 I sat down with Marc Sadowski for Episode 196 of the FujiLove Podcast to talk about Washington Wide — and about the accident that started all of this.
In 1998, I was shooting in the Skagit Valley tulip fields when I ran into a photographer standing on his camera case with an enormous Linhof Technorama 617 — Ken Duncan, the Australian landscape photographer, who was deep into a book documenting the entire United States. He needed an assistant. A few months and a resume later, I was in Montana and Idaho learning what it actually takes to do this for real: little sleep, long hikes, more gear than seems reasonable. That trip is where I understood that if I wanted to make photography a career, I had to get serious about it. Marc and I talked through why I shoot panoramic — the Noblex 135U's 136-degree swing-lens view and the Hasselblad XPan II's 71 degrees both mimic how we actually see, and that's the point. I want a viewer to feel like they're standing next to me, not looking at a postcard. We also got into what makes Washington worth thirty years of attention: the Cascades split the state into two entirely different climates, temperate rainforest on one side and high desert on the other, and most books of this state only show you the wet half. One of my favorite places in the book is the Salmo-Priest Wilderness, tucked into the state's northeast corner on the Canadian and Idaho borders — grizzly country, an eight-hour drive from Seattle, and about as far from the Rainier-and-Olympic postcard version of Washington as you can get. Listen: FujiLove Podcast, Episode 196 — Interview with John Shephard Washington Wide is in preorder now — use code FUJILOVE for 10% off at washingtonwide.com. |
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Color MatchThe images on this site are carefully color-managed, but no screen can fully replicate what these photographs look like as finished prints. The depth, color, and detail of a limited edition print on Hahnemühle Baryta Rag goes well beyond what any display can show.
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About JohnJohn Shephard grew up in Washington State surrounded by its landscapes and wild places. That connection to the land became the foundation of his work as a panoramic landscape photographer. He shoots exclusively on film, using panoramic cameras that capture a field of view close to what the human eye actually sees.
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