Every year I host a meet-up of Project 52 members. Part workshop, part social, full on fun. There is no fee for this, we share all expenses, so it is a very comfortable and relaxing time with the tribe.
Along the way we will be doing portraits, landscapes and still life. I hope to be able to post to the blog next week, and if I can it will probably be video. (I really need to do more video… so do you.) I will also hope that we can post some images from along the road. That week will be a mish-mash of posts, so bear with us as we try something new.
If you have ever taken a Lighting Essentials Workshop, or been a member of the Project 52 groups, you are welcome. I will post next years week when I get back. We will be going to Canyon Lands on that trip, as well as the Grand Canyon and Antelope Canyon. As I said, more to come.
This week we looked at the work of Peter Lindbergh. These are the images that the students in the 8 Week Portrait Class did after studying Lindbergh. The workshop is designed for inspiration, not copying.
“Imitate. Assimilate. Innovate.” – Clark Terry, jazz trumpet legend.
Guy Bourdin was an early influence of mine. His approach to making images that resembled no one else made his work easily noticed. He was meticulous in his shooting, with sets that were overflowing with creativity. But always with him in charge. His whimsical approach to shooting made me want to try all kinds of things.
“Guy Bourdin was born 2 December 1928 in Paris, France. He grew up in an age of war and experienced challenges represented by the philosophies of surrealism. During his military service in Dakar (1948–49), Bourdin received his first photography training as a cadet in the French Air Force. He was fascinated and assimilated Surrealism in its broader senses. From the mid-1950s, Bourdin experimented and refined his distinct vision, produced fashion images, photographed and filmed his observations of the world.
In 1950 he returned to Paris, where he met Man Ray, and became his protégé. Bourdin made his first exhibition of drawings and paintings at Galerie, Rue de la Bourgogne, Paris. His first photographic exhibition was in 1953. He exhibited under the pseudonym Edwin Hallan in his early career. His first fashion shots were published in the February 1955 issue of Vogue Paris. A contemporary of Helmut Newton, they both worked extensively for Vogue and greatly influenced in different ways what would become contemporary photography. “Between him and me the magazine became pretty irresistable in many ways and we complemented each other. If he had been alone or I had been alone it wouldn’t have worked.” He continued to work for the magazine until 1987.
An editor of Vogue magazine introduced Bourdin to shoe designer Charles Jourdan, who became his patron, and Bourdin shot Jourdan’s ad campaigns between 1967 and 1981. His quirky anthropomorphic compositions, intricate mise en scene ads were greatly recognised and always greatly anticipated by the media.”
PetaPixel printed my article on changing the brand for photographers. I titled it “What If Clients Don’t Need Professional Photography” as a way of saying that the picture centric medium has changed to brand centric.
Photographers must engage with the clients at a much different level than just delivering a photograph.
This week we studied the work of Sarah Moon for inspiration. The students looked at Ms Moon’s work, analyzed it, found what they liked and used it for inspiration. The goal is not to copy the masters, it is to understand them and let that understanding inspire the work.
Some photographers may never use what they learn in their personal style, and others will let the influence become a part of their unique vision.
As the legendary jazz musician Clark Terry said; “Imitate. Assimilate. Innovate”. A time tested way of finding your own voice. Congrats to the photographers in the class. This is a very creative and beautiful set of images.