(NOTE: This is a repost of an article that was corrupted and caused the outage of the site last week.)
“How would you shoot a fork?”
That was the question I asked my Project 52 Students for last week’s assignment. Photograph a fork and make it interesting.
Forks are mundane, utilitarian, and ubiquitous. They are simply everywhere, and people are very used to seeing them. So the challenge is to shoot the fork(s) in a way that makes someone stop and look at a picture of a fork.
I think they did a splendid job on this assignment.
One of the things I notice about the culture lately is that there is more focus on the easy route, the quick way, ‘getting to done’ without really knowing what got done. There is a quickness to many things we do, and we expect it to carry over into everything we do.
I can get on a plane and be in NYC for lunch. I can shoot an image, and have a print in my hands in only a few minutes. I can send someone a note halfway around the world and hear back from them in a second.
And all of this makes us believe that quick and fast is the only way things get done.
Wanna be a rock star? American Idol… only takes 20 weeks!
Wanna play drums? Sample a drummer and throw it into ProTools.
Wanna write something? Take a “Weekend to a Bestseller” workshop.
And sadly these are now considered by many to be the de-facto way of getting anything done. Quick, fast, and easy.
You all know how I feel about easy.
Easy is a fool’s charade. Nothing worth doing is easy. Easy means everyone can do it. Easy places mediocre at the top.
So let’s talk about how we get suckered into thinking it’s easy.
1. We see people seemingly doing what we want to do with little effort.
The photographer who goes from being relatively unknown to shooting covers for Vanity Fair. The stylist who bursts out of seemingly nowhere to take on the biggest celebrities. We see this all around us. We refer to them as the “overnight successes” of our business.
And we call them that because to USit seems as though it was overnight.
Guess what? It wasn’t. We only see them now, at THIS point in their career, not at all the gigs they did for free, or the screwups that made them feel like they wanted to quit. We don’t see the all-nighters, the reshoots, the failed projects.
We weren’t privy to that, we only see them now, and somehow we take our awareness of the world and slap it on to their reality. “Dude, I didn’t know you when you were struggling, so I guess you didn’t”.
2. We only see their highlight reel.
Those awesome portfolios that make us think “how in the hell do they make so many great images”? Well – they are only showing you their great images. The turkeys, bad shots, shitty images don’t ever get posted.
Why would they?
So we see their best shots and think they must be their only shots. And we know that isn’t reality, but it affects us anyway.
3. They make it look easy.
You know, those photographer’s BTS shoots of awesome adventure camping and gorgeous models and helicopters and a full on crew. WOW, that looks like so much fun. (It is, BTW… it really is.)
But… what we don’t see is the preparation, the weeks of hard work and decision making, the meetings that can seemingly go on forever discussing the most minute of wardrobe changes. We don’t see the years of experience that gets them to the point where they can bid and produce such a shoot.
And the screwups… again, they don’t usually make the BTS video. Unless they’re funny… heh.
That photographer and her crew up on the glacier shooting some professional models for a national campaign didn’t happen overnight, it didn’t happen because she was ‘special’ or because of luck. Sustained hard work put her there, and that same hard work keeps her there.
The “long game” is a sustained effort as well. It is working today with no return. It is shooting images that few people see. It is working on projects that fail and projects that succeed. It is deciding on spending $300 on gas and motels or to sleep in your car and get some roadtrippin’ sunrise shots instead of a new thingy for your bag… that never goes anywhere.
The long game is not a sprint, it is a marathon that rewards those who keep running, and simply ignores those who bail out at the first 10K. The long game is the only game in town for creatives.
Sometimes people attribute luck to others success. Or they factor in crap like birthright or who their daddy was or some sort of class delineation. And there is no doubt that some of that comes into play… hey, life is what it is.
But usually it falls to this basic truth: They are simply outworking you. They are doing what you are not. They are making while you are not. All things equal, it is the performance that counts. We do or we do not.
And lastly, one of the things that separate those who are seemingly doing better than we are is the fact that they jumped.
They simply jumped.
“We must be willing to fall flat on our faces. Fearlessly putting ourselves out there is simply a required part of the process. At the very least, it results in the gift of humility and, at best, the triumph of our human spirit.”
? Jill Badonsky
Imagine being on an airplane to do your first skydive. You have practiced and taken the training and now it is time for you to make your first solo jump.
Scary as hell, that’s for sure.
But also a very simple choice.
You can either jump. Or not jump.
You have prepared for this moment for a long time. From jump school, to practice jumps, to studying for the test and passing it. Then the endless mental preparation… all leading to this moment of ‘jump or not jump”.
If you do, you will have become a skydiver. You have done something very few others have ever done. You will have conquered fear, and proved that you were ready to move to the next level in your desire to become a skydiver.
If you do not, you will simply sit down in the plane… no shame in not jumping. You decided that the risk outweighed the reward, and chose to remain risk-free. And you may go on to do other great and noble things for sure. But you will not be a skydiver.
That is your choice and no one should belittle you for it.
But you should know that if you do not jump, you will not soar, you will not face that fear head-on, and you will most definitely not become a skydiver that day.
That doesn’t mean putting yourself at dangerous risk, but it does mean that in order to soar, you first have to jump.
Might as well… heh.
The “Long Game” approach means working your ass off to become the best you can be, preparing for the work ahead both mentally and physically and then when the moment comes, be prepared to jump and soar.
FIND PHOTO CLIENTS NOW
– is an online class that I have created to help you prepare for a good jump.
It is free for all photographers, and it comes in the form of one class per week so you have plenty of time to study and implement the material. For more information and to ‘jump on board’, check the site out here.
Provide the images for an advertorial designed for a consumer magazine.
The layout was furnished to the students with only minor changes allowed. Everyone got the same assignment, and look at the amazingly different interpretations. It is hard enough to shoot fragrances and keep the light magical, but to also have to shoot to specific shapes and relationships makes it even harder.
Really proud of the work the students are turning out. This marks nearly the halfway point in the class.
My bud Dave Siegel sent this to me. I think it is very powerful. Showing the before shot next to the final image makes the package more informational as well, and provides the viewer a glimpse into what Dave can do for them.
I really enjoyed meeting Frederic and having a chance to discuss art, creativity, and purpose.
If you are interested in hearing me blather on about this stuff – and I do so love to do that – give the link a click and listen in. Frederic is a very good interviewer, and makes me sound pretty good. 🙂
I want to take a closer look at some of the portraits the students in the 8 Week Portrait Class are doing. Decontructing an image is a very valuable exercise and one that can garner much insight into the way the portrait was conceived and produced.
The image above, by Leonardo Ferri, is of a young woman at the rose gardens in Berkely, CA. Usually a place teeming with people and other photographers, and especially so, it was nearly deserted on this cold, overcast day.
Using the steps and the hedges as a grounding point for the image – a contextual pallete – he placed his subject in the middle of the steps and then moved a little to the side to bring the angles of the image slightly askew, and giving her a bit more of a dynamic position in the image.
The placement of the subject is directed by the angles of the parts of the image. The placement of her face is in nearly a perfect spot.
Photographer Iryna Ischenko used the tall gates and cypress trees to frame her subject. I personally like this photo for so many reasons. The leading lines of the brick roadway, the brooding sky and those lovely, tall cypress trees. The subject seems to be moving through the gate, and her gaze is down. All other elements are focused upward while she gazes down. I think this makes the portrait quite intimate and hints at a narrative unknown.
Photographer Gabriel Alvarez worked with his wide angle lens (part of the assignment) to create this powerful, yet understated portrait. Simple elements for the subject to lean on, and a single light from a speedlight was the effect he wanted to use. Gabriel told us he really struggled a bit with the wide angle lens and used a cropped area of the frame to keep the wide angle distortion from being too much for the image. Since our inspiration this week was the great Jean Loup Sieff, I think Gabriel did very well.
The expression is a moment caught in time and we are not privvy to what is happening. The wardrobe, a little black dress, adds to the minimalistic setting. Everything is black or white. Carmen Blike, the photographer, used the V shape of the stone work as a base for her composition, then used the subjects legs as an inverted “V” above them. The light is a single diffused speedlight above the subject and blended to be just a bit brighter than the ambient.
This image, by Diana Lundin uses the geometry of the setting to drive the eye toward her subject. It also seems to isolate her, while making her the obvious hero of the shot. All lines lead to the subject here, and instead of appearing overwhelmed by the huge architecture around her, the pose makes her seem confident and in total control of her environment.
Linda Luu Kieff used a graphical shaft of light coming in from the window on right to highlight the face of this nude portrait. The angles of the light bring our eyes to the face and the textures of the environment help the subject stand out. The smooth skin of the subject is in full contrast to the dark, rough material of the lounge and the patterned background. Working in the dark tones like this can be very tricky, but Linda handled the exposure very well. The image has a feeling of film to me, although it was shot digitally.
One more from the set by Linda Luu Kieff. This nude shows a different angle and how Kieff worked with the window light, and the bars/panes of the window to play the light across her subject. This play of light, and the anonymity of our subject prove to be a narrative that begs explanation. None is forthcoming. The gentle tones of the image are very film like, and keep the viewer intrigued by carefully retaining the shadow details to play off of the skin of the subject. Ballet shoes add to the story, although we don’t know why.
Annely Silferwax used two softboxes from either side for this nude portrait. Camera right is turned up a stop and a half over camera left, and provides the impetus for our subject to be looking off toward it. The dynamic position in the subject with the careful placement of the cloth makes this a very powerful image… one the subject seems ready to leap from. Annely used a very contrasty post-processing to be reminiscent of high-speed film when pushed. The subjects regal expression, and subtle dynamics provide a stunning image.
Photographer Frederic Reblewski used the stripes on the jacket as a compositional element. Notice the painting (hung on seamless paper) that mimics the lines and colors of the jacket. A large single light source gave him the look he was desiring, and a natural feel to the portrait.
With the subject leaning way into the photograph, and into the light from the bay window, Photographer Duane Middlebrook used line and texture to set his subject off from the background. I love that bright outside contrasted with the dark patina of the inside walls. The pensive look of the subject makes the portrait more intimate and personal.
In the wilds of the mountains, and on an overcast day, photographer Marjorie Decker caught this portrait of a fellow hiker and companion at a moment of rest. The gentle light and shallow depth of field help the portrait keep a more personal feel.
An intimate, spontaneous feel to this portrait is due to the careful use of props and background. A single speedlight is aimed from camera left, and it is flagged off to provide the raking light on the flowing background behind the subject. The simple wardrobe and sparse table setting give the image a bit of mystery. Photograph by Richard McDonald
The image on the right by Sherrie Von Sternberg is whimsical, playful, and quite a candid moment. The use of overexposure, and the shadow line, as well as the brave and dynamic crop, makes the portrait quite evocative. I like it.
Want to increase your photography chops? Try portraiture.
When we are working with another person, and trying to make a great portrait of them, we have many challenges that confront the photographic process.
The one that is largest, and seems to be one of the more difficult challenges is time. With a landscape or food or still life, we can take as long as we need in most instances. But with a portrait, time is of the essence. A bored subject can look tired or uninterested in front of the camera.
Add to that the challenge that so many of us put on ourselves of entertaining our subjects while they wait and we work to fix this stand or that umbrella… the stress can add up to an unfulfilling session.
Learning to work within this time constraint can make us better all around photographers, and lessen the need for vast quantities of Tequila and Rum at the end of a long day.
The cover image above is by Frederic Reblewski. Using a strong light behind the subject, his goal was a moody portrait of a young man in conflict. The light and shadow show a classical scenario that plays out well in this dramatic portrait. Close cropping of the image and the use of negative space help the mood along as well.
In this image, photographer Diana Lundin had a very short window to keep the sun on her subject. Notice the angle of the shadow that indicates the sun is already low in the sky, and to maintain the even light on the subject she had to work quickly. Using the graphical element of the lifeguard tower set the subject off, and provided another element of interest in the image,
With a large scrim and a speedlight, photographer Marjorie Decker was able to position her subject and create a flattering light quickly. This kept the subject more relaxed while Decker was able to finesse the pose. Large, soft light sources can be much more forgiving than small, direct ones.
Portrait photography helps you work on your composition as well. Having a subject that can move allows you to play with placement of the background elements. Trying several compositions quickly is much easier – just have your subject move a little to the left or right to see what happens,
Photographer Iryna Ishchenko moved her model into and out of the frame to find the point where the subject worked best in relationship to the background. Keeping the flow of the lines of the body, while making the subject nearly anonymous gives the portrait a sense of mystery and elegance.
This dramatic portrait was lit with only a window light. Photographer Linda Luu Kiefl positioned her subject to give extra dark space around him. This helps the feeling of isolation that is enhanced by the gentleman’s somber expression. Including a small part of the window shade in the photograph helps give it context and adds a bit of whimsy to the image.
Working with negative space on a plain background can be very challenging. Working the subject into and out of the light can help a photographer see composition happening right before their eyes. Working with the subject and space can be quite illuminating. Heh. Photographer Annely Silferwax worked with her subject looking off camera for added drama.
Portraits can encompass a wide variety of emotion. Photographers can use compositional elements to enhance feelings of isolation, elation, distress, sadness and joy.
Add to this the elegance of light, and the portrait photographer can work through all the challenges of photography in this one genre.
Texture, dimension, shape, color, and gesture are all within the purview of the portrait. Using light wisely and with intention helps set the mood for the portrait.
Adding texture and whimsy to the portrait, photographer Richard McDonald kept the light strong behind the subject and flattened it on the front side to present this portrait. Photographer and subject simply began playing with this interesting piece of cloth until something striking happened before the lens. The graphical element of the image is enhanced by the anonymous subject.
With the light fading fast, photographer Leonardo Ferri moved his subject between two pillars in the courtyqrd they were shooting in and pushed his ISO to capture the delicate ambient light from outside. The subjects haunting expression fit the mood of the light, and the soft texture of the background give the image a striking appeal. It has a timeless, tranquil quality.
These images are pulled from the student work from the 8 Week Portrait Workshop. The inspiration for this assignment was the work of Herb Ritts, an incredible photographer who left us far too young.
Photographer Gabriel Alvarez chose soft, directional light for this portrait.
Joe Tharpe uses texture and a simple, flat wall to enhance the intimate portrait of his subject.
Working in extreme cold, Sherri Von Sternbach directed her subject to close her eyes and look at the sun while she climbed above her for this sunlit portrait.
A large scrim and carefully placed bounce cards gave Duane Middlebrooke this elegant lighting. The texture behind is simply the shadows from the trees and direct sun.
We humans love to think in terms of beginnings and ends, and where, in reality, January 1 carries no more significance than any other day, we see it as a beginning of a new year full of promise.
And that is fine with me. 2015 was a difficult year for me, and I am damned glad it is over. I want to look forward to new opportunities.
First the good stuff from 2015:
My family is well and healthy, and I am going to be a grandfather. One of my daughters who was a bit estranged is now back ‘in the fold’ and we are all having such a good time together.
Project 52 started out with a bang in August, and the level of artistry in this year’s group is absolutely awesome – and you all know I do not use that word lightly. Project 52 is the glue to my existence these days. Thanks to everyone who is taking part.
My friends are all doing well, although a good bud of mine in Texas is having a rough year. We are all thinking about you, Charles. I know you can kick ass on that thing.
I made a decision to ride a motorcycle from Phoenix to Fairbanks, Alaska and have begun to get ready for that ride starting August 1, 2016. When I made the pronouncement I didn’t even own a motorcycle. I do now. And I am loving taking solo rides through the southwest.
The motorcycle is a luxury, I know… but I needed something to get me excited again. It seems to be doing the job.
Now the other stuff:
2015 was the worst creative year I have had in decades. I feel like my mojo done mojo’d off somewhere. I took fewer photographs than I ever have in a year. I was interested in some aspects of my creative life, but other parts just seemed to be sluggish at best.
You mean, what’s my excuse? I don’t have no friggin’ excuse. Excuses suck. Even more than my creative year of 2015 sucked.
My leg bothers me more than expected 2 years after the incident, but that is always going to be there and while it is annoying as hell, it is not an excuse to fall behind creatively. And I have worked through other challenges worse than a stupid leg cramp.
I fired three clients this past year. More than in a decade previous. Just got tired of the lame bullshit of diminished productivity. If you ain’t ready to commit, I am not interested in rowing your sinking boat. But that is just the way it is.
I pondered (picture me pondering… awesome…) over the last few weeks and have come to the conclusion that while I am pushing others to be their best, I may have slacked off on my own sorry ass. Not that I don’t work to be the best I can be, I just have not taken the effort out of the box to give it a shot.
Am I creatively afraid? I honestly cannot answer that.
I have rarely been afraid in the decades I have been making stuff, but I do feel like something in my core has fractured a bit. Not fallen apart yet, but fractured enough that it needs attention, Lots of attention.
Being creative has always been how I have defined myself, my work, my output. I may not be the most brilliant creative on the planet, but I do pretty well in the trenches. I love the trenches. I love getting into the process and the production, the grimy grit of where it gets made.
I love makers. I have always been a maker.
At least, I was until last year… and while I made some stuff, my output was lower than acceptable to me. It seemed like every time I started something I knew I had to do, it would get messy, and confused… and I would begin to pull away from it, not wanting to continue. A book is left half finished, another in nearly final form but sitting on a drive and without much love from me.
Maybe this is what they call a “Grand Funk”… or a “Creative Block”?
Who the hell cares what they call it, I want out. Desperately want out.
My action plan:
I have been working pretty hard this month to get ready for this ad-hoc ‘beginning’ of 2016. And I have been making stuff, getting it done. Shipping out is next, and that means I have had to shift some priorities. Slide a little here, shave a bit off there. Axe that crap right off the table… shifting.
My goal is to make something every day.
Produce something every week.
To ship something every month.
Less FB, more camera/pen/stylus in hand. More time outside. More time working this fucking leg to either get it strong enough or kill the SOB.
If the last few weeks are any indication, I should be able to meet those goals.
Lighting Essentials is a big part of the plan. A new look coming next week, articles and tutorials that will put my creativity to the test. I hope you stick around to see what LE will become.
I know this is not your typical “GoodGollyGee, I am so awesome and have been doing better than I ever expected” end of year post, but it is heartfelt.
And I know I am not the only one in a funk, a darker place, a trench in the front yard of Mr. Happy’s summer fucking home.
If you are going through something similar, may I suggest you DO something, and ship it. Get it done.
Small successes can lead to a tiny bit bigger than small success. Hey, it takes time.
I will keep you posted occasionally on what my funk level is, and perhaps we can help each other.
Until then, I will leave you with something that has helped me get going. A heavy metal band, Disturbed, recently covered a 70’s piece by Simon and Garfunkle, “Sound of Silence”. To say they made it their own is an understatement. I have watched it a gazillion times – not only for the wonderful musicality but for the incredible visuals of master photographer Matt Mahurin… a lifelong creative and someone I am influenced by. Enjoy.
“And lastly, never, never ever give-up. You must believe in you when, no one else does. You must hang-on to your dreams when there is no reason to even hope for the smallest of miracles. If you give yourself a backdoor, chances are you may fold and take it. Life can be full of regrets and ‘what ifs’. Don’t let your priceless dreams be relegated to the dust bin of ‘if only’. If only I had tried harder maybe, just maybe I would have built a professional career as a highly respected fine artist, and my work would become family heirlooms and highly prized someday … ”
— Dave Iles – fine artist (HOW I PAINTED MY WAY TO THE MIDDLE – PART II – Find Part One HERE)
I am such a believer in this. Too many times I hear and read about someone with great promise who throws in the towel because “real life” got in the way.
Real life is always going to get in the way. Every friggin’ day real life is in the way. The path to becoming an artist, a creator, a someone with something to say is a freeway, it is a path without markers much of the time. It is a messy, craggy, dangerous route not for the faint of heart. “Real life” has a clearly marked, signage heavy, overly used tarmac. Lots of “take this turn and buy a house… BECAUSE!” And “get a corporate job with bennies… BECAUSE!” And never forget the “max out the credit cards for Christmas… BECAUSE!”.
Because why? Because that’s the way real life works? Or because everyone else does it?
Real life? Real life pulls us from our dreams and gives us back squat, bupkiss, nada-dam-ting…. Sure you got kids, sure you got a mortgage, sure you gotta have insurance and a new toaster and make sure that you drive a better car than your neighbor and never miss a night on the couch watching sitcoms and reality shows… The myths and lies we hear and tell ourselves over and over begin to replace what is really real with – you got it – “Real Life”.
A marketer’s dream. An ad guy’s heaven. Real life where we can sell you a college degree for $100,000 (loaned with interest) but we cannot support your dream of being a photographer for $5k worth of airline tickets and a suitcase. We can encourage you to spend 40% of your income on a pile of bricks with a lawn to mow, but we will never encourage you to take some time to write that novel, or compose that symphony, or photograph that mountain… no… home ownership (albatross) is ‘real life’ buddy and you better STFU about any other way of living if you know what’s good for you.
But as you get older, you realize that much of that ‘real life’ that you used for a super cool, bigdaddy excuse was bullshit. Bull. Shit. A steaming pile of fertilizer they laid down in your life and YOU LET THEM. In some cases encouraged them. Pure crap handed to you wrapped in colorful paper and tied off with a bow with a card reading “welcome to real life”… sucker.
And taking that wrapping off was fun. Real life became a bench mark of nothing, and a valuable companion for doing nothing. Because “real life” had you by the balls and you simply were too concerned about who was watching to punch real life in the face, take his watch and wallet, kick him while he’s down and make an escape in your almost paid off car that with interest cost you about $70,000.
You were looking for an excuse to not do it. A grand excuse for not putting it out there and maybe having to face rejection. The fkn TV never rejects you when you plant your ass in front of it to see what is happening on “Storage Wars”… or the lameass news.
But the beauty of all of this is we have a choice to make every single moment of every single day. Until we don’t. And on that day it really will matter little what ‘real life’ did to you, or took from you, or robbed you of… that bullshit doesn’t work anymore on that day.
On that day the sum of your choices has been weighed – and measured, and you will never get a chance to choose something different for the next moment. You used all those opportunities up already. I hope you chose wisely.
So what are you going to do today to advance your art? What choices will you struggle with today? Which ones will win out?
Your art or your personal nemesis, both real and imagined, “real life’…?
This past week we have been reviewing the CD cover assignment for the Project 52 2015 group. The assignment was for a cover and back image for a String Quartet performing Samuel Barber’s String Quartet Op 11.
The assignment specifically noted that the string quartet members may not be available for the shoot, so a creative solution must be found. (I don’t give assignments that are impossible… and finding a string quartet to photograph may not be totally impossible, but damn close for many of us.)
When shooting a CD cover there are three main ways of approaching the image.
For pop music it is usually going to be a photograph of the artist. Rare are the covers that do not have the artist shown. The cult of personality, and celebrity demands that we keep the faces of the performers in the fore. In many cases, the celebrity is more important than the music anyway. See the covers below for Faith Hill.
Another way is to show something that is reminiscent of the music, or an image that may be part of the title. Respighi’s “The Pines of Rome” cover could certainly have the pines of Rome featured:
And the third way is use art that is quite striking, but may not relate to the music but in the most obtuse of ways. This is usually done when there is no necessary correlation between the recorded music and a celebrity, or an album that is more about the music or genre of music than the actual performers.
Some labels like Windham Hill above was a full adopter of that approach to album design, and helped create the style as we know it today. Another company that also used art, although in many cases commissioned art, for their classical work was Nonesuch. Both of these legacies live in today’s music cover designs.
The CD cover is becoming less of a major label concern as streaming has taken its toll, but cover art will be around for a while longer and is very important for Indie bands and artists.
Here are a few of my favorites from the Assignment. Remember the cover is on the right side, back panel on left.
Continue on after the jump to see the class images.
One of the most exciting and ultimately satisfying things I am doing is the 8 Week Workshop courses. We mostly focus on portraits, but are beginning to expand out with an upcoming Still Life Workshop as well. And more ideas are in the works.
This last week, we studied the work of Sara Moon. Moon is a fashion photographer best known for her intimate, nearly painterly like fashion imagery. And while most of the students do not seek a career in fashion, there is much to be learned from studying her work and being inspired by it.
I want to share with you a few of my favorites, as well as the entire classes work.
Cover image: Thomas Poehler
PLEASE SEE THE REST OF THE POST AFTER THE JUMP (more…)
If portraiture is your interest, we are starting the 8 Week Portrait Workshop 102 in January. There are still a few openings if you are interested. See the workshop page for more information on this unique class. Lots going on in that class, and if you love portraiture, you should check it out.
The second course is a brand new one we decided to call the 8 Week Still Life Class. Most likely because it is 8 weeks long and focuses on still life and table top work. This is somewhat new for us, so we are looking at other disciplines that could be brought into the 8 week structure.
These 8 week units have been very popular and we love teaching them. I hope you check them out if you are interested.
Matt Dutile is a young, emerging, and very talented people photographer who specializes in travel and lifestyle editorial. His newest project is a book of his more enigmatic imagery.
What started as a promotional piece, has grown into a larger, more robust publication of over 80 photographs. I had an opportunity to chat with him recently, and we discussed this new book project, his recent travels, and the many fascinating places he has visited in his quests. Shooting for magazines and clients worldwide, take a few minutes to listen to Matt discuss the world of travel photography, and his favorite subject – the people of the world.
Here is a link to the INDIEGOGO site where you can pick up a copy of this very unique and fascinating book. This is a collectors item, and only a few hundred people will ever have a copy.
Perhaps it is because it is the Saturday after Thanksgiving, or maybe the wanderlust of the highway calling to me, but today’s update is a bunch of cool stuff about adventure photography that makes me want to get out the door, fire up Sarek and “head out on the highway, lookin’ for adventure”.
I have said it many times; if I was starting this road of commercial photography again, it would be adventure photography I would be chasing. Perhaps it will be, and perhaps I shall at some point. (Do you get the feeling that there is something in the air saying “reset”… a big change comin’ and perhaps it is indeed a time for a reset.) Who knows… hell, certainly not me.
I am just a writer/photographer who is wanting to have some fun on these final laps. Get the fuel ready, boys, I want another race.
Chris Burkard knows photography… and social media. With over a million Instagram followers, there is a sense that a lot of people like adventure photography. Listen to this interview with him on how he does what he does and check out his work here. Tumblr too…
I have finally put the finishing touches on the Training Series I have been working on:
“How To Find and Keep Commercial Photography Clients” has been a long time coming. I have been working on it for about 4 years now. Not the system – I have always used the system – but in the organization of it into a cogent, and easy to follow course for commercial photographers to follow.
One of the most asked questions I get as an educator and a mentor is “where do I find clients for my commercial work?” Without any sort of access to the industry it can be quite complex. The old inroads have changed. Now we have to be more nimble, more innovative, and more organized.
This system does that for/with you.
No Secrets. No Tricks. No Easy Button. No Quick Success. All of that is pure crap – and you KNOW it is.
This is a system that can work for a photographer in almost any area or region. It is methodical and measurable.
The initial training is FREE. No charge. Nada damn penny.
And while a premium will be offered at the end of the training, there is absolutely no selling going on in the video training across the four modules.
This is real, actionable training you can use starting today. You can begin building your system immediately.
Sign up for the training at this page: FindPhotoClientsNOW.com and you will receive the first module link in the email that comes to you immediately. One email per week will follow with a module per week. The fifth email will be a wrap-up with an offer to continue on to the premium part of the training. (Did I mention there is no cost? I did… sorry.)
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IMAGE BY GLENN HARRIS AFTER STUDYING THE WORK OF ANDREW HETHERINGTON
I am just about full on my newest portrait class (starting November) and we have been discussing a lot of things in the current portrait class that has me thinking. Yeah, that can be sorta dangerous, but in this case I think I want to share a few things.
In today’s wacky, fast-paced, ‘just-show-me-how-it’s-done’ world there are those who want to skip the hard bits. Just jump on over the challenging and get right to the ‘good stuff’. And yeah, we have bemoaned this before.
But today, more than ever, it seems like what is missed is becoming the heart of what should be found. It isn’t difficult to learn about master photographers, and it doesn’t negate anyones talent to study and learn from them. On the contrary, the study of the masters, or even contemporary shooters who you enjoy, can open your eyes to your own work.
We don’t study in order to copy the masters, nor is there any desire on our part to become small clones of their style. At least there shouldn’t be. What we are looking for are the commonalities of making images, and the unique solutions others have found to make them.
Look – we can teach someone how to light fairly quickly, it isn’t hard. We can teach the ‘rules’ of composition, and how to color balance and all that stuff. It is pretty damned easy to teach and to learn.
But no one can teach someone how to see, how to make a photograph that transcends the snap and becomes something more. No one can teach vision, and style, and how to dig down deep to make something all their own.
We teachers can only lead the way, show them the direction and help them find it within themselves. Understanding what other artists do and achieve with the very same tools they use can open flood gates of creativity, and the always valuable introspection.
Simple, really. We study the art of others to help understand our own.
The students in the 8 Week Portrait Classes I have run this year have said things to me like;
“I never knew I could make photographs like this. Studying the work of Peter Limburgh opened me to a whole new way of approaching light.”
“Sarah Moon made me see photographs in a totally different way.”
“I have found a new love of portraiture after being immersed in the work of David Eustace, and I love it.”
It is so true… the photographers all saw major breakthroughs in their own work after studying these wide ranging master portraitists. This was probably the most exciting thing for me as a teacher.
Here are a few things we can learn from studying other photographers.
How to meet a challenge head on.
So many times shooting is just a set of challenges that seem to stack up against you at every turn. Understanding that other photographers have had those same challenges, and then learning how they dealt with them can give us fresh perspective on ways we can deal as well.
How to approach a subject in different ways.
The portraiture work of David Bailey is worlds apart from the portraits of Dan Winters, and yet there is something to be gleaned from both. Whether you like one or the other more, studying the way they use light to shape and present the subject is fascinating. You may choose another path altogether, but you do it knowing what you are doing, and how to do it your way.
You get to step into the mind of another shooter… and that helps you grow.
When you study, or immerse yourself in the work of another photographer, you can start to see how that photographers sees, how they approach a visual challenge, how they choose to use – or not use – context. This can help you make decisions when you face the same challenges. Decisions that are uniquely yours, but derived from the visual legacy of a master.
The more you THINK about making a photograph, the better your photography can become.
In the workshops we strive to immerse ourselves in the work of master photographers. Some of the students decide they want to create a lighting scheme that is as complex as a master they are studying, while others try to find the essence of the work and then integrate some of it into their own style pallets. Both are excellent tools. And both help the photographer hone their craft faster because as you raise the camera up to your eye, you start to question the process based on the photographer you are studying. And that exercise is so very valuable. It creates patterns that will stay with you for the rest of your photographic career. THINKING about the photograph.
Freedom from sameness.
Yes… freedom. We get in a rut sometimes. We begin to think that Facebook and Flickr and G+ are arbiters of our own style and aesthetic and nothing could be further from the truth. Studying the work of photographers who are creating masterful images can lead to the discovery that you can make any kind of images you want to make… as long as they are authentically yours. And the freedom to make YOUR image can many times come after studying someone else who claimed their freedom, and then took it to levels unimagined for most of us.
I love teaching these classes, and we will resume in January. Currently we have three portrait classes; two are general approaches to stylized portraits, and one is focused on the environmental portraitist. I may add a studio section, but probably not. I am thinking that I could switch out a few photographers in the other classes and add a few new ones to the mix.
The goal of the portrait classes I teach is to look at a prominent portrait photographers work, and find those aspects of the work that resonate with our work. The goal is NOT to copy those we study, but to be inspired by their work.
This week we looked at the work of Lee Crum and Matt Barnes, two amazing portrait photographers. The members were inspired by their work and created some wonderful images. I am sharing them with you here.
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