Photographing Paradox: Exclusive Interview with Dustin Ha

Dustin Ha, a Korean-American native of Los Angeles raised in El Salvador, seamlessly embodies three distinct identities, persistently navigating the landscape of an outsider. Through the lens of his camera, he uncovers a profound sense of purpose, dispelling the persistent Sisyphean anxiety that has long haunted him.

Fearlessly confronting inner demons through meticulous photography, Ha celebrates the inherent misfit in all of us. With a masterful use of juxtaposition and unconventional formats, he weaves a compelling and unique narrative that takes center stage in Part 1 of our Exclusive Interview.

Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child? How do you think your early experiences shaped your perspective as a photographer today?

I was born in LA but moved to El Salvador at the age of five, where my dad had been running his business. It was quite the culture shock, living in the developing world, and I never got used to the humidity and heat. My father was a workaholic, and my mother a helicopter mom who wanted to protect me from the considerable dangers in our new home. That meant I was stuck at home a lot and forced to live in an imaginary world.

I would not describe myself as an artistic child since I hated art class with its rules about coloring within the lines. That was my only chance to rebel because my life at home was very strict. The only times I saw the world outside school and the house were on interminable shopping trips with my mother where I sat around observing everything, including stunning, well-dressed women whose lives I wrote wild narratives for in my mind: princesses, actresses, assassins. And now I can’t remember their faces, which frustrates me and is part of why I primarily photograph women, trying to find those MIA women’s faces again.

Do you consider yourself an artist, and what role does creativity play in photography? How do you balance the technical aspects of photography with the need for creative expression in your work?

I am most certainly an artist, but am more than just that. No one is merely an accountant, doctor, lawyer, or chef. We are only limited by our own beliefs. Photography is undoubtedly technical, but now it’s second nature, like muscle memory, so I don’t get lost in the minutiae. The early days of my photography practice produced technically perfect images that felt one-dimensional and soulless. Now my focus is on the creative aspects and finding the story and character arcs in each photograph, making each image five-dimensional. I love that photography grants me the freedom to reach into the depths of my brain where the wildest ideas that used to scare me exist.

How long did it take you to master the camera, and was it a difficult process? Can you share some insights into your journey of honing your skills as a photographer?

I am far from a master of the camera and recognize that I have a LONG way to go. But life should be one long education. You could say that I am among the least technical professional photographers out there and learn best through trial and error. When in doubt, I go to YouTube tutorials. My best photographs are mistakes and would never be classified as “picture perfect.” Perfect is boring to me. My process is taking ten times the photos most photographers would take because of FOMO. That means a lot more work sifting through the images, but often it’s the takes when the subject isn’t doing that perfect pose where lightning strikes.

Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks did you have to face in your career? How did you overcome these obstacles?

I am still not a full-time photographer, but getting there. My biggest challenges relate to my mental health. My clinical anxiety paired with self-doubt are my greatest obstacles. Whenever I’m on a paid photoshoot, I fear that I will blow it and end up with a bad reputation as a hack. I used to obsess over locking in that perfect image for the client. A wise peer reminded me that the client hired me because of the pictures I take. Over the years I have grown more confident and learned to trust my instincts and deliver images that are well-received. You can’t force “greatness,” but the more you let loose and just flow, the better the photoshoot will go.

Were there any significant events in your life that influenced your photography career? How have personal experiences shaped your artistic vision?

For me, those significant events were photographs that I have encountered. One, in particular, was “Tomoko and Mother in bath” by Eugene Smith that taught me what is possible with a single image. Other photographers whose singular works push me to be the best photographer I can be include Peter Lindberg because of the looks on his models’ faces, never smiling. Davide Sorrenti’s images evoke sadness and empathy that help you understand his short life better. Vivien Meyer never developed her pictures, but her passion for photography and her instincts astonish me. I take elements I love about each of these photography greats and combine them with my vision to create the collective works of Dustin Ha.

Regarding personal experiences, the contrast between living in El Salvador, classified as “ugly” due to its crushing poverty, and Los Angeles, correlated with beauty and glamor, has become a paradox for me. I see the beauty in squalor and the hideous nature of affluence, which is reflected in my artistic vision and output.

You grew up in El Salvador as a Korean American. How do those respective cultures: Korean, American, El Salvadorian influence your art practice today?

The perfectionist in my photography practice is my Korean side, primarily my mother who likes pretty things. My innovative side is all American and a testament to the American dream that my grandparents immigrated to achieve. This is the land of innovation, and I don’t think I could pull off my photographic feats anywhere else. My rebellious, some might say grungy, side comes from my formative years spent in El Salvador. The poverty is humbling, but there is freedom in a land without laws or police (a $20 bribe is a literal get out of jail free card), and I think that lawlessness comes through in my photographs.

Part 2 is Coming Soon!

Interview organized by Mon Dieu Projects. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News