MJ Bernier - An Interview
It's been a while since I last posted an interview. I have been so wrapped up in personal projects that they have taken priority, but here I am, back with a beautiful photographer that I hope is going to knock your socks off. Let me introduce: MJ Bernier.
When I first started talking to Bernier she was living in San Francisco but she is now relocating to Brooklyn quite the change of scenery and frankly I'm excited to see the work she creates there. Through the wonderful world of Facebook MJ and I became friends and conducted our interview through the FB Chat. So, let's not wait any longer, mixed within her stunningly sharp photography are MJ's answers.
How long have you been shooting on film?
I have been shooting on film as early as I can remember. My mother was a photographer and as a child, I would play with her cameras. I just thought they were the most magical contraptions. She had this one canon with the longest lens and whenever she used it, I just thought she was the coolest person to ever live. I am also of an age that 35mm was pretty common when I first starting playing with pictures.
Do you think you see her style or influence in your own work?
Yes, I was lucky to have such a creative mother (although she'd never admit to being such!). I am sure her style influenced me. Thinking back on the few photographs she had framed on the wall, Her use of natural light and capturing people was effortless. She was definitely a hobbyist and I think in many ways, she would have pursued it as a career if she wasn't a single mother with two small children. She has told me before that I followed on the path she left behind which makes it all even more special and meant to be.
Have you ever thought of moving in to film?
I actually work exclusively in film and television career wise. Personally, I have made a handful of music videos and short films. In college, I studied photography but decided to do my first documentary film as my senior thesis with a combination photography exhibit. I noticed a lot of my work then mirrored film stills and it was a natural progression. I love working in video and find it's my main outlet for creative expression. It's most natural to express myself through moving pictures although I still love still work and am constantly taking photographs.
That's quite a beautiful transition! In terms of inspiration for these works of art where do you pull it from?
Thank you. It really does depend. I tend to find something that pushes me to make work through tragedy or change or a need for change, whether this is inspiration- maybe. It feels more like a catharsis or therapy. For instance, I drew the beginning narrative for my last film Time as My Sister from my past experience of being mugged at gun point and how that lead to a loss of safe space and home for me. Making the film really helped me process the event and take back my right to occupy public space without fear. For the portraits, The inspiration really comes from the person being photographed. I like creating an outlet for people to be exactly who they are or even whatever they might want to be in the moment- wherever they want. To me it's difficult to not feel judgement or objectification from men when I go into the world, I do my best to create a world where this doesn't exist for them. Maybe I'm tying to manifest it.
I really like the thought of art evolving from within us and exploding outward. So what cameras do you shoot on?
Ya, me too! My favorite 35mm is a Nikkormat FT2. It was a gift from a friend. His grandfather's camera from WWII. It's also the one I have the hardest time keeping from breaking. I also shoot on a Pentax S1a and a Konica C35. I used to have this splitframe Petri that I loved so much but it sort of just disappeared one day. When I shoot video, I typically use the Sony FS7 or Canon 5D.
And how do you choose the right camera for the shoot?
For still work, I just go with what feels right when I am packing the night before a shoot. I usually bring 2 or 3 so I can play around and experiment with different looks/formats. For video work, it's a lot based on if it's run and gun or dolly work. Of course, It depends on the video I am shooting and what will get me the best outcome. Every camera has a strength and a weakness.
What kinds of things have you learnt through shooting on film? Is there any advice you would give someone who wants to start?
My advice to someone who is just starting would be to learn the basics and then just play. Experiment and be limitless. Try different formats and types of film. Try different kinds of cameras. When you find what is right for you- it just feels natural, like an extension of you. It took me a long time to figure out what felt right for my work. Spending a lot of time in a dark room when I first started was pivotal. It's a physical and tactile connection to the process. It allows for control and manipulation of the work every step of the way. But mostly, it's just magical.
"But mostly, it's just magical." Isn't that the most beautiful ending to an interview you ever did hear? I think so.
These photos are from MJ's latest photographic exploration of Love. The interaction between photographer and subject in the first photo is perhaps my favourite. This break through from observer to player is not disimilar to the work of the New Journalists Tom Wolfe and Hunter S Thompson. Photographers are so often watchers, the invisible almost never thought of that this 'through the looking glass' style is so intriguing and exciting.
Please see more work by Melissa Joy Bernier here:
www.melissajoybernier.com // twitter & instagram @ohmjbernier
If you like what you see, or you shoot film too and want to be featured? Drop me a comment below and show some love!
The End.