Check Out Tom Finke’s Story

Today we’d like to introduce you to Tom Finke. 

Hi Tom, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
My story is a bit convoluted. I went to college and studied biology and chemistry but always took art classes as my electives. When I graduated with my BS, I pursued my Master’s degree in science and worked for a while in the field. After about two years, I knew that I was ready for a change. I continued to make images all throughout my studies and realized that I was much more geared towards art. I returned to graduate school to obtain my MFA in Fine Art. All the while, I continued to make personal images and to teach photography. After graduating, I worked on an advanced degree in education because I knew that in order to be a great teacher, you not only had to know your discipline but you also had to understand the dynamics of the classroom environment. I feel that being a working artist helps me be a better educator and being an educator, also helps make me a better artist. I have been working at my art since undergrad school and continue to work on independent projects both here and overseas. 

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
No, it really hasn’t been a smooth road. There are always bumps and bruises and twists and turns, but throughout all of it, I continued to make work. I think that with photography, since everyone has a camera in their pocket today, it’s seen as something that’s easy or that anyone can do. Personally, I don’t think that couldn’t be farther from the truth. It’s difficult, it takes discipline, commitment, dedication, and a clear vision. Additionally, with the cost of materials increasing all the time, the cost is starting to rise accordingly. Making analogue (physical) prints is not only time consuming but difficult as well. There are numerous pitfalls that one can encounter along the way from, exposing and processing the film, to the printing of the image in the darkroom and the final execution of the physical print.  There aren’t many galleries that show photography and that is one drawback.  Getting the work in front of the right people is always a challenge. I love making art but the challenging part is the marketing side of things. Marketing takes a lot of time and dedication, and quite frankly, it’s not nearly as exciting as making work. I heard one of the photographers, Josef Koudelka, who I hold in extremely high regard say, ‘if you want to get your work out there, make a book.’  He said, a lot of people can’t afford original prints but everyone can afford a book and they get to see more of your work that way. A few years ago, I decided that it was time to pursue making my first photo book. I’m not sure people understand how difficult that can be with the advent of Blurb and many of the other “on-demand” photo book publications. For me, the process took about three years. Working with the publisher and designer was rewarding but the process was complicated. First, the publisher had like the work I produced in order to agree to publish it. Second, was the selection of the work itself, which was narrowed down from approximately 500 images to 143 (71 in the first book and 72 in the second) and the sequencing of the final images. My publisher wanted original, exhibition quality prints which took me about three months to produce. Finally, as the book was being “proofed” the printed images could be compared to the original prints. Once everything was deemed “perfect” the book was printed, bound, and ready to show the public. It was a long process but, in the end, totally worth all of the effort. 

Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I’ve been photographing for quite some time now and have produced numerous bodies of work but I have always been drawn to photographing on the street. Most people would classify this type of work as Social Documentary Photography. I have recently completed two new bodies of work from Japan. One titled “The Spaces Between,” which deals with the smaller spaces the exist between the houses in Japan and the other is titled “Silent Spaces” and that work deals with the various small, unprepossessing places, simultaneously resonant and silent, within the fabric of urban Japan. 

One of the things I am very proud of are the two books that were published by Sokyusha Publishing in Tokyo, Japan of my Documentary Street images. The titles are “America: Footprints in Time 1982-2012” and “Japan: Footprints in Time 1997-2010.” There are still a few copies available of each book. I am still shooting film for all of my projects and hand print all of my images in my personal darkroom. I donate 20% of my books sales and a portion of my print sales to my favorite charity “Friends Without A Border” who provide free health care in SE Asia. My affiliation with Friends Without a Border spans more than 20 years, from assisting in organizing exhibits and events, to raising awareness of their cause. It is very near and dear to my heart. 

I think one of the things that might possibly set me apart is the constant balance between teaching and working with students, and critiquing their work on a daily basis and working on my own artwork. After a long and mentally taxing day at school, coming home to continue my own work can be, at times, difficult. Sometimes, I just want to rest but I always feel the need to create work, be it physically making images, drawing or brainstorming ideas, or thinking or researching the next potential project. It seems as though my mind is constantly spinning all the time.  Not that I don’t enjoy it but it can be physically and mentally draining. Life is always a balancing act, but at times a difficult one. 

We’re always looking for the lessons that can be learned in any situation, including tragic ones like the Covid-19 crisis. Are there any lessons you’ve learned that you can share?
Yes, no matter how difficult it might be, continue to produce work. When I reach a creative block, I read a lot. Mostly photo and art books but I think it’s important. Three books that always resonate with me are “Beauty in Photography” and “Why People Photograph” both by Robert Adams and “Henri Cartier-Bresson: Interviews and Conversations (1951-1998)” published by Aperture. 

Pricing:

• 6×9 Gelatin Sliver Prints $300-$600
• 11×14 Gelatin Silver Prints $600-$900
• 16×20 Gelatin Silver Prints $900-$1200
• The Books: America: Footprints in Time 1982-2012 & Japan: Footprints in Time 1997-2010 are $60 each signed
• Handmade Artist Books $125-$325

Contact Info:

• Email: tomjfinke@gmail.com
• Website: tomfinke.com
• Instagram: finkephoto
• Facebook: Tom Finke (the B&W image of feet in the surf)
• Twitter: Tom Finke

Image Credits
Tom Finke
Jake Belvin