Two Articles on Printing at Nearly the Same Time

power-pole-bri-web

Awesome coincidence? Or a convergence of some unknown force?

I do not know, but it is interesting nonetheless.

Last week Petapixel ran an article I had written titled “Prints. Remember Prints?”

petapixel-2

(Article Here)

Almost immediately afterwards they ran Lynne Cartia’s wonderful article on the importance of a printed photograph.

petapixel-1

(Article Here)

I think that is cool juxtaposition.

And I hope it makes people think a bit more about how important prints are to the lifeblood of photography.

Moodboard: Edgy Portraits

Here are a few portraits that caught my eye last week. I hope you enjoy the picks.

Ryan McGehee delivered this exceptional portrait. Brave crop, lighting that engages and mystifies and an absolutely charming face.

Ryan McGehee's portrait inspired by the work of Sarah Moon

Ryan McGehee’s portrait inspired by the work of Sarah Moon

Kine Meijer showed this unique portrait and knocked me out.

Kine Meijer was also inspired by Sarah Moon, but delivers her own amazing take.

Kine Meijer was also inspired by Sarah Moon, but delivers her own amazing take.

Gabriella Wright’s dancer is captivating.

gabi-wright-1

Gabriella Wright added movement and mystery to her portrait of a young girl.

Hiram Chee created this stunning fashion shot.

hiram-chee-8w-assign3-2

Hiram Chee, based in Santa Cruz, shot this beautiful fashion portrait.

Rob Davidson chose a 4×5 Speed Graphic and Ektar Film for this moody portrait.

Rob Davidson and a 4x5 Graphlex / Ektar Film

Rob Davidson and a 4×5 Graphlex / Ektar Film

Jeff Carson captured a very strange and engaging portrait of a young woman and a mask.

Jeff Carson and a masked subject create a mystical and intriguing portrait.

Jeff Carson and a masked subject create a mystical and intriguing portrait.

I will share the entire class portfolio later this week… it is incredible.

“Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.”

–Peter Lindbergh

Read more

Ten Beliefs That Suck the Life out of Photographers

bermuda2

What if I told you it was not the industry, the bad economy, where you live, what camera you shoot with, how many lights you have or how small your Facebook following is that is holding you back. None of those are truly capable of stopping you, they are only challenges for you to meet.

The same challenges everyone who creates art or starts a business has to meet and beat.

The things that are truly holding you back are your own beliefs. Belief that it IS one of those reasons above. Believing that it is a geography thing that keeps you from excelling, or what gear you use or how many lights you take with you is more damaging than any REAL challenge you will ever have to meet.

Because they have no substance, these limiting beliefs can grow to fit any size needed to keep you from moving forward.

If it was simply a wall in front of you, there would be many different ways to move on. Scale it, go around it, blow it up… all sorts of ways to get it done.

But if the wall is a creation inside your mind, there is no way around it, it will grow higher than any ladder you have and it becomes impervious to any and all attempts to blow it up. It does this insidiousness because we want it to. We control its size and power.

So lets look at ten beliefs and maybe offer a suggestion on how they may be more in our heads than in our reality.

  1. We must have professional level gear to be a pro.
    No. We may need it at some point, but before we get to that point we need to make a gazillion images with the gear we have. And if we cannot make images that people want to pay us for with what we have, chances are they will still not want to buy them when they are made with pro gear. A crappy image is a crappy image no matter how many pixels there are.
  2. We have to live in a big city.
    No. You may have to have access to a big city, but then you do have Internet, FedEx, the USPS, and a phone. There are many photographers who are working for major clients while living in the rural town of their choice. They simply wanted to live there more than the big city, and they found the ways to do it.
  3. We must have a portfolio equal to Avedon or McCurry to even be considered.
    No. We must have a portfolio of course. And it must have wonderful images in it, but everyone starts somewhere, and clients know that. You may not get picked up by Vogue for a shoot with a small portfolio, but there are indeed other magazines that will hire you, and pay you, and help you build your work to be worthy of Vogue.
  4. We have to have thousands of hours experience.
    No… mostly. We DO need experience. We DO need to have some work under our belts in order to get the big gigs. But we need to do a lot of small gigs to build a book that will get us the bigger gigs… and then the really big gigs. It is a process, one that starts small and grows.
  5. We must never work for free.
    No. Working for free is sometimes the ONLY way to get the experience, credibility and inroads that allow us to work for pay. NEVER be exploited by working for free, but learn to recognize opportunity as a huge currency that is many times worth more than the paltry fees the gig may pay. (Note: If you are not sure which is which, you may NOT be ready… so keep working on learning the business.)
  6. We must have a huge internet following to be considered.
    No. In fact most working photographers have only a portfolio and simple blog. Some do indeed have a big following on some social platforms, but the majority do not. Instead they have a following of clients that they work hard for, and couldn’t care less about social media fame. The working world still has not caught up to the interwebs, and although I do think that building a solid online brand is important, it will mean less than diddly when you are pitching a real client for a real gig.
  7. We obviously suck because the pros do it so easily.
    No. The pros simply have more experience, more hours setting up lights, a ton of history in doing that same thing… and they are still busting their ass to make it more perfect, more special than last time. They do make it LOOK easy, but take it from me – they are still sweating bullets – they are better at hiding it than you are.
  8. “All we need is…”
    No. We call that the magic bullet syndrome. All we need is “one good job” or “that new lens” or “a bigger studio” or… NO. There is no magic bullet, no shortcut, no “easy” button or challenge buster that can be purchased. There is only a commitment to the struggle, and a focus on the outcome.
  9. Professional photographers are special, with special talents and special lives.
    No. They are just like everyone else. They didn’t get there by luck, or anointment – they worked hard and long and with focus to get to that point. Yes, some have incredible ways of seeing the world, but then they have worked at that as well. You see, they take a lot of photographs… a heck of a lot of photographs to develop that vision
  10. No one is able to make a living in this business anymore.
    No. That is horse apples. There are thousands of working commercial photographers. And they are going to be shooting tomorrow. Some you may know, and most you will not have heard of – or from. Not every photographer is on Facebook whining about how bad it is out there… only the ones for whom it is bad out there. And I can assure you for every photographer that is complaining or whining about it, there is one doing it. Making the images, doing the marketing, creating their vision and always ALWAYS holding that picture of what will be in front of their eyes.

Yes, there are a lot of other challenges that must be met. It is a different world than it was a dozen or two years ago, but it is still an occupation that has growth and possibilities. They youngsters know it. One couple turned weekend trips into free image giveaways that is now making them a a tidy living while starting to accept assignments. Another photographer who shoots for major corporations lives in a tiny town in West Texas. I know a product shooter who lives in Portland, and is marketing all over his region – and nationally.

I am not a Pollyanna, but I am a positive person when it comes to people and their capabilities. You may have to give up some things in order to do other things – we call that “duh” – but that is still in YOUR control. Watch less TV, spend more time making pictures, capture a weekend a month for project work, and make building your photography business a priority.

Whether you want to go into business or simply make better photographs, the power to do that lies within you. What you listen to, what you agree with, and the people that influence you all have a big measure of influence on how you see yourself and this world of images.

You can control that measure of influence. It is YOUR life, and I would suggest you stop participating in the pity parties and the “oh whoa is us” crowd and make images. Obviously it didn’t work out for them, and now their main goal is to stop you from making it a go. What would it mean to them if you succeeded where they failed.

Far easier to blame the world for their failures than to watch someone else actually win. And even if that is not reality, it can BECOME their reality if they believe it strong enough.

Before you believe everything question everything. When someone says “nobody can make a living in this anymore” look around for someone who is, and find out what they are doing. If something sounds improbable, it may be. Research it. Nail it down.

There is a simple way to work around these challenges. Make more images. Make images that compel others to view them. Making images is the best possible thing that photographers can do to advance their work and their business. So put this computer away and go out into the world… click, baby, click!

New Portrait Class (Enrolling)

driller

We just wrapped up the first group in our 8 Week Portrait Class. The results are incredible.

The idea is to immerse oneself in the work of a master portrait photographer (you can see the list of photographers here) and begin to understand what, how and most importantly why they do what they do.

The idea is not to copy, or become faux-togs of the original masters, but to learn from them and be inspired to develop our own vision.

Clark Terry, jazz master once said; “Imitate. Assimilate. Innovate.” No one could say it better. LEARN what the masters do. Incorporate it into your work, and INNOVATE your own stylistic approaches as you develop a wider kit of possibilities.

The second set of eight photographers is up next… and the class has only ten openings as of this morning. It is a bit different as we are taking it a little slower with a longer lead time between classes.

For more information on our Portrait Class 102, see this page.

A few shots from our students in the first class.