Interview: Jesse Hebner
MARCH 2022 ● INTERVIEWS
Jesse Hebner is a true artist. As a film photographer based in Southern California, he has proven his creative genius over the years through a vast portfolio, which is primarily on display on Instagram (@thundrbunny_). That's not to say that his genius has been fully realized; Jesse is constantly adapting, trendsetting, and finding ways to bring something new to the table- not only for fans of his work but for himself as well. His work is unique and unmistakable. His output maintains a level of novelty that keeps other artists eager to examine and appreciate his perspective. Jesse has made a name for himself within the analog community through an unwavering pursuit to exhibit and revel in his passion. His eye for seeking out authenticity and beautiful imagery has also reinforced his role as a curator over at the Instagram-based feature page @filmtweakers.
Man, I am so glad to have you here with us in the Y35 lineup this month- this interview and feature is something I have looked forward to for a very long time. Your style and outright capacity for creating stunning analog images have always left me in awe. I'm always waiting to see what you'll come up with next. From the little interactions I've had with you over social media and from what I've seen you discuss publicly, I also heartily admire your "history," if you will, and the ways in which you've been able to overcome personal things in your life and keep negative habits at bay. We have some similarities there, and I can tell you I've most definitely looked at your work and progression over time for inspiration and reassurance. So, thank you for making a positive impact on the community and always keeping it real.
Just to get started, can you give us a little bit of background on yourself? How long have you been shooting film?
First off, thank you so much for asking me to be a part of this issue. It really means a lot to me, and I really appreciate what you do for the film community.
Growing up in Portland, Oregon, I was always surrounded by natural beauty and four very distinct seasons. The crazy thing is that I really didn't appreciate that until I came back with a camera. I was always drawn to art, music, creativity, and especially cinema. I was the kid drawing on everything with headphones in, thinking I was a character in a movie. I was also very drawn to photography in the sense of appreciation but not as an art form I thought I could ever understand. The idea that people go to school for photography was intimidating. Photos were really just captured memories to me, with no tie at all to artistic expression. I stumbled across film photography about two years ago, and it really changed everything for me in so many ways.
What was it that first drew you to film? What was the catalyst in getting that seed planted? How do you use photography as a healthy outlet to express yourself as an artist?
Like I said, I just fell into photography as a hobby through a close friend of mine, Joel Hendricks. He always has a camera with him, and I was sick of not understanding what the fuck he was talking about concerning photography. He let me borrow his Nikon for a road trip to San Francisco, and from the first sound of the shutter, I was hooked. Before photography, I hadn't had any healthy outlets for about 15 years. My outlet was in an empty glass on the bar, and later, in a used needle on the street. Photography has helped re-wire my brain. It gives me an addiction with no consequences. For a person who has never really slowed down to appreciate the beauty in each scene of the day, it has given me the ability to stay in that moment. The idea that I can capture that moment and feeling has been a total game-changer.
When did it first "click" for you? What was the moment like when you realized that this was the shit that was worth pouring your soul into?
That road trip to San Fran kind of instantly gave me a different perspective visually. As I walked around, I slowed down. I was in the moment, and I saw life in individual scenes instead of quick glances on my way to whatever destination. It's like a stunning view isn't as stunning three months later, and years later, you might not even notice or appreciate it all. It was my first intro back into the beauty around me I didn't see- the beauty in the mundane. When I got the photos back, all those feelings came together, and I had a motivation for something that was seriously long lost.
How often do you shoot? Does it take a while to get through a roll? Are you very meticulous and careful about what you shoot, or do you just blast away? Also, how in the hell do you find so many rad places and things to photograph??
When I first got into photography, the world pretty much shut down, so I had plenty of time. Unemployment paid for a road trip every weekend with the girlfriend. Joel Hendricks and I shot every day, and I always had a camera with me in search of the next destination. Now, life is busy again, and shooting is rare, but that has helped me keep the initial appreciation of the art instead of the outcome. I used to rush around at times to get a few rolls in by 2 p.m. so I could get them back that same day. The addictive personality in me wants results as soon as possible. Now, it's much more intentional when I shoot- much more of an extension of the experience instead of a drive to produce. As far as being meticulous, I'd say that I lean more toward just finding unique perspectives and shooting whatever. The only time I am more meticulous is when I'm shooting at night or with a model in a work environment.
You have a very dynamic range and complete skill set. All of your work just seems so clean. Whether you're capturing a neon sign, a classic car, a jaw-dropping landscape scene by the beach, or anything that entices you to shoot, for that matter, you seem to nail it with terrific execution. What is it about the way you perceive things that allows you to excel in so many realms within the photography world? How do you approach varying styles of photography- do you have a routine, or is your method more fluid in nature?
Man, sometimes, to be honest, it's difficult for me to accept compliments or admiration around my work because I've been doing it for such a short amount of time. I take so much inspiration from other photographers, including you, and that makes it difficult to take any credit. That being said, I do feel like there was some untapped natural affinity in me toward photography for sure. I really search for perspective, and I feel like that comes from my love of movies and cinematography. I'm always thinking about what I can crawl behind, look through, express with the foreground or background, what lights are available or not, and how I can use colors to find the uniqueness I'm looking for. I definitely would say that it's all based on the feeling in the moment. I don't have any preconceived notions until I'm there. I might have an idea based on where I am, but that often changes as I work it out.
Building on the topic of the wide range of subject matter found within your portfolio, what do you find most personally rewarding to shoot? What brings you the most joy when hunting out scenes and eventually pressing that shutter button? And I know from scouring your collection that you are no stranger to employing a variety of film stocks to illustrate your visions. What are some of your favorite film stocks?
I would say that what I find rewarding seems to change all the time. Probably the most constant would be night photography. There have been countless times when I thought something would not come out right or translate, and I have been really surprised by the outcome. Obviously, there have been letdowns as well, but I like living between the two and learning from both of those experiences. The hunt, in general, is addictive. I used to just drive around Costa Mesa for hours looking for cars because around each corner might be the one. That hunt, the act of photography itself, and the potential outcomes keep my mind in the moment. As far as film stocks go, I really just started buying everything and testing it out until I found my favorites. It's always going to be CineStill 800T at night for obvious reasons if you're a photographer. Nothing speaks to cinema like that stock. It can be shot during the day as well with great results. I love Lomography 400 for sunsets, golden hour, and overcast days. I pretty much always use Kodak Ektar 100 for bright days and Ultramax 400 for the unknown. Lomochrome Metropolis has become a recent fav for city stuff. I would say that Lomochrome Purple has been my most commonly used stock because it allows me to shoot something I find generic and turn it into a new vibe.
Can you talk about how or why you may use different stocks for varying purposes? Personally, I've always loved analog photography because of each film stock's inherent qualities and characteristics. As artists, these distinctions help us express ourselves and portray certain vibes beyond what the naked eye may observe in a moment or scene. How do you use these different traits to communicate your perceptions of the world, to breathe life into a moment as you see it?
Really, it's just using a variety of stocks in different settings until I find the one that works best for that particular kind of shot. Like I know CineStill 800T will give me a cinematic feel at night, a glow, and a vibe. In my mind, I don't really need to change a good thing, ya know? I've found each stock I talked about earlier, through trial and error, to be most effective for me in that particular environment. I also know that if something doesn't come out exactly how I might want, I can edit it to achieve that. That freedom has allowed me to just go shoot with no reservations in the sense of not needing to get the most out of each roll. Obviously, that would be the goal, but shots I thought sucked at one time have turned out to be favorites later on.
Who or what inspires you as an artist? What continues to fuel that creative drive and need to capture?
There are a few Instagram photographers I really admire and who have definitely helped shape my style. More than any photographer, though, cinema has been the biggest inspiration. All my favorite movies growing up have given me ideas, and I draw on those as I shoot for sure. The documentary style of Michael Mann, Terrence Malick, Alejandro Inarritu, and Paul Thomas Anderson have been huge influences. Like Licorice Pizza or The Thin Red Line- that's exactly what I'm talking about. The cinematography and different perspectives they use visually and in their storytelling have helped me keep trying new things and encourage me to step outside the box. Every shot in a movie is a still photo, and photography has allowed me to watch films with a different attitude or eye. This has definitely helped fuel my desire to continue creating.
I feel like this is a great time to discuss the cover of this magazine- it's like an album cover, and it's fuckin' rad. When we first discussed the origins of this image and the intentions behind it, you had mentioned that you felt a need to get re-inspired. This image was one of the first that may be a part of a longer series in which you rejuvenate that passion for film and reinvent your voice.
You suggested that you were growing tired of the "formula," but you were stoked to see how this new route had you excited again, pondering the relationship between photography and art. Can you elaborate on all of this? Can you talk about the meaning it holds to yourself as well as the spirit behind this image?
When I first started shooting, I was kind of trying everything to see what I connected with. Cars, sunsets, liquor stores, laundromats, neon signs, night stuff, long exposures, and so on. In the last few months, all of these categories, although I love each of them, have grown stale and generic to me. It all seemed kind of boring and overdone. I stopped carrying my camera as much and just focused on life shit. I gotta have something to tweak on, though, and the cover shot was born out of the need to expand, try new things, and find inspiration again. I had an idea in the beginning that whatever came out of the camera was supposed to be left alone. Slowly, I started editing and finding my aesthetic. In the past month, I just let go of any idea around what a photo should be or say. I let go of what others might think or what the purists might say and just tried to create for creation only. I enjoy taking creative liberties and doing whatever I want to my photo. It's my piece of art, and I can alter it however I choose. This freedom has turned what I might think is a generic photo into art that I can spend countless hours lost in, and I really enjoy that.
Looking ahead with your newfound creative spark and visions in mind, what's in store for you? Where do you see yourself taking your photographic exploits in the future, and how big of a role do you think creations will play in that process, like the one on the cover?
I really feel like continuing to experiment with photos artistically is a cool avenue. It seems to breathe new life into shots I've seen so many times. It's like that sunset I talked about being miraculous at first, then not being very noticeable down the road. For me, that's what happens to photos that just sit in my archives; they don't seem that cool or unique anymore. Now, I can take those stale photos and turn them into a new piece of art, which is rad. This is not to say it's all I will produce, but at the moment, it has opened a new door.
Can we talk about social media for a minute? This kind of follows with the "formula" we had just discussed. Over the past several months, I can't tell you how many times people have reached out to ask about their engagement dropping. They'll ask for advice on how to get more likes, comments, shares, followers, or they'll generally vent and seek reassurance that they're not the only ones being affected. I'm sure you've received some of this yourself. It seems that the algorithm employed by Instagram has prioritized reels, and the whole "game" has shifted. Folks are worried that maybe their content isn't as good anymore or that maybe their audience has grown tired of their style.
How do you personally reconcile this shift? And how do you stay authentic and manage to keep publishing your work, chasing your passion, free from this invisible grasp social media seems to have on artists? It seems to be distracting from what truly matters: the art. The fun. The emotion. It's like a weird, methodical game where the artists are now players who strategize rather than create. Do you have any advice to offer other artists on how to alleviate their fears and create and share work free from the shadow of self-doubt cast by social media? Any advice on how to stay genuine to oneself?
There has definitely been a noticeable shift. Social media has been strange for me because before I got into photography, I didn't really fuck around much on Instagram. When I got my first photos back, it was the only place to share them, so I started posting a couple times a day. Some positive reinforcement began to flow in as well as likes and followers. I hadn't ever been in a position where I could share something that would be potentially seen by so many people. I thought that likes, comments, and shares dictated whether my photo was good or acceptable in the community. The flip side was that when a photo didn't get a lot of engagement, I would get bummed. This early time on Instagram pushed me toward shooting and posting photos I thought people would like or that would trend well. To be honest, this still can pull at me sometimes. Just a few months back, thousands of people seemed to see my shit, and now my photos really don't get much love…but that's ok. It's ok because it doesn't fucking matter. Likes and engagement are a false sense of approval deliberately weaved into the game of Instagram in an attempt to keep you coming back for more- to keep you thinking that the value is in that number next to the picture. Instagram doesn't dictate whether your art is worthy or whether or not your picture is trendy enough to get a lot of love. It's an algorithm that I have no control over. I've gotten lost in the crazy of it, and it feels pretty good to let it all go. It's not reality. The flip side of Instagram is that it has allowed me to find a community, connect with people, drop some kind words or reinforcement, share ideas and feedback, and feel like I'm a part of something. We started @filmtweakers, which has been a rad way to share other people's work and encourage others to keep creating. The best advice I would give to someone sharing work on Instagram is to try and remember that each time you post a photo, it is inherently valuable. It's valuable because you made it and expressed yourself through it; it is your creation. It doesn't matter if a million people see it or if two people see it; it is art. Don't get lost in the crazy. This is advice for myself as well; I have to constantly remind myself to not get trapped in the bullshit.
Now, this question is one that I like to ask artists in most of my interviews as everyone always has a different perspective, and thus a different answer. Art, and film photography, more specifically, is special to everyone for their own individual reasons. And the sentiment behind this question seems particularly meaningful now more than ever.
There are many different reasons why folks choose to create art, or in our case, shoot film. Maybe it's to document the world around you, inspire others, express yourself in ways that are easier to convey through pictures, or maybe it's something else. What do you find most satisfying or rewarding in shooting film?
One thing I would like to say about film is that I appreciate the fact that I can't immediately see the results. I also have a limited number of shots, so I need to be somewhat intentional and patient. There's nothing like taking a shot and thinking it's gonna suck for whatever reason, and then it turns out rad. This is a good deal for me in a world of immediacy. Each photo I take says something to me. It might spark a feeling, a memory, a song might play in my head, or I might think of a movie. If someone else sees it, it could speak to them in a completely different way, and for me, that's the art of it. It's totally subjective. Another rewarding part of shooting film is that I get lost in it. Good results aren't the goal anymore; it's just about the activity itself. This whole process keeps the constant conversation in my head about whatever life is dealing me at bay. I can focus and be in the moment. Also, the aesthetic and vibe of film, the nostalgia, and the vast amount of stocks available, are all reasons I love film.
Alright, let's get a little more lighthearted here as we start to wrap up. Let's imagine you have the last roll of film on the planet- every other roll has been shot, and no more are going to be produced. You're also on your last frame. Here's the bizarre part of this already kooky hypothetical situation: whatever scene you choose to capture will be the last film photo known to man, AND you'll immediately get transported into a parallel universe of the scene you choose to capture. You'll exist there forever. What in the hell do you choose to shoot? What do you want the world to remember as the last analog image, and where do you want to spend forever?
Maybe a photo of a camera taking a photo? Or a picture of a man/woman taking a picture of a man/woman taking a picture? I don't know, dude. There are so many ways I could spin this question, but for the sake of all my other long-winded answers, I'll rest with that. Where do I want to spend forever? I'd like to spend eternity in the mind of the man/woman watching the man/woman taking a picture of the man/woman taking a picture.
Right on- that was a very interesting and unexpected answer. Alright, back to reality. Over the years, is there any day of shooting film that you just can't forget? One day or moment that brings a smile to your face every time you think about it? What was that day like? What was so significant about it for you?
I think those special days are a collection of memories around each road trip I took with my girlfriend in California. Everything was closed down, so we really had the world at our fingertips. It was the first time I felt passionate about something artistic in a long time. It was the first time I was in love in a long time. It was the first time I had traveled in a long time, and it surely was the first time I'd been happy in a long time. It felt like an adventure every weekend, and we kinda never had any set plans. We used to say that we were letting inspiration guide us, and it seemed to always take us to the most beautiful places at the right time.
Oh, since I'm moving to Southern California in about a month or two, help me out here- what do I need to be prepared for? What's the lingo I need to familiarize myself with? How does one set themselves apart from the crowd out on the West Coast?
Prepare to feel like you're on vacation most of the time. In my opinion, the vibe is slow outside of LA, so stress feels a little less heavy. Lingo-wise, I'd say as long as you tell everyone to "send it," you'll be locked in. If you wanna set yourself apart style-wise, maybe go heavy buttrock goth, like combat boots at the beach with an uncomfortable amount of man jewelry. Or maybe get into competitive air guitar. When I moved here, I was stuck in a weird Portlandia-style wannabe-hipster vibe, so I went the "Costa Mesa Dad" route, which has proved to be comfortable. Seriously though, I haven't thought much about setting myself apart from the crowd; life's just been too good. If we're talking film photography style, I'd say it's a little more difficult to stand out or be different.
Oregon. Tell me about your roots and your connection to Oregon. I've said that the Oregon Coast may be my favorite area in the whole world- every beach and every cliff and every ridge is teeming with life and lush, colorful vegetation. I think it holds a special place in my heart because of the moodiness and the way everything seems to always stay green. The moodiness of the landscape, due to heavy rainfall and overcast skies, juxtaposed with the plethora of life is curiously astonishing, and everything is constantly bursting with emotion. What makes it so special to you? How does photography intertwine with your roots there?
Oregon was my home for 37 years. I didn't know life much outside of that bubble. It was cold, rained a lot, the sky was grey, and people drove really slow on the freeway. They talked about breweries and food like it was the only city with breweries and food. Joking aside, I love so much about Oregon and Portland specifically. I love that the beach and mountains are both drivable in a few hours. I love that the rain makes everything so green and lush. I love each season for the feeling it gives me and how those seasons help create four chapters to every year. Eastern Oregon is a second home and probably where I'd move if I had to go back. The desert, the rivers, and the smell of pine trees never get old to me. Oregon is special because it's nostalgic. I have so many memories there, good and bad. And so much of my family still lives there. I mentioned before that I never really noticed or appreciated the beauty until I came back with my camera. I saw everything in a new light, if you will.
Ok, my man. Much love for all of the insights you've provided. Last question here! Tell us more about yourself outside of photography! Do you have any other creative outlets? What kind of music are you into? Go off, dude, tell us anything you want!
Well, I think I'll keep this short. Basically, I was a kid who liked skateboarding, drawing, and music. Then I was a teenager, and I liked drinking and toking the reefer. Then I was in my mid-20s, and I liked taking pills and doing cocaine. Then I was in my late-20s, and I liked shooting heroin and smoking crack. Then I lost half my 30s to a mixture of all of those things and found myself wandering the streets of Portland. Just the clothes on my back, a real bad habit, a lot of locked doors, and no options. So I went in and out of treatment centers, psych wards, and jails. In the end, I decided to hop on a plane to Orange County for one last treatment run. That was about three years ago. I owe this sobriety to AA, to Joel Hendricks', to Casey, to family, to my friends here and home, and to photography. Ok, on a lighter note, my music taste is pretty all over the place, I guess. But if I look at my repeat on Spotify, we got Thrice, Manchester, Strung Out, Counterparts, Bon Iver, Architects, Gregory A. Isakov, Norma Jean, The Wonder Years, Balance and Composure, ABR, and The Paper Kites, to name a few. As far as creative outlets go, at the moment, it's just photography. I've got a guitar with some dust on it; maybe I'll start strumming that bad boy again soon.
This interview was featured in Y35 Mag Issue No. 14. To see all of the photographs Jesse chose to present, check it out here.