Interview by Michela Coslovich
All Images © Magnus Holmes
Magnus Holmes (Massachusetts, 1999) is a documentary photographer with a particular interest in environmental portraits. Currently based in New York, he grew up in Portland (Oregon) where he became fascinated with human connectivity and bonds at a young age. These two interests drive his free and personal photography work, which works to examine the relationships people and objects form. His aesthetic tends to acknowledge the subtle emotions that appear between subject and photographer. The realization of this connection enables him to create rounded authentic images, and further convey the subject’s purpose.
Michela Coslovich (MC): Greetings Magnus, and a warm welcome to Pellicola. We’re delighted to have you here. To start off, could you kindly provide an introduction to yourself? Additionally, we’re keen to learn about your initial foray into the realm of photography. What sparked your interest, and how did you approach this captivating art form in the beginning?
Magnus Holmes (MH): My name is Magnus Holmes, I’m a 25-year-old portrait photographer with a particular interest in environmental portraits. I was born in Boston, which is where my family still lives, but moved to Portland, Oregon with my mom when I was 2, as it offered a better life. I’m still based here, living in the south west quadrant, although I’m relocating to NYC next month. Growing up I got really into editing call of duty montages (otherwise known as call of duty edits) with my online friends. Here is an example of what I’m talking about. Anyways, this happened somewhere around the age of twelve. Being able to independently create something visual, cool, and stimulating naturally lead me to filmmaking, which I started in high school. Unfortunately I realized pretty quickly that when it comes to making videos, it is hard to make something truly “good” without having a team to help. Over time I started using video cameras for videos and started using it for photography. My love of photography naturally blossomed from there.
(MC): Reflecting on the genesis of your fascination with photography, could you share the story behind how your interest first blossomed? Were there influential figures in your life who passed down this passion, or did you independently unearth and nurture this captivating enthusiasm for photography?
(MH): I don’t know if there was a specific moment or solo inspiration that got me into photography. The first summer I really got into it, I had no job and would go to this huge book store, Powells, in Portland everyday. It’s legit like 5 stories tall and an entire city block wide. They had this huge photography section so I would just pick out a few books, sit, and look through pictures for hours. I was broke and never purchased anything. The first names that stick out to me during this period were Ryan McGinley (The Kids Were Alright had JUST been published and I read the whole thing in one sitting), Peter Garritano (a now online-friend of mine whose work I found poetic and really admired, Ren Hang (a true master), John Cohen, David Chancellor, Alec Soth (obviously), and Michal Chelbin’s book Sailboat and Swans which I consider to be the biggest inspiration to my photography. I will say, growing up my mom shot a lot of film. I think this subconciously also had an affect on me.
(MC): Your projects frequently serve as an objective reflection of everyday realities. Could you elaborate on how your artistic research unfolds in this context?
(MH): I tend to do a lot of thinking and brainstorming before doing a photoshoot. I’m not a fan of shot lists, I prefer to come up with poses in the moment. Moreso, I think about the subjects, research them, try to understand them as much as possible in advance (since usually I don’t have a ton of time with them). This helps me to build a more accurate, and objective photo of them that is still beautiful (I try to balance the two). When it comes to finally doing the shoot, I do a lot of world building through moving furniture, positioning elements, creating engaging but unnoticeable lighting, etc in order to make a shot that looks objective, natural, democratic but is actually constructed. I’ve realized through photography that you often need to put in a lot of effort to make a frame in camera look how the scene looks to the eye in real life. If that makes sense?
(MC): In your project “Roommates,” as you delve into the dynamics of shared living arrangements, you seek to understand the underlying motivations that drive individuals to cohabit. In exploring this, do you hold the perspective that the physical environment plays a significant role in shaping human relationships? If so, could you elaborate on the specific ways in which the surrounding environment might influence or impact the dynamics of interpersonal connections within shared living spaces?
(MH): Thanks for touching on this. I see it as a two way street. Physical environments, inherently, affect those whom occupy them and therefore affect the relationships they have to those that they share those very spaces with. I frequently think about the first apartment I lived in after moving out of my childhood home – which wasn’t impressive generally but had a large kitchen with huge panel windows on each wall. Additionally, it shared an alley way with a preschool. Every afternoon the sun would shine directly in, and you could hear the sounds of play as children were let out for recess. At the time, my roommate Nora and I would only ever hang out in the kitchen. We barely decorated the space in comparison to our personal bedrooms, but it was the best feeling spot in the whole apartment. We made breakfast for dinner, spoke about the latest in pop culture, and did homework together. That room made us great friends and we still are to this day. I can’t see our friendship being what it is now without that kitchen. At the same time, when it comes to living spaces, roommates have a big opportunity to craft and transform their residence, making a house into a home. From photographing various living spaces, I’ve seen how the energy put into home is often reflected back onto its occupants. Small changes to shared spaces (such as the living room) in particular, can cause roommates to spend more time together, enhancing their relationship. I swear, time and time again, the roommates I’ve met who had the most personal bonds were the ones who collaborated the most when it came to their shared space.
(MC): Could you share the pivotal moment when the decision to initiate this series materialized? Furthermore, were there specific inspirations or influences that significantly contributed to the conceptualization and development of your project? Delving deeper, how did these elements shape your creative process?
(MH): Roommates grew from an interest in the formation of platonic relationships in college as well as a strong desire to simply start a photo project. I was curious about how student residences came to be, and the ways they evolved over time. I wanted to understand why certain pairs of roommates worked altruistically. Was it due to their personalities? Did the environmental aspects of living spaces have an effect on relationship tension? These were just a few questions I had. After shooting a few pairs of college students whom my girlfriend at the time knew, my interest widened. I became curious about older sets of roommates and other platonic dynamics. I wondered about the factors that led to middle-aged non-students living with others. Surprisingly it wasn’t solely due to economic reasons. Many of the older roommates I’ve talked to simply wish to live with platonic friends who have similar interests and beliefs. I’ve learned through shooting the project that people who are roommates give and take from each other, in order to live more balanced lives. This could be through material things like sharing objects, making food, etc. Or it could be socially. I’ve learned that specific people often play the role of caretaker, cook, the empathetic one, etc.
(MC): Hence, in your perspective, does photography serve as a means to not only capture but also analyze and interpret the nuances of reality? Could you delve into how this medium facilitates your exploration and understanding of the intricacies within the world around you?
(MH): Well, I think a big reason that I love photography is because it gives me an excuse to meet/understand strangers, or develop a deeper relationship with those I already know. For me, I don’t think the actual photos help me to understand or process reality and culture, it is more the social element, of going out meeting others and having a shoot that gives me the chance to do those two things (in the moment). Without photography I don’t think I would be actively curious or eager to put myself in uncomfortable situations. It has really been a blessing in the way that it has fulfilled me socially. One other note: To do any sort of “documentary” photography, I think you need to adopt a conscious sociological imagination. That is, being actively aware of the social structures and patterns that cause individuals to behave the way they do. Doing photography in the field has really enhanced this type of perspective for me. Once you get in the habit of looking for an interesting, and at least slightly journalistic, photo, you start to notice the smaller details in people. Observing this sort of thing has made me more keen to wonder about others and explore all of the elements that contributed to where they are in their life.
(MC): Can you provide insights into any forthcoming project ideas you are currently conceptualizing or planning? We would love to hear more about the themes, inspirations, or unique aspects you envision incorporating into these potential projects.
(MH): I don’t want to share too much, but me and my friend John Christian Rose, a designer based in NYC, are hoping to fly down to Texas in the upcoming months to work on a photo project that related to family, indy sleaze, and a bit of history. I am the type of person to wait for something to inspire me or spark my interest. The topic of this project is definitely doing this for me. I’m really excited about it and hope that we can make it happen this year.
(MC): What artistic endeavors do you envision for your future? Could you provide insights into the directions you aspire to explore, any emerging themes, or innovative techniques you plan to incorporate into your upcoming projects?
(MH): I would love to do some photo project based around a specific location that I can have a relationship with. Somewhere that I can go back to repeatedly and make work. I’ve wanted this for a long time but haven’t quite found the right place yet. I’m hoping my move to east coast assists with this. Additionally, I would love to continue to do more and more editorial photography. Random assignments from publications are such a blessing when I get them and can be a quite thrilling experience.
(MC): Thank you, Magnus. It was truly a pleasure engaging in this conversation with you.
(MH): Thank you so much for the opportunity and for having me!
