Photographer based in Los Angeles, CA, USA
Paloma Dooley, Portrait of the Photographer. Photo credit Nico Young
Tell us about yourself, what's your background?
I grew up in New York City. My dad was an artist and my mom taught elementary school so I spent a lot of time around creative people and in spaces where people were taking learning, art, and art-making, seriously. When I was ten my family relocated to Roswell, NM, so my dad could focus on making his work, and I first fell in love with landscape there. Photography was an easy way for me to try to keep what I loved about the landscape, but could not truly own, like special boulders, fleeting light, and other peoples' gardens.
Radium Drive Lot Lines, 2023
Inkjet Photograph from Large-Format Color Negative
32" x 40"
“I wanted to use photography as a tool for exploration and wonder. I've always loved climbing hills around Los Angeles and I thought hills would be a good starting point for a new project. I work really slowly, so it's not unusual for me to work on one photo project for anywhere from two to six years."
Dead Man’s Curve, 2023
Inkjet Photograph from Large-Format Color Negative
32" x 40"
What are you currently working on and where did the inspiration for it come from?
I began my ongoing body of work, On Hills, while I was an artist in residence at Quinn Emanual Artists in Residence in spring 2023. The residency gave me time and space to start a new project for the first time in years, and I wanted to use photography as a tool for exploration and wonder. I've always loved climbing hills around Los Angeles and I thought hills would be a good starting point for a new project. I work really slowly, so it's not unusual for me to work on one photo project for anywhere from two to six years.
Flat Top Park, 2024 Inkjet Photograph from Large-Format Color Negative 32" x 40"
Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?
When I feel stuck in my practice I go back to my garden. I'm always pleased to see my plants—vegetables, herbs, flowers—doing the gentle work of living and growing. Focusing on their life cycles can help me let go of stress in my life that distracts me from being able to make my work. I'm trying to think of ways in which plants can innovate—one year I saw my sugar snap peas outgrow their trellises and start grabbing onto tree branches and fence posts. I like how plants can make do with little.
These are images of the process of making contact sheets in a color darkroom. I like proofing my negatives so I can see what I'm working with. It helps me when I have to scan/digitize my negatives later in order to make large inkjet prints.
Describe your practice and process. Where do ideas start for you? In the studio or being in the world?
My ideas come from moving through and looking at the built landscape of towns and cities. I usually see places or things I want to photograph when I am in the car going from one place to another—home to work, errand to errand—and I put a pin in my mental map so I can revisit the place at a later date and explore it on foot. Sometimes I drive by something for months or years before I feel ready to photograph it in the right season, right light.
After I scan my negatives I clean off any dust or minor scratches in photoshop, then I get the color on the screen as close as possible to the color in the contact sheet. I love how sharp and saturated color darkroom prints look—the materials (film, color paper) are truly made for eachother and I find them so beautiful.
How do you make your work, does it start with a sketch?
Sometimes I take a picture of something on my phone before I'm ready to revisit the site with my view camera and photograph it "for real." It's like making a preparatory sketch for a larger work, or like making a note of a place I want to return to. In terms of style, my hope is that my photographs are plain-spoken but also intricate and generous. I want the viewer to feel invited to look for a long time.
After I scan my negatives I clean off any dust or minor scratches in photoshop, then I get the color on the screen as close as possible to the color in the contact sheet. I love how sharp and saturated color darkroom prints look—the materials (film, color paper) are truly made for eachother and I find them so beautiful.
Many artists live by their routines, what does that look like for you?
Much of making my work happens outside, when I'm shooting. When I'm in the studio it's time for scanning, editing, and printing. I like to make pots of tea as a way to sort of break up the long days on the computer. It's a good way to introduce a rhythm of standing up, taking a break, and staying hydrated.
Portrait of Paloma Dooley. Photo credit Nico Young
Who are your biggest influences?
Two photographers I've been influenced by lately are John Gossage for his complicated pictures of the built landscape and Larry Sultan for his incredible way of capturing Southern California.
Empty Cul-de-Sac, 2023, inkjet print from large-format color negative, 32" x 40"
Are there books or films that are an important source of inspiration?
John Stilgoe's "Outside Lies Magic" is one of the most influential books I've read. It's about acute observation of the world around you and it locates magic and beauty in the ordinary. Sometimes when I feel stuck I revisit Stilgoe's work because it encourages me to move through the world.
Mustard Flower Overgrowth, 2023 Inkjet Photograph from Large-Format Color Negative 32" x 40"
What is the best piece of advice you’ve been given?
My teacher Tim Davis used to encourage us to be intrepid in our picture-making. Sometimes when I'm feeling a little lazy and don't want to work, I encourage myself to be more intrepid.
What is the best advice you would give to other artists?
During covid I was part of a zoom critique group for photographers. Having that artist community and the regular deadline really spurred me on to create new work during a stressful and unpredictable time. My advice to other artists would be to invest in your community and spend time talking about art with people you care about.
Portrait of the Photographer. Photo credit Nico Young
Stay up to date with Paloma Dooley
Website palomadooley.net