Java.Oct.2016

Jesse Rieser sits me in front of his wide-screen Mac computer with dual,
ultra-high definition speakers and says, “Pick a song.” I request Frank
Ocean’s “Nights.” I’m immediately awash in subtleties. Every nuance is
amplified by the speakers, which cocoon me in a sound that’s new and
nostalgic at the same time.
As a photographer, Rieser’s main impetus is to expose people to subtleties. And as
I sit there exploring Frank Ocean’s latest hit, I am immersed in the sonic blueprint of
Rieser’s undergirding philosophy.
“Back when I was teaching, one thing that I would tell my students is that
photography is a field where you can do well by being technical and implementing
other people’s ideas,” said Rieser. “The digital age has broken down those walls.
Now your currency has become your point of view. It has become your vision and
the way you see the world, which is yours and yours alone.”
Rieser feels especially drawn to the residuals beneath the surface. “I hate the Desert Scope
obvious,” he said. “To me the obvious and the explained have a shorter shelf life.
It’s as easily consumed as it is exposed.” This idea flows throughout his work and
even his appearance. He has a beard that goes down to his chest and deep-set
eyes. He’s the observer, shrouded in mystery and deflecting attention. Like most
photographers, he is most interested in staying in the background.
Bible Belt Binary
Rieser was raised in Springfield, Missouri, a place he describes as both kind and
bigoted. His family was an island of progressivism in a sea of religious fervor.
Both of his parents and his siblings are artists. He grew up equal parts jock and
artist—a confounding binary of sorts. Rieser originally focused on drawing and
painting, until his junior year of high school when he signed up for a photography
class and fell in love with the darkroom. “There’s a mysticism or magic that
happens when you first develop a print in a darkroom,” said Rieser.
He had received scholarship offers for football but decided to stop playing his
senior year. With football off the table, Rieser wasn’t sure what he wanted to do
following graduation. His dad suggested that he look into a photography program
because he seemed to enjoy it so much. Rieser wanted to go to a big school, so
he literally flipped a coin between Kansas University and Arizona State University.
The coin fell in favor of ASU, and so he packed up his things and moved out to the
desert.
At ASU, a lot of his education focused on the philosophy and the art of
photography. It wasn’t until Rieser studied abroad with the American
Intercontinental University of London that he learned more of the technical and
professional dimensions of photography by working in the fashion world. He got
to work with models and designers while learning the industry vernacular. After
studying abroad, Rieser wrapped up his senior year. While looking through a local
Phoenix magazine, he was struck by the work of photographer Brandon Sullivan.
Rieser reached out to Sullivan and they began a working relationship. Through his
connection with Sullivan, Rieser met photographer Dave Siegel, who hired him on
as an assistant at first, then a full-time photographer.
JAVA 9
MAGAZINE