Gabrielle Motola: On Being A Photographer
“Making a life is my most important creative vision, and my work comes from that, but my work also enriches my life”
Gabrielle hails from the US and is an award-winning photographer. She comes from a background in motion pictures where she worked in film editing and colour grading. She graduated in psychology and photography and recently embarked on a post-graduate degree in Therapeutic Photography. Gabrielle is also a writer and educator and is best known for her Street Portraiture. She teaches workshops worldwide, lectures and mentors privately and at universities and colleges. Gabrielle is based in London, and when you don’t see her on the streets with her camera, she's exploring the world on a motorcycle.
© Gabrielle Motola
JLH: Tell us about yourself, where you're from, and why you moved to London?
GM: I have a fairly mixed background, having been born in New Jersey and moved around several times before the age of 10. I've lived in cities such as New York City, Montreal, Reykjavik, Paris and Chicago, but I spent many of my childhood, teenage, and University years in South Florida. After graduating and working in New York, I was offered a temporary job editing a documentary film in London. When it was finished, I travelled for a few months before I decided what to do next. Having studied photography in Paris during my junior year of university, I knew I wanted to spend time living in Europe, I thought in Paris. Eventually, though, I was offered another job in London and met someone a week later. After that relationship ended, I found I’d fallen in love with London and have lived here ever since.
JLH: You have a background in motion pictures, photography, and psychology. What inspired you to pursue a career in these fields?
GM: I switched from an engineering degree to motion pictures and psychology after being blown away by a BBC interview with Michael Cain, where he demonstrated the use of blinking to strengthen or weaken a character in the audience's eyes. This made me want to study psychology, the study of the mind, and film. As my university didn't have a course in cinematography, I found photography in my second year as I originally wanted to be a Director of Photography. The peace I felt making images and how I could make them independently suited my disposition. Photography didn't require teams of people or the complications that motion pictures necessitated. Shooting and developing movies was also much more expensive than buying rolls of film and developing them in student darkrooms. I fell in love with stills photography and decided to focus on becoming an editor to study cinematography from that perspective and continued shooting photography for the love of it.
© Gabrielle Motola
JLH: How has your background in psychology and motion pictures influenced your work as a photographer?
GM: I'm fascinated with the workings of the mind when it is well-adjusted, but particularly when it has been traumatised and has become maladjusted. Everything that we see that wasn't created by nature is created by us, and it all originates in the mind and is manifested, whether it be progress or chaos. As such, my work often revolves around society, how the mind works, and what it produces (or destroys) internally and externally.
JLH: Can you tell us about your experience as an educator in photography?
GM: Early in my career as an editor, I became aware of Final Cut Pro. When I returned to London, the industry in London was not using Final Cut to edit professionally. So I began installing systems and teaching AVID editors to use Final Cut. This eventually led to me consulting for Apple and the BBC. I moved into video colour correction and eventually began teaching that and editing. Last year, I began teaching a street portrait workshop I developed from my personal practice, which has led to more mentoring, private tutoring, and colour correction workshops for photographers.
© Gabrielle Motola
JLH: What was the most challenging project you have worked on, and how did you overcome it?
GM: The book I made in Iceland, "An Equal Difference," was the most challenging because I had to find a way to fund, develop, and complete it. It was also the first book I’d ever done of my photographs, let alone written. It began as a portrait series and evolved organically. I never intended to make a book when I began the series in 2013. When it became obvious that the body of work I’d amassed needed to be a book, I asked questions and researched how to self-publish it. I used a combination of crowdfunding and self-funding to get it made. I used myriad ways to write it. Voice notes, scribbles on A4 legal pads, word documents, and finally settled on Scrivener to help me compile it into a sensible format. Twenty thousand words is a lot to wrangle.
JLH: How do you approach creating a visual narrative or visual storytelling in your work?
GM: I believe in the power of ideas and using images to evoke emotions and connect with the viewer so that they are more receptive to exploring the story. In cinema, we call this 'suspension of disbelief'. To achieve this, I often start by thinking about the story or emotions I want to convey and then work backwards to determine my departure point. It doesn't have to be the beginning of what I ultimately create. It's most important simply TO start. Then by trial and error, photographing and reviewing my work and following the direction I'm led on, and staying open to how the work feels and what gifts I'm given (there are always gifts, often in the form of mistakes), I figure out how to capture it visually. I also pay close attention to the sequence of the images, as the order significantly impacts how the story is perceived. This is where my video editing experience has helped.
© Gabrielle Motola
© Gabrielle Motola
JLH: What is your creative process like, and how do you stay motivated?
GM: Change reigns supreme in my creative process, as I don’t like too much repetition in my schedule. I am acutely attuned to the messages my body sends me and the thoughts that flit across my mind, and I get curious about them, examining them closely to see where they lead. If I need to take a break, I don't push myself too hard, but I do reward myself when I accomplish what I set out to do. I keep my inner child content by listening to her and ensuring that she feels understood and valued, which, in turn, rewards me in the long run. Achieving a state of flow is critical to my creative process. I observe how I relate to myself, how hard I am on myself, and how I reward myself to help me stay on an authentic path. I have traditionally worked alone, but in the last few years, I have worked more in teams, which is exciting. When something captures my attention, I tend to hyper-focus. Conversely, I can't hold my attention for long if I'm not interested, so I pursue what feels right and examine what doesn't, hoping to find insights that will drive me forward.
JLH: Can you share with us your favourite photograph or project and why it’s your favourite?
GM: The notion of having a favourite photograph or project doesn't particularly resonate with me as my taste tends to change. However, one image immediately comes to mind. It is a black-and-white photograph I made of my friend Byron in a Nevada Desert hot spring using my Leica M6. I recall feeling enough like a legitimate photographer to purchase that camera in 2005 and enjoyed using it immensely. While Byron is physically striking, he is also internally an exceptional human being. Somehow, my photograph conveys this inner beauty and transcends his physical appearance. Despite his typically masculine presentation, it has a serene quality and feminine elegance. It was a surprise for both of us.
© Gabrielle Motola
JLH: What do you think sets your work apart from others in the industry?
GM: I’m not sure if I’m the best person to answer this. People have said they get a strong feeling of to the people in my portraits and that my colour grading is recognisable. I don’t want to have my work set apart as that would be isolating. Yet simultaneously, I have that very human need to be seen, which is to say, feel special. I would rather have my work be part of "the great conversation". As my work is a product of every image I’ve ever seen, just run through my own special meat machine, it is by nature part of this medium, this industry, this world.
JLH: How do you approach working with subjects to capture the perfect shot?
GM: I find the concept of perfect problematic. However, I create a space for the subjects to fill. Along with the light, an emotional connection is the most crucial element in the photograph.
JLH: What are the key elements that make a great photography project?
GM: When it comes to what constitutes a great photography project, passion, research, and a well-informed visual palette are vital. Effectual communication with your subjects and team (if there is one), the capacity to present persuasive ideas, establish a strong, cohesive look that conveys intention, and produce images that elicit emotions are crucial. Rather than commencing with a preconceived hypothesis to substantiate, I prefer permitting a project to evolve from my curiosity and interest in response to my discoveries. This approach allows my projects to develop organically. I maintain a balance between discipline and the adaptability to alter my perspective and shift directions when necessary.
© Gabrielle Motola
JLH: How do you balance your creative vision with the practical constraints of a project?
GM: Practical constraints often improve creative vision. Limited resources mean that I have to balance my vision with the available resources at any given time, which results in a compromise. However, limits are what make creativity thrive. When facing constraints, I have to think creatively to solve problems. I inevitably wish for more resources, with time being the biggest. Balancing earning a living with making a life is challenging. Making a life is my most important creative vision; my work comes from my life, while large parts of my life come from my work.
JLH: How do you stay motivated and inspired during challenging times?
GM: Habits can be a great facilitator of motivation. Doing something every day creates a habit, so eventually, you don't have to pour energy into deciding each time. I pay attention to my body and mind and provide them with the necessary support. I ensure that I am taking care of the basics, such as sleeping, eating well, exercising, staying connected with loved ones, and incorporating a healthy mix of downtime and discipline in my routine. Exercise is essential, but so is the enjoyment of it. Sometimes, riding a motorcycle is more effective than hitting the gym. When unmotivated, I try to get outside and experience the world unless my mood results from exhaustion or stress. In such cases, I prioritise rest.
© Gabrielle Motola
JLH: Can you talk about a time when you had to overcome self-doubt or creative block, and how you overcame it?
GM: I remember hitting a wall in Iceland while writing my first book. All the doubts and fears crept in - who was I to think I could write a book? What if it was terrible? The negative self-talk spiralled out of control, and I found myself stuck. I knew I needed to get out of my head and into my body to break free from this creative block. So I went outside to the backyard and jumped on a massive trampoline until I was exhausted. I lay down on it, watching the sky and listening to the birds, and slowly but surely, my thoughts began to flow again. I ran back inside to write them down, and I realised that sometimes the best way to overcome self-doubt or creative block is to take a break, relax and recharge. It can be tempting to push through and try to force yourself to be productive, but often the best ideas come when you give yourself permission to step back and just be.
JLH: How do you approach balancing the artistic and commercial aspects of your work?
GM: Balancing my work's artistic and commercial aspects is something I approach with practicality. Income is essential, but so are integrity and growth. I do not take on jobs I don't want to do or get a bad feeling about. My personal work inspires and drives my commercial work, and in turn, my commercial work supports my personal work. Sometimes, my commercial work even informs my personal projects. I find joy in the commercial aspect of my work and take pleasure in using my skills to serve the needs of others. It's a unique challenge that allows me to explore places I might not have ventured to if I were solely focused on my personal projects.
© Gabrielle Motola
© Gabrielle Motola
© Gabrielle Motola
JLH: How do you approach incorporating different styles and genres into your work?
GM: I immerse myself in what I like when incorporating different styles and genres into my work. I explore various examples and sometimes copy until I depart from them. I build my visual palette like I do my oral one; by eating variety and trying new things more than once. I draw inspiration from multiple sources, including images, films, books, art, architecture, food, surroundings, sounds, and languages. I avoid the negative rumination of 24-hour news media cycles. Still, I remain informed about the broad strokes by talking to people and occasionally skimming headlines that pique my interest. I realised long ago that paying attention to the entire world is optional. It's more critical for me to pay attention to what is happening in my immediate environment. I accept that I can never know all-of-the-things. I move towards what I enjoy and challenge myself with new experiences. I feel plenty of fear, but I work on not allowing fear to hold me back, and I reward myself for taking chances. The result is a fusion of different styles and genres that eventually blend into my style, which is my taste seasoned by my limitations. I am naturally drawn to capturing images of people, places, and things, and I find joy in seeing how they look through my lens.
JLH: Can you talk about a time when you had to overcome a creative or technical limitation, and how you overcame it?
GM: When I started working with infrared photography (digital) I needed help grading the images. Working with channel-swapped IR colour felt like I was trying to put a fitted sheet that was too small on a bed. I'd get one corner down, and another would pop up. I just couldn't get it to work. So, I reached out to a friend who is a renowned colourist. He helped me grade the first images I created and published in "An Equal Difference," which were my first attempts at IR. Since then, I've persevered and continued to work on it through trial and error and reading about the process. Although I still get stuck sometimes, walking away and returning after some time helps me see with fresh eyes and a re-energised mind.
© Gabrielle Motola
JLH: What advice would you give to someone who wants to pursue a career in photography?
GM: If you're considering pursuing a photography career, it's important to understand that it's not necessarily a linear path, and each journey is unique. It can be challenging but incredibly rewarding. Instead of focusing on potential struggles, view them as opportunities for growth and learning. You may need to supplement your income with a secondary job, but consider choosing something that still fuels your creativity and passion and doesn’t leave you drained. I find the people I work with influence that more than what I do. Remember that the industry constantly evolves, and adapting and staying open to new opportunities is essential. While there may be obstacles, there are also countless possibilities and paths to explore. Keep honing your skills and developing your unique vision. Create relationships with people and nurture them. Don't be afraid to seek mentorship and guidance from people whose work you admire and respect.
JLH: What has been your experience with UPC?
GM: My first encounter with UPC was during a walk with Fujifilm, and since then, I have maintained contact with Jovis. I appreciate the wonderful community she has built, and I have attended several walks organised by UPC since. Additionally, I had the privilege of sharing my process and thoughts on street portraiture during one of the walks. Overall, my experience with UPC has been positive, and I look forward to more opportunities to connect and collaborate with the community.