Would you say you interpret songs through photography? Is this an ongoing preoccupation?

I wanted to create work that dealt directly with songs, their power as storytelling devices and how songs have the power to essentially connect people. As I was creating these photos, I felt the songs began to organically fit with the narrative of the photos they became paired with. In a way, the songs helped me understand what I had shot, so it felt important for me to share that with the viewer.

Are isolation and observation themes that run through all your work thus far or just your current project? If not, what other themes have you worked with in the past?

I like to think that although I tend to have a fondness for solitary figures, it’s rooted in intimacy. When I ask someone to be in a photo, it’s about spending time with that person; it feels collaborative. For the portraits in “I’ll Miss You Tomorrow”, it was important for me to try and disassociate myself in the final product by photographing my subjects from behind in order to focus on the relationship between the person and their surroundings. It was important for me to make a connection between the song and the person I was photographing.

Are you working on any other projects?

Continuing work on “I’ll Miss You Tomorrow” is my main priority at the moment, as I’ve gotten the idea in my head that I’d like to turn it into a book. I will be working on the project while I travel for the remainder of the year, after which I will work on putting on an exhibition of a selection from what I have of the series at that point.

Your photographs are mostly in black and white or muted colors. Is this an ongoing preference?

Everything for this series was shot in colour, though there are images that are predominantly black and white and a few that were desaturated as that served the content of the photo better. I've always admired painters and as a photographer, I try to exert the same care and control that goes into a painting. I tried to structure this project in such a way that allowed me the freedom to create a variety of different kinds of images, where the techniques served the content not the other way around, yet could still work together as a series.

Your photographs appear very cinematic (especially the Roadrunner, Hounds Of Love, and Gates of Steel), are they constructed to do so?

It’s been important for me to try my best to improve my storytelling abilities as a visual artist. It’s my hope that the imaginations of the viewers of the series are encouraged enough by what’s in the photograph, while listening to the song it’s paired with. So in that sense, the photos are very much meant to be cinematic, except that the movement, the action, the conflict and resolution is entirely up to the viewer’s imagination.

Which of your own is your favourite photograph, and why?

It’s hard to pick favorites, as I’ve learned so much from everything I’ve done so far. I have a lot of affection for “Roadrunner”, simply because it was the first one done for this series and it kick started everything I made after it.  It was “Roadrunner” that made me realise that it’s important to try and make the process of creating work as fulfilling as the final product.

For more of John's work, check out his profile.

1. LARRY NOBLE commented on Tuesday, 14 July

   GOOD WORK A GREAT GRASP OF THE SUBJECT.

2. Lisa Noble commented on Wednesday, 15 July

   Your article makes me want to see more of his work!

3. Chris commented on Wednesday, 15 July

   you can see a bit more here: http://www.jotta.com/jotta/artists/johnaranda
   definitely like the black and white stuff best…

4. Richard commented on Friday, 17 July

   There’s also more work here: johnaranda.blogspot.com