I was in this old Mosque and I just turned to my left and that shot was there. All the angles were right, all the lines were moving, everything was right. All I had to do was take a half step to my left. Everything lined up and I knew that was it. That was the shot...That’s a very complicated photograph; the dark areas, light areas, white against black, black against white. It’s very complicated and that’s a very straight...digital print made for me by John Paul Caponigro at his place up in Maine. – Richard Gere, Le Journal de la Photographie 4.30.2011
Richard’s photographs from “Pilgrim” are clearly made from the heart. They are not only pictures that you are informed by – but they are images you feel. Richard’s images speak to our soul by exuding spirituality, compassion, and atmosphere. Richard’s “Pilgrim” photographs formed by his experiences, defines what he represents, and documents his social, spiritual, and cultural encounters. The underlining thread of his photographs is his fondness for the people of Tibet as well as his extraordinary ability to document the livelihood of the enduring people who reside within these unfamiliar and mysterious places with dignified simplicity. – David Fahey, Fahey/Klein Gallery
Lobsang Tenzing, Daramsala, 1981Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles
Ulan Bator (The Arrival of His Holiness), Mongolia, 1995Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles
Angels, Shekar Monastery, Tibet, 1993Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles
There are usually three shots. If it’s a difficult light situation like this where the shutters going to be open one, two, three seconds – from my own experience of my work, one of those three is going to be the one I want. It’s not always that one is sharper than another; whatever it is, one’s going to feel right to me if I do three of them. Sometimes it’s so dark, I can’t even see it, and I’m just sensing that there’s something there. There’s one in particular I took in a Monastery. It’s these two angels that are hovering there. (Angels, Shekar Monastery, Tibet, 1993) I could barely see anything when I took that shot, but I knew that the shot was there and I knew I had to take it “now.” – Richard Gere, Le Journal de la Photographie 4.30.2011
Photography can open a doorway that can lead us into a new world, expands our horizons, and shows us exciting and challenging possibilities. Richard’s photographs allow us to engage the world and renew our perspective by reinterpreting what we think we know – leading us through that doorway. – David Fahey, Fahey/Klein Gallery
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I spoke with Richard Gere for Le Journal de la Photographie about his photographs, his book and exhibitions, and about his extensive photography collection...read the entire Interview here
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