Hugh Kretschmer, a Los Angeles native, grew up in a family of artists. Influenced by his father’s photography skills and his mother’s knowledge of early 20th-century art, Hugh developed a unique approach to visual problem-solving. He earned a BFA from the Art Center College of Design and later moved to New York City in 1995, where he focused on Photo-Illustration and in-camera techniques.
Throughout his 32-year career, Hugh has worked with clients like Old Spice, Sony, and Toyota, and has been featured in magazines such as Vanity Fair and National Geographic. His work is internationally recognized and is part of the archives at the 9/11 Museum and the Library of Congress.
Since returning to Los Angeles in 2006, Hugh’s work has centered on Fine Art, with projects like Plastic “Waves” and Mirage supporting water conservation nonprofits. He also teaches at various institutions, sharing his knowledge with future artists.
1- Your parents had diverse artistic influences shaping your photography approach. How did their backgrounds in Photo-Instrumentation Engineering and Early 20th-century art movements impact your creative vision?
My dad served as a photo-instrumentation engineer at NASA, while my mom, a versatile artist, explored various mediums in her work. Thanks to my father, I delved into the technical intricacies of photography, while my mother, with her extensive collection of art history books and museum catalogs, introduced me to Early 20th-century art movements. From him, I learned to appreciate the boundless possibilities of photography through creative problem-solving, while from her, I gained the ability to view the world with an artistic and critical eye. Combining these influences, I’ve forged a unique vision that has guided my successful 33-year career in photography. I express this with humility, understanding the formidable challenges inherent in a visual arts career, particularly in the realm of commercial photography.
2- Transitioning from still-life constructions to focusing on photo-illustration using in-camera techniques was a significant shift in your career. What motivated this change, and how did it influence your artistic style?
During that period, I found immense joy in working with still-life, and the constructions I crafted marked the beginning of my career. Those five years were a time of profound experimentation and discovery, resulting in the development of skills that remain integral to my current work. The intricacy of the images I produced meant that each project demanded up to two weeks for completion. Consequently, collaborating creatives faced challenges in art direction, relying on me to tackle visual problems, granting me considerable creative freedom.
After the initial five-year phase, my career took a pivotal turn as my vision expanded beyond still-life, incorporating characters into my visual solutions. Despite clients approaching me for my earlier work, I felt the need to break free from it and started turning down some of those jobs to pursue this new direction.
The transition from still-life photographer to photo-illustrator spanned about two years, involving numerous test shoots, but it proved worthwhile. Clients began hiring me for the fresh work I was producing, and I found myself once again creating photographs that genuinely excited me.
3– Your work has received recognition from numerous international photography awards and has been exhibited globally. Could you share an experience or project that holds a special place in your career?
There are several noteworthy projects in my career, but three stand out as pivotal moments that brought about significant changes.
The first turning point came with the creation of still-life constructions. Feeling unfulfilled creatively and recognizing the need to establish my unique “visual voice,” I embarked on this project. Drawing inspiration from both the technical expertise instilled by my father and the artistic influence of Early 20th-century art movements from my mother, these constructions became a synthesis of their profound impact on my work.
The second transformative project, Gastronopolis, emerged as a response to my desire to incorporate people and characters into my work. This personal venture unfolded as a visual narrative about an alien arriving on the shores of Manhattan with a peculiar mission—to consume the city. Executed through a seven-image series, Gastronopolis challenged me in sequential storytelling and art direction. Handcrafting sets and props myself, with the costume designed by a talented artist fresh out of art school, the year-long project marked a significant milestone, propelling my career to new heights.
The third significant venture is my current undertaking, Plastic “Waves.” While the ultimate destination of this series remains uncertain, it appears to be progressing in a promising direction. Similar to my previous projects, Plastic “Waves” has broadened both my artistic vision and technical abilities, now extending into the realm of sculpture. Stemming from the Mirage series, this new project aims to explore the fine art sector and contribute to philanthropic initiatives supporting nonprofits dedicated to water conservation.
4– Having your work displayed in significant institutions like the 911 Museum at Ground Zero and the Library of Congress must be a profound honor. How does it feel to have your art preserved in such historically important archives?
It’s truly an incredible sensation. Seeing my photographs become a part of the historical record for such a noble cause—educating the public—is immensely fulfilling. This experience has fueled my commitment to creating work with a meaningful purpose. Currently, I’m engaged in projects embodying this desire, with Plastic “Waves” a prominent example.
5– Your recent focus on fine art with projects like Plastic “Waves” and Mirage, benefiting water conservation nonprofits, demonstrates a philanthropic aspect to your work. What inspired you to combine art with a cause, and how do you see your art impacting this realm?
In 2017, a pivotal moment prompted me to redirect my focus toward a philanthropic mission. Frustrated with the challenges and diminishing joy in my commercial photography career, I found myself exploring an unrelated business venture out of desperation, which ultimately proved unsuccessful. Feeling lost and having hit rock bottom, I was uncertain about my next steps.
During that summer, Alyssa Adams, Co-Founder of the Eddie Adams Workshop, extended an invitation for me to be a presenter at the workshop in October. The event takes place on the family’s farm in Sullivan County, New York, within a converted barn on the compound. Stepping into that room on the first day, I was engulfed by the passionate energy radiating from everyone present. Listening to others speak about their love for photography rekindled an emotion I hadn’t felt in a long time. It became clear to me that I had been neglecting my own gifts and talents in pursuit of financial success.
That transformative weekend left an indelible mark on me, igniting a determination to create work with a genuine purpose. Environmental issues, particularly those related to water, have always held a special place in my heart, and I’ve harbored a fondness for manipulated landscapes. Through projects like Mirage and, subsequently, Plastic “Waves,” I’ve discovered a meaningful outlet to leverage my photography for a positive impact.
6– Your donation to the Water Keepers Alliance in 2022 marked a significant moment in your philanthropic efforts. Can you elaborate on how your art raises awareness about environmental issues like water conservation?
I’m uncertain about the extent to which my art raises awareness, but that remains my primary goal. Since the inception of environmental projects like Mirage and Plastic “Waves,” my main objective has been to support nonprofits dedicated to water conservation through the sales of gallery prints and books. While aiming for this philanthropic impact, I also strive to engage and captivate my audience. The initial impression of realistic bodies of water in my artwork, which transforms upon closer inspection to reveal the true nature of the visuals, employs a “bait and switch” dynamic. I believe this surprising element has the potential to raise awareness effectively and convey the intended message.
7– Teaching at various institutions and leading workshops in different parts of the world showcases your commitment to sharing knowledge. How does mentoring aspiring photographers influence your own artistic journey?
The classroom, like any facet of my business, serves as another dimension of the collaborative process, emphasizing to my students that it’s a shared journey rather than a one-sided teaching experience. What’s particularly beautiful about this environment is that, as the instructor, I often find myself feeling more like a student. My students consistently broaden my understanding of the vast realm of possibilities by introducing me to their diverse perspectives and approaches. It’s astonishing to witness how their solutions, often simple and fitting, can contrast with my own, compelling me to think creatively beyond conventional boundaries.
Additionally, some students have played a role in acquainting me with artists and photographers previously unknown to me. These discoveries have not only expanded my visual repertoire but have also sparked inspiration for my own projects. These instances illustrate just a couple of ways in which the dynamic in the classroom benefits all participants. Trust me, reaching this point of mutual growth and exchange took years to achieve.
8– As someone whose career has seen different phases and evolutions, what advice would you give to emerging photographers navigating the ever-changing landscape of the industry today?
This presents a wonderful chance for me to impart a lesson I gleaned early in my career from an industry leader whose words I happened to encounter serendipitously at a function I attended. It felt like a moment of cosmic alignment because his words have stayed with me, becoming a mantra that I frequently share with my students.
His wisdom was succinct: “If you shoot from the heart, you can never go wrong.”
Over the decades, this advice has consistently proven true, serving as a guiding principle. Whenever I’ve strayed from what my heart tells me, the outcome has been less than favorable. So, for those open to listening to the cues of their hearts, embracing and following their messages, success is bound to follow. It’s worth noting that the first part of the word “heart” is “hear.”
