 2009), light (The Artist, 2011), (The Hateful Eight, 2015), and riveting/unconventional stories (Memento, 2000), (The Name of the Rose, 1986). I also gain inspiration from the animation movies.
MK: You’ve spent fifteen years on the completion of your project, Cultures in Transition. Early on in the process what efforts and decisions needed to be made in order to inject yourself into these cultures so as not to disturb the natural dynamics of what was going on around you?
OK: In 2001, I made my first trip to China with my father-in-law, who immigrated to the US in the 1960’s during the cultural revolution. He told me a very important Chinese proverb, when he saw how China had changed since his departure: ”When you cross the river, you need to feel the pebbles under your feet”. I took his advice to heart, took my time to learn these cultures, their rhythms of life. After repeated visits, I captured natural behavior as neither of us were “just” curious about the other.
Tenzin Dorji - Rinchen Khando, Bhutan, 2016
Aum Tshomo and her Daughter, Bhutan, 2016
Wood Gathering, Bhutan, 2017
Boy with Toy Pistol, China, 2017
Ring Leader, China, 2016
MK: You’ve stated in the past that you wanted to stay away from the obvious changes that these cultures were going through. What were you trying to focus on more, and were these subtler transitions that needed to be witnessed by one who was more intimate with their way of life?
OK: When you are deeply involved in a project, travel on a regular basis to the same regions (I made over 40 trips in 15 years), it feels that life is not changing much. By choice, when a village became “commercial/touristy”, I moved further away from “the main road”, so I could keep photographing authenticity. Towards the latter part of the project, it became harder and harder to find these unique cultures that had not been documented by the big outfits (National Geographic, BBC). I photographed the Yi Culture (poorest minority in China) after an elderly mentioned that I should travel West. My guide asked him: “Where West?”. His answer was: ”When you reach them, you will know”. And the elderly was right. We traveled “deep” in the Sichuan province and found remote villages that reminded me of my childhood in Switzerland (45 years ago). These people live off the land and firmly resist the assistance of the government.
MK: What countries were explored for Cultures in Transition, and did you find that there was one common denominator found between each culture? How were people weathering the transitions that you witnessed taking place during the shooting of such an involved project?
OK: Five countries are featured: Bhutan, Myanmar, China, India, and Mongolia. One common denominator is the belief in the family nucleus. Early in the project, it was a given that family members lived in proximity of each other. As the project progressed, the family nucleus exploded with the younger generation moving to the large cities, lured by money and luxury lifestyle. The children were raised by the grandparents, which created subtle tension in the villages: People on the opposite end of the generation divide were fighting to keep traditions alive and adapt them to the new world. A few times a year, parents were visiting the villages and their kids, bringing back “the guilt gifts”, participating in traditional festivals. I started to feel that the authenticity of the village had been diluted as electronic devices, plastic toys, commercial drinks were inundating the place.
MK: Was there a particular image that you felt best represented the direction of your work in Cultures in Transition?
OK: I’d love to mention two of them: The first one shows how I was able to capture behavior without being an intruder. The second image, which was photographed close to the end of the project, shows how cultures were adapting to be inclusive of women.
Mrs. Thuji General Shop, Punakha, Bhutan, 2014
This general shop is located in the middle of nowhere. However, it is a popular place, as it is also a bus stop. Right from the onset, I marveled at the setting. I felt like I was watching an opera. The villagers were the audience seated in their luxury boxes, the performing actors the two goats. The play could have been called “The Advent Calendar.”
Aimoldir - Eagle Huntress - 7 years old, Sagsai Soum, Mongolia, 2017
Her charismatic looks and obvious bond with her falcon make her a favorite for photographers. I overnighted at her home and photographed her at 1 AM. After we were done, she asked me to show her all the images on my computer. To my surprise, her energy kept her up until 4 AM. My question was: “Are you going to be tired at school tomorrow?” Her answer: “We do get an excuse to skip class when we meet foreigners."
MK: In relation to your previous answer, do you feel you’ve maintained this aesthetic, and was it an obvious route for you to take? Did you ever pause in your efforts to take in everything that had happened up to that point in order to determine how to continue?
OK: At the beginning of the project, I photographed from a “grand scene” perspective. I wanted to show the environment, the interactions. I was further from the action. Towards the end of the project, I felt that the individuals were the catalyst to change (like Aimoldir). I wanted to photograph their “soul” as their regions hadn’t gone thru modernization yet. It was probably an unconscious decision, maybe a way to say my last goodbye to these people.
MK: Was Cultures in Transition always meant to be a book project, or was that something that was decided along the way? What was the process of putting together this project in book format like for you? I imagine the editing and sequencing process must have been grueling - not to mention the steps needed to print it to your satisfaction.
OK: Along the way, groups of images were released as portfolios, which ended up as chapters in the book. The early released images did not necessarily make it to the book, as I and my publisher went through 500,000 images to select 108! It was a grueling process, as each image needed to be integral to the storyline, to the aesthetic, to the layout. Geir Jordahl (my publisher from True North Editions) was instrumental in selecting the images. The entire process took two years from inception to delivery of the book at my studio. The first six months were spent laying out the project. The 2nd six months we focused on researching a press that was excited to print the monograph. We interviewed press from the US, Canada, Korea, China, Switzerland, and Italy. Many factors went into the final decision, the most important being the craftsmanship to produce an award-winning book. The next six months, I searched for writers for the foreword and the afterword. I showed candidates a dummy that the press had printed. I was very fortunate to get two outstanding writers (Anne Wilkes Tucker, Curator Emerita Museum of Fine Art Houston; Peter Finke, Professor of Social Anthropology, University of Zurich, Switzerland) that understood the philosophy of the book and wanted to share their personal stories to complement mine. I also wrote personal stories for all the images. The final six months were spent perfecting the images and the text (over 15,000 words), going to press twice for proofing, visiting the bindery in Milan to create a quality cover and collector edition set, and patiently waiting for the book to arrive at my studio. I might have forgotten to mention that the book was proofread over 50 times, and I still found a few typos, right before I was about to hit “print” at the press.
Grandmother and Kids, China, 2017
Horse Race at Torch Festival, China, 2017
Photo Studio at Torch Festival, China, 2017
Grandfather and Child, China, 2016
Traveling to the Field, China, 2016
MK: Part of the creative process also involves choices made in the use of specific equipment to achieve your desired results. Was it a difficult process to decide upon the best way to make the photographs you were envisioning? Was this also true of the printing process to exhibit your works satisfactorily?
OK: When I first moved to digital (2001), I was missing the “hand-made” printing, the look of silver gelatin prints. A few times, I thought of going back to film, but the inconvenience of traveling with film made it a non-starter. In 2010, I bought Gregory Colbert’s book, Ashes and Snow, and I fell in love with his printing technique. (Unfortunately, I never saw his traveling exhibit). After doing research, I found that Jon Cone printed his images and developed a special set of inks for this project. Cone later released a generic set of inks and the printing technique called piezography. I adopted piezography inks for my own printing. I mix 10 shades of grey inks, replace all the color cartridges in a high end Epson printer, create profile and recipes. The images are processed in Black and White and printed with the toning done with the inks. Once again I was back in the “hand-made” print, with a technique that can produce the deepest black I have ever seen!
To reproduce my prints in the book, we chose a 7-color Heidelberg offset press and 200 mg paper. I printed every image to book size so that the press could match their printing to mine. The pressmen were up to the challenge and thrilled that we chose the thickest available paper and 7 different shade of grey & Pantone inks. The result is astonishing!
MK: What do you feel you have achieved in telling the stories you’ve captured with your photography?
OK: The idea was to produce an award-winning book and a traveling exhibition with technical excellence and compelling stories. The results are beyond our belief, with the book winning EIGHT awards for best photography book of 2019, and the exhibit traveling non-stop since the premiere in December 2018 (and booked until January 2021). The first edition of the book is almost sold out (900 copies Limited Edition, 100 copies Collector Edition). Remainder copies can be purchased at www.culturesintransition.com
MK: Any exceptionally interesting stories from one of your shoots?
OK: My first story… Gaining access is a challenge. On my return flight from my first trip to Bhutan, I met a Bhutanese painter, who became my local guide and invited me to stay overnight in one of the monasteries he painted in Eastern Bhutan. To this day, I am the only Westerner who slept inside the monastery and witness the monks’ morning ritual. This was an unforgettable moment.
Morning Ritual, Eastern Bhutan, 2016
Rain or shine, the monks gather on the main square to start the day with meditation. The combination of the celestial sky, the light in the monastery, and the dedication of the monks was mesmerizing. The silence was powerful. Monks of the Buddhist religion practice meditation for enlightenment through inner awareness and experience, with the hope of helping others and understanding the “true nature of our lives.”
And a second story:
On a return trip to Ban Yu Li Village (Fujian Province, China), I had brought back images to give to the families. When I handed over the images, one of the men started to cry. It was the only memory of his wife that had passed away way too young. As Anne Tucker wrote in the introduction of the book: “Both Klink and I hope that family histories and some of their traditions will travel with the younger generations as they leave the rural for the urban. Maybe Klink’s images, given to the sitters, will be used later to spark memories, just as they have for his in-laws who left China decades ago.”
She Ethnic Minority Weavers Ban Yue Li Village, Fujian Province, China, 2015
I was in awe to discover the bond between the mom and daughter as well as their connection with their machine. The precision of the task was not deterred by the aging equipment. They worked in unison, the rhythmic noise was pleasing to hear. The quiet voice of the little girl added to the symphony.
MK: Once you have maintained a successful career as a photographer, is there ever any pressure to outdo yourself or continue to prove yourself?
OK: The timely release of the next project might put a lot of pressure on you. In the social media world, we live in, it is hard to go “dark”. As soon as you are out of the limelight, you may feel irrelevant. As an artist, you have to follow your guiding light, produce work that is authentic and of personal nature. One of my mentors, once told me: “Resist the urge of publishing half-baked images. Build relevant projects that stand the test of time”.
Bolatbek - Eagle Hunter, Mongolia, 2017
Khuatkhan - Eagle Hunter, Mongolia, 2017
Khaizim Janerke - Eagle Huntress - 16 years old, Mongolia, 2017
MK: What do you feel is the best way for you to grow as an artist? Are there any fears behind treading new waters?
OK: You have to build a solid platform, keep creating, and not be scared of taking risks - controlled risks. As a successful photographer, you have the responsibilities towards your patrons, collectors, and people that have carried you along the way. These people will embrace your new creativity, as long as they feel you are true to yourself. In parallel you reinvent yourself, you work on individual projects, new techniques, new approaches. These images might never be published, but it is the fuel that keeps you going.
MK: Do you collaborate with like-minded individuals on projects, or do you find it more productive to handle everything yourself? Are there any collaborations in the past that have been particularly beneficial?
OK: The internet has been a great tool for research and communication. Collaboration is no longer restricted to a physical location. I have collaborated with scholars in foreign countries to brainstorm on and validate ideas. I received a fair number of requests to collaborate after I successfully published Cultures in Transition. It is great to be able to give back to the community of photographers. However, I have found that long-term collaboration is invaluable as both parties can leverage the history of the relationship to move forward.
MK: With regard to creativity and the projects you take on. Do you feel it is better to create work that fits a particular style for yourself, branch out and try new things, or better to simply leave yourself open to possibilities that happen organically?
OK: I tend to work on a few projects simultaneously, except in the last two years when I was head down producing Cultures in Transition. During that period, I did miss the impromptu shoots, the projects that slowly percolate. However, what came out of this creative hiatus is the concept to produce a short film.
Great Buddha Dordenma, Bhutan, 2014
MK: I always like to ask those with a lifetime of experience in photography if they have any thoughts or advice for those willing to take the plunge into photography as a career. Any words of wisdom?
OK: The first thing is to leverage alumni at your university. Talk to people that have been able to make a living with photography in your neck of the woods. It will give you an idea if it is the lifestyle you desire versus a dream that you inspire. In my experience, being business savvy, building comprehensive marketing programs, and liking the interaction with customers will prepare you for a breakthrough. Writing skills are also paramount. And finally, you want to “live and breathe photography”.
MK: How do you see your work progressing into the future? Do you have anything new you are currently working on that we should be on the lookout for?
OK: I am producing a short film about “The soul of the Eagle Huntress” that will premiere at the Asian Art Museum in San Francisco on October 11, 2020. I secured sponsors to invite Aimoldir, 9 years old, the main character and her dad to attend the premiere. Their first trip outside of Mongolia. Exciting! Meanwhile, I will continue to share stories about Cultures in Transition at two upcoming solo show receptions: March 4, 2020 (Orange Coast College Museum, Costa Mesa, California), and April 3, 2020 (ArtArk Gallery, San Jose, CA). Starting 2020 with a bang!
To stay up to date and for additional events, please visit www.culturesintransition.com
You can also visit the website of Oliver Klink here.
All photographs, ©Oliver Klink.
