Portfolios!

In the last few weeks of class, one of the topics we'll be addressing is portfolios. The fine folks at PZ Direct, direct sellers of Pina Zangaro portfolios, have graciously offered to donate 4 portfolios to our class. This raises the stakes of the original competition for the liveBooks website. The student with the highest votes from our judges will still win the one-year, .edu version website from liveBooks - but now the next four highest vote-getters will each receive a free portfolio.

Thanks, PZ Direct!

Q&A: Tealia Ellis Ritter

Floating © Tealia Ellis Ritter

Tealia Ellis Ritter is a contemporary photographer from Illinois.

For further information visit her website.

Kathryn Kmet: I noticed you use Artist Statements quite often in your work, How important/useful is it for you to use artist statements in your separate works?

Tealia Ellis Ritter: Writing artist statements is something that most artists do as a way of introducing the work to viewers. I actually don't enjoy writing them but they are useful because they force you to organize your thoughts and clarify broadly what you're doing. At the same time that I don't enjoy writing them, I really like reading other artist's writings on their work. It's the best way, aside from talking directly to the artist, to understand the artist's motivation.

Kathryn Kmet: How do you come across your subjects, what about them individually grasps your attention?

Tealia Ellis Ritter: In general I meet my subjects by chance on the street or grocery shopping or doing some everyday activity etc. I approach them, explain what I'm doing, exchange information and ask if they would be willing to be photographed, from there we usually e-mail back and forth and talk for awhile before the actual photo shoot. As far as what attracts me to each subject, that is a difficult thing to explain. I guess it's a bit like any attraction, it's part magic. In general there is something about each person that I feel I relate to, I think I recognize the desire for something beyond the present.

Kathryn Kmet: What has most inspires you in your photography?

Tealia Ellis Ritter: I would say that I am most inspired by whatever my current surroundings are. That may sound simplistic but in general my work is a reaction to the world around me and the issues that arise from my life.



My dream it to sleep with no nightmares © Tealia Ellis Ritter

Kathryn Kmet: What really attracted you to the medium of photography?

Tealia Ellis Ritter: My father was an avid photographer and he really introduced me to the medium. My mom is also an artist and she exposed me to art at a very early age. So art and photography have always been a part of my life. What I love about photography is the way that it is able, unlike any other art form, to walk the fine line between truth and fiction. Each image is this complex representation of the artist and the subject and what they have created together. People's willingness to believe in the truth of photographs provides photographers with an interesting ability to effect/manipulate the viewer.

Kathryn Kmet: How did going through school influence the way you photograph now? How long did it take you to realize your style?

Tealia Ellis Ritter:School was great for me. Many people believe that art is a totally intuitive thing that just spontaneously emerges from the artist and although I often work intuitively, having an understanding of art history and being able to talk and have critiques with other artists is invaluable. I continue to seek critiques from other artists and I am constantly looking at other artists' work...just like in any field, knowledge is always helpful.

Margot talks with Death © Tealia Ellis Ritter

Kathryn Kmet: I was very interested to see that you have a minor in printmaking from the University of Iowa. I am also a printmaking minor, I am interested to know if your have ever used the medium in your photographic work?

Tealia Ellis Ritter: I think that printmaking heavily influenced the body of work titled Specimens. Printmaking made me very aware of texture and manipulation/control of value which I think is important in that body of work. I also used photographs in my lithography which was an interesting way for me to see my images. It gave me a different appreciation for printing with light vs. printing with ink.

Figure, found alongside the highway © Tealia Ellis Ritter

Kathryn Kmet: As a photographer who had studied in the midwest, how did you get started in the art world? Was it a challenge for your or was it easier then you imagined?

Tealia Ellis Ritter: As far as getting started in the art world, I think that is still a work in progress. What I have found is that having a community of artists with whom you can share information and network is very important. Also, putting in the time to work and send out slides is key.

Friend of The Class: Hamon

Deborah Hamon is a San Francisco-based artist who both paints and makes photographs. The promo cards seen here feature work that combines both - painted portraits set within a photographic background. See more of Hamon's work on her website and blog.

Thanks, Deborah!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

Q&A: Aline Smithson

Favorite Condiment © Aline Smithson


I had the tremendous pleasure of interviewing photographer Aline Smithson. Smithson resides on the "Left Coast" of the United States. She is productive both in the practice and the study of photography, as is evident by viewing her website and very active photo blog Lenscratch. Her variety in subject matter is telling of her hyper curiosity for life. Her enthusiastic exploration of photography and photographers is a true inspiration for those interested in the medium.


Aryn Kresol: The extent of work on your website is quite impressive. You seem to be very purposeful about the ideas you pursue. Does most of your work initially come from preconceived ideas or do you find yourself producing work without a predetermined purpose and find one along the way?

Aline Smithson: I work both ways, usually starting from an idea and then I shoot a couple of images and if it feels right, I continue. Sometimes I'll spontaneously produce an image, find resonance in what I've done, and continue the exploration. It's all pretty organic, but I do think it helps to have an intention...as a project evolves, there is a voice in my head that constantly discusses what I am doing and that helps me flush out my intention.


The Secret Language, from In Case of Rain © Aline Smithson

Aryn Kresol: As the daughter of a librarian and the patron of a library currently in economic crisis, I have a connection with your In Case of Rain series. Do you find connections with other photographer's work and can you give an example of such a connection?

Aline Smithson: Honestly, I feel more connected to painters, especially James McNeil Whistler - not just for his portraits, but for his gestural landscapes and influences from Japanese imagery. I have a wall of inspirational images over my desk and many are postcards of paintings, postcards of hand painted Japanese photographs, or vernacular images by unknown photographers.
Lately I have been drawn to personal work dealing with family--Phil Todelano's work, Days with My Father, Doug DuBois, Tierney Gearon, Elizabeth Fleming, Jack Radcliffe. I recently wrote essays on this subject for Fraction Magazine and Too Much Chocolate.

Aryn Kresol: In the same vein, are there any photographers who have had a profound impact on your photographic life?

Aline Smithson: In my Fashion Editor life, definitely Mario Testino. He was a complete pleasure to work with and had such enthusiasm about his work and it taught me a lot about working with people. That kind of personality is infectious and makes everyone excited to create a singular vision as a team. Patrick Demarchelier and Arthur Elgort were pretty great to work with too--and though I didn't work with them, Guy Bourdin, Penn, and Avedon were visual influences.
I think when I was beginning my own photography career, I was most influenced by Matt Mahurin and Keith Carter (I only shot in black and white for many years). Matt Mahurin's work gave me permission to create and print images that were dark--I've always been drawn to ominous and quirky images, and his really resonated with me. For years, I had Matt's photographs of Marilyn Manson (from a story in Rolling Stone) over my desk, sort of as an inspiration for creating work that was "off". Keith Carter resonated with me because he approached his subjects with such compassion and dignity. My current favorites are Jan von Holleben who celebrates life and children with a disregard of traditional approaches and Oliver J. Laude for his quirky and humorous approach to his work.

Aryn Kresol: Do you consider yourself an artist or a photographer? Or both? What, for you, is the distinction between the two?

Aline Smithson: My eduction was as an artist, though when I reflect on my influences in college, they were definitely artist's that used photography. John Baldessari, Ed Ruscha, and William Wegman were artist/photographers that I admired. When I was in college, no one considered being just a photographer. As an artist, you had permission to use all mediums--lithography combining photography, painting combining photography, or just straight photography--but it was art based. At this point, I consider myself both, though if someone asks what I do for a living, I just say I'm a photographer.


People I Don't Know #5 © Aline Smithson

Aryn Kresol: The People I Don't Know series most definitely speaks of your personal style; within it the viewer can see reoccurring compositions and lighting attractions. Is this a tendency that you are conscious of when you are photographing or is it intuitive?

Aline Smithson: That was an early series and I discovered the importance of light as an element that evoked more complex images. Since I didn't have any formal photography education, or a community to exchange ideas with, there was much on-the-spot learning. Working through that series did, indeed, create a consciousness about how I wanted to present the images--though very little was planned in advance. I just looked for ways to connect the images when I was in the moment.


Life, from In Case of Rain © Aline Smithson

Aryn Kresol: You expressed interest in photographs that accompany articles, books, and such. Are you interested in the text? Or do you solely read the photographs?

Aline Smithson: Honestly, I always look at the photographs first, but I will read the story or the essay if it is of interest. If you are going to create images to accompany text, you should be reading the text! I am interested in image that begin to tell a story, but don't give away the ending, that are intriguing enough to make you want to read the text. I have to admit, I've purchased books because of the cover image.

Aryn Kresol: Does more of your work come from external influences or from internal curiosities?

Aline Smithson: Both, though probably more from external influences. I'm a visual learner and person. My husband will often have to remind me to stop looking at strangers for too long--I am so fascinated with life and people. I'm always taking in the world and thinking about what I'm looking at. I often take those external influences and make them internal curiosities.


Moving Through Life © Aline Smithson

Aryn Kresol: Do you still shoot with film? Mainly or Solely? If you do work digitally, do you feel a difference between the works you produce traditionally to that which you produce digitally?

Aline Smithson: I only shoot with film. And my cameras are pretty old--I use a Rolleiflex from the 1950s and a Hasselblad that could be from the 1980s. It just feels right. I have noticed that my students who shoot digital don't take the time or make an effort to slow down and really think about what they are producing...and the other thing I've noticed, is that many digital photographers have never made prints--I find that unbelievable. The darkroom, and the artistry behind printing, is an important part to committing to the image and elevating it to another level. I don't shoot as much random imagery these days, due to the cost of developing film, and that's where digital images would help. I do own a digital camera and have never used it.


Fur © Aline Smithson

Aryn Kresol: As a photographer and a mother, your children are at times present in your work. Do your children enjoy being photographed, or is it something that they tolerate?

Aline Smithson: My daughter has always been a willing partner--though I did a series of her wearing an enormous gold Thai hat in various locations, and had to pay her $1 per shoot! My son begrudgingly allows me to photograph him, but i know he's happy with the images--especially since he made the cover of a magazine. I am grateful to have chronicled their lives through my art.


My immense thanks to Aline for her generous answers!

Q&A: Brendan George Ko

God, I’m Lonely (Again), from Reminiscence, 2008-2009 © Brendan George Ko

Brendan George Ko's website: brendangeorgeko.com

Michael Senise: Tell me a little about your personal background. Where and when did you decide to go down the path that you have chosen?

Brendan George Ko: It’s hard to say what year exactly I decided to become an artist, I was kinda born into, both my parents are painters (no longer for a living), and I was good at it from the start. But in 2004, I had a falling out with it, and after 18 years of wanting to be an artist, I didn’t know what to do. I picked up all my things and took a bus from Houston to Toronto and went to film school all because my mother said it would be a good idea. After a year of film school I dropped out, and started doing photography full-time. A year later I went back to school, and started studying photography at The Ontario College of Art & Design, and it was when I started doing conceptual work and studying contemporary art that I decided I’ll do this for a while. My life is a little impulsive.

Michael Senise: From what I’ve read (on your site and blog) you seem incredibly passionate about what you do. Where do you say you draw your inspiration from?

Brendan George Ko: I consider each photograph I take, whether it is constructed or real, as a document of a person, a place, a time, or feeling. I have become obsessed with documenting memories and feelings in my writing and photography because with each place I live in, with each passing year, my memory gets pushed further away into this library in my head, until they fade to “the milk of dreams”. In other words, I mistaken my memories for dreams, or I simply forget them, and they could be some of the greatest moments of my life, that doesn’t matter, I’ll probably forget them. The photography is my attempt to retain the importance of someone in my life, remember my time spent in a certain place, or fragments of who I am, or who I was.



















Here We Go, from Reminiscence, 2008-2009 © Brendan George Ko

Michael Senise: I’ve read that you’re working out of Ontario, have you considered or have you ever displayed in any other region or country?

Brendan George Ko: I’ve developed this unhealthy comfort in Toronto, where I know a large catalog of different artists, and a network of people-to-know such as curators, board members, and gallery directors to the point I know how to curate or organize an exhibition and get it up and seen. To answer a question, I have considered having my work outside of the province and country over and over, and besides from my film work, I haven’t exhibited outside of Ontario.

Michael Senise: Do you feel that digital or traditional photography works better for your conceptual ideas? Whichever one, do you feel that the recent trend in technology has limited or broadened your thinking, and or execution? For that matter, is there a difference for you?

Brendan George Ko: I am exclusively analog, from shooting with film to making my prints in the darkroom, but I have worked in digital for certain things. I’m in no rush to see my images right away, and I’d rather be working with my hands in the dark then double clicking away at a screen for hours. But in some cases with a body of work I shot panoramas, I used photoshop to stitch my negatives together and ultimately printed them. Or a collaboration I did this summer, everything was completely web-based, I had to learn After Effects, and html. I should mention my new philosophy, Whatever it takes.















Run Away With Me, from Reminiscence, 2008-2009 © Brendan George Ko

Michael Senise: I’m very interested in pairing text with imagery; whether it is a title that no one would expect or something in the images that just takes the image in a whole new direction. Where do you see the line of text and imagery? Is there one?

Brendan George Ko: Well, if you’re talking about my blog, I rather enjoy being as abiturary as possible, placing any image to one of my stories, and seeing how the reader creates that relationship between image and text. In terms of my text-based work in art, I draw from statements or sayings from different times in my life, and incontextualize it in a place. Usually this work is installation-based, and the photographs serve as a document. I’ve been interested in use of titling work, and how that recontextualizes, and how much weight they possess in terms of subjectivity. With Danielle Bleackley’s Dress Series, the title and the image are equal in my eyes, transforming the work from beautiful images to heartwrenching images. Or David Claerbout’s Auvergne, France images of these French landscapes, but in his titling he transforms what once was landscape into narrative by adding, “August 6th 2003. Paul and Gilles on a Hill.”

Michael Senise: Your work reminds me of Duane Michal’s work but in the current day and age. Take this as a compliment or an insult. However, I find Michal’s work to be remarkably wonderful. Who would you say that your photography most resembles?

Brendan George Ko: I never been told that before. For a while, David Hilliard, when I was doing more polyptychic work, but nowadays my work is closer to Frederic Fontenoy’s Metamorphose, and a wholewhack of new photographers closer to my age.

Michael Senise: How important do you feel the medium of photography is in your work? To be clear, do you feel that you need exceptionally top of the line equipment to accomplish what you set out to do? Or do you find that the medium is secondary to your concepts? Or do you feel that the medium is on the same ledge as your ideas and the final piece could not exist with out your medium and message?

Brendan George Ko: Photography is a possibility and is my usual approach to working with a concept, but since I work with a concept before I make anything, the concept determines the medium. I consider myself a very technical person, learning to work with a wide variety of equipment to different practices, all in order to execute a concept closer to how I originally saw it in my head. I think that has always been the challenge of art, is you have this image in your head, and you have to figure out how to get that in a medium. In my practice, I switch from a medium format to large format, to working with sound equipment, to even no camera at all, and just wood and my hands. My work is starting with a concept, working on how to communicate it, and then I work on how I am going to do this, and that’s usually the funniest part about making work. And then at the end, when you actually accomplish what you had in your head, it’s nice to see it there and for others to share in something that comes from within.

Michael Senise: What would you say that you are trying to tell people with your work? Is your work directed at everyone?

Brendan George Ko: I find that to be a difficult question to answer. I once made a body of work with a person I was in love with and through the images there is this disconnection, this film that was always there. I could be touched by someone but I could never touch them without feeling I didn’t belong. Maybe it is the act of sharing, we share to give, but we also share to connect; to reach out to someone, and share with them something dear to you, and hope that they understand you, and just maybe they too feel the same.

Q&A: Shane Lavalette

Shane Lavalette currently lives and works in Somerville, MA. His photographs have been included in well recognized exhibitions both nationally and internationally, he was awarded the Yousuf Karsh Prize in Photography for his project "Slí na Boirne" and has published editorial work with such names as the New York Times Magazine. He also edits the photographic periodical Lay Flat.

Shane Lavalette’s website.
Shane Lavalette’s blog.















Untitled © Shane Lavalette

Rose Tarman: Tell me a little bit about your personal background in photography.

Shane Lavalette: I grew up in a small town in Vermont, so I was never really “exposed” to the art world or fine art photography until I sought it out myself. My interest in images was always there – I obsessively photographed with my Polaroid camera as a child – but it wasn’t until sometime in high school that I began to look at photography more seriously. At that time, I found the Internet in combination with photographic books to be my primary resource for learning about the medium and its history. I moved to Boston to study photography at the Museum School and at about the same time began my blog in order archive the work that I was interested in: artists, books, exhibitions, etc. In the process, I spent a lot of time making my own photographs and continued to explore curatorial avenues such as my current publishing venture, Lay Flat.

Rose Tarman: How do you go about starting a project? Do you go through a specific process usually or is it a spontaneous creativity?

Shane Lavalette: In terms of my own photographic work, the projects seem to originate very organically. Ideas often come about about spontaneously but the execution generally takes time – months, years. The most recent project I’ve completed was made in a short amount of time that I spent living in Vrindavan, India – the birthplace of the Krishna Consciousness movement and, to Krishna devotees, “heaven” on Earth. The photographs were all made early in the morning as the sun rose; with this, I hoped to make pictures that were quiet and offered a view of India that was atypical (are we not all too familiar with the colorful and chaotic images that Western photographers tend to make?). To me, the pictures are an exploration of the spirituality of the people and landscape.















Offering, Vrindavan, India © Shane Lavalette

Rose Tarman: Though I have an immense appreciation of photographing areas you know well, I would love to photograph in places other than my immediate, easily-accessible surroundings. How do you build up the funds and resources for the trips you take, such as to India or Ireland?

Shane Lavalette: The relationship we share with our immediate surroundings is of course vastly different than our relationship to a distant land. But from my experience being in an unfamiliar place often triggers ideas and new ways of looking at subjects. In other words, I believe it’s important to photograph what you know as well as what you don’t. Both of the projects you mention were made possible in part by generous grants from the Museum School, but if you have an idea in mind there is a lot of funding available to the public in support of photographic projects, especially for students.















The Sea © Shane Lavalette

Rose Tarman: You’re so young to be so well respected and you have a show coming up with some pretty impressive figures like Alec Soth, Laura McPhee and Zoe Strauss — what has motivated you to get as far as you have? You have to be extremely confident to do many of the things you’ve achieved.

Shane Lavalette: I’m not sure about confidence – in fact, I think it’s important for artists to possess some uncertainly. I know I do! The opportunities that have come up for me have been pretty unexpected but my general passion for photography has been the motivation since the beginning. I enjoy looking at other work as much as I enjoy making my own. I’m always working on things, whether it’s my personal projects, curatorial endeavors or collaborations.

Rose Tarman: I hear from all sides that there are certain ways to “make it big” and certain procedures you must follow. This seems like a daunting task.

Shane Lavalette: There are of course things that artists can do to help get their work “out there” but I think artists become well-respected for other reasons. I forget how the quote goes, but Thelonious Monk once said something like “Genius is being more of yourself.” I think that’s what takes artists far in my book, being honest.















Blue Fan in Laundromat, Brooklyn, NY © Shane Lavalette

Rose Tarman: Where do you gain inspiration from? I’m talking anything — photography, music, films, books, colors, people, places…

Shane Lavalette: Poetry has always been important to me, particularly the works of E.E. Cummings, Ezra Pound and Rainer Maria Rilke. Other writers that inspire me include Samuel Beckett, J.D. Salinger, Milan Kundera, James Joyce, Ralph Waldo Emerson, and Henry David Thoreau. Some theorists and philosophers that have shaped my thinking include Dave Hickey, Susan Sontag, Roland Barthes, Vilém Flusser, Jean-Paul Sartre and David Levi-Strauss.

Then, of course, there’s music. To list some artists in rotation now: Yo-Yo Ma, Chopin, Philip Glass, Bill Evans, Billy Holiday, Django Reinhardt, Stephane Grappelli, Leadbelly, John Fahey, Devendra Banhart, Bonnie ‘Prince’ Billy, Cat Power, Neutral Milk Hotel, Jackson C. Frank, The Gun Club, Don Caballero, The Dirty Projectors, The Books, Sigur Rós, Tom Waits, Neil Young, The Velvet Underground and the “Goodbye, Babylon” box set (assembled by Bob Dylan).

I think it’s safe to say that I’m equally stimulated by non-photographic material.

Q&A: Matt Eich

© Matt Eich

Matt Eich is a photojournalist/freelance photographer who is currently living in Norfolk, VA. Matt has worked with clients such as: Newsweek, World Report, The New York Times, US News, and many others. He is a founding member of Luceo Images.

Matt Eich's website: www.matteichphoto.com

Priscilla Whitenight: Being such a young photographer, were you ever discouraged or intimidated when first pursuing your career in photography?

Matt Eich: I still find myself intimidated when I'm exposed to work that is a much different language from my own. It expands my perception of photography's potential and helps me to realize how small my voice is in the grand scheme of things. Discouragement is something artists of any sort have to deal with constantly, either frustration with your own work (which is constant) or rejection (another constant, from grants, to contests to people just not understanding your work). This past week I was in Amsterdam participating in World Press Photo's 16th Joop Swart Masterclass. It was an incredibly intimidating environment and I'd be lying if I said I didn't get discouraged and hung out to dry a couple of times, but at this point I'm used to it. It's all part of the process and those feelings become a catalyst for growth.

Priscilla Whitenight: What do you hope to achieve by showing people your work?

Matt Eich: Sometimes I try to tell a story or confront an issue in the hopes of showing something to an audience or at least gathering evidence for a collective memory. Other times I don't have any end goal in mind when I start something -- I'm compelled by a natural curiosity and I just chase that and see where it leads. I would love to help affect social change with my work but know that if I base my self-worth on seeing that happen in a tangible way, I will soon be lost.

© Matt Eich

Priscilla Whitenight: How do you get access to most of the situations you're in?

Matt Eich: By being as open and honest as possible with people. Photography is all about relationships so it is a two-way street. I try to give as much of myself as I ask from the individual I am photographing. Most of that exchange is in dialogue, trying to get to know someone, but other times it is just being there and being quiet -- watching, listening; trying to be a witness.

© Matt Eich

Priscilla Whitenight: What advice would you give to a photographer who might be photographing in a possibly dangerous situation?

Matt Eich: I can't really offer much good advice on this, as I don't think much of what I've photographed could be considered a "dangerous situation." Just use your head and know that a photograph isn't worth your life. It is important to be aware of what is going on around you, even if the situation isn't dangerous on the surface. Don't push it, listen to your gut. If you feel something isn't quite right, leave.

Priscilla Whitenight: How do you set aside your "emotional side" when photographing these situations?

Matt Eich: I don't set aside my emotional side when working. I try to engage it fully so I can interpret the situation in a way that won't just present the facts, but will also present what it felt like to be there. There are times however, when you have to shut off your personal opinions. In those cases I find the camera becomes a shield (though this isn't always a good thing) and I can still work through a situation though sometimes I will get back to my car and have to let it out there with a couple hard punches to the steering wheel or a cigarette.

© Matt Eich

Priscilla Whitenight: What life experiences have most influenced your work?

Matt Eich: I don't know that I can separate life experiences from my work to say which is more important than another, though there are some milestones that just change who you are as a person and therefore influence your work. Falling in love will turn your work upside down and becoming a father for me was another huge shift. I see things I wouldn't otherwise and am able to connect with people on that level when I'm out working. The saying "the more you know, the more you see" is something I try to keep in mind during my day-today experiences. Everything that I experience is building towards my knowledge of the world so I can react to others with understanding and empathy.

Priscilla Whitenight: Would you say you photograph for yourself or other people? Or both Is there ultimately a difference?

Matt Eich: At this point I'd have to say I photograph for myself as well as for other people and that there is a difference between the two in some cases. The ideal situation would be that the distinction is minimal -- or that people pay you to do work that you want to do. Right now I spend most of my time shooting for myself, between personal and family work and long term projects. At the same time, I'm trying to support a family on photography so that means taking work whenever it comes (because there's not much). For editorial clients (magazines and newspapers) I generally try to cover my bases, shooting what they expect, and then push it to a different place -- usually something that better represents the way I interpret a situation or a person. Same goes for shooting weddings or whatever else necessary to scrape by -- the idea is that you give the client what they want and then something truly unique that goes beyond their expectations as well.

© Matt Eich

Priscilla Whitenight: What advice would you give to a young, aspiring documentary photographer?

Matt Eich: Oh, there's no end to this list. This is especially true because I'm still actively learning as much as possible and the longer I try to understand photography the more I am realizing how little I know. School is just a starting point, the embryonic stage of your photographic development. If you want to be a photographer in general, you have to understand some basic things that I am just starting to wrap my head around. Photography is communication and within this medium there are hundreds of photographic languages and dialects and voices. You have to develop a unique voice and a consistent language in order to communicate. Speaking English photographically won't get you anywhere -- what do you have to say and show that is unique in this cacophony of visual noise that we experience daily? Money is a dirty word i photojournalism but you are a human being who needs to eat and we live in a capitalistic society so ask yourself honestly, how will you support yourself? Newspapers are folding, magazines are cutting back, agencies are hustling for work from these folding markets and take a chunk out of your paycheck, NGOs don't have budgets and commercial/advertising work is difficult to get. Realistically, what kind of work is it that you care about and what are you willing to do to support yourself? Where does family and a personal life fall into all of this? Knowing what you want out of life will help you make decisions when opportunities come your way and will often dictate the answer to "do I go, or do I stay?"

Q&A: Anthony Karen

© Anthony Karen

Anthony Karen is photojournalist living in New York. Anthony has served in the Marine Corps and worked many years in the personal protection industry. This year, Anthony has published his first book, The Invisible Empire: Ku Klux Klan.

Anthony Karen's website: www.anthonykaren.com

Priscilla Whitenight: What keeps you photographing, what motivates you?

Anthony Karen: It makes me happy. I think I might be consumed by it; it's all I think about. But it's more than just taking pictures for me, it's putting together a cohesive body of work and all the time and effort it took me to get to that point. It's also about people allowing me into their most private moments and accepting me along with a camera. It's a true gift and I feed off of it. What can be better than say, wandering around a remote region of Haiti and meeting a Vodou Priestess, who brings me to her temple? Before you know it, I'm sharing a meal with all of them, learning their rituals and seeing something that very few outsiders will ever see and even though you don't understand each other's language, the time just flows and you have an amazing experience.

I've had plenty of moments that unmotivated me, but in the end, I try to remember that I don't do this for anybody else but me, and right after I take my first shot, it all falls right back into place and I'm refreshed. I can't deal with the 9-5 world; I crave the edge, learning about other cultures, what makes people tick and yes, sometimes being in a dangerous situation. The people I photograph that are in the Klan all have jobs that they possibly could lose due to their beliefs, but they trust me into their homes and let me photograph their most sacred rituals. Anybody can Google my name and see how often I visit places like Haiti, and yet most Klan organizations welcome me without any restrictions. When I get home and look back at what I shot, I have to force myself to step back, and I'm like holy crap, I can't believe it. All of these things make up the forces that drive me.

© Anthony Karen

Priscilla Whitenight: How important is an artist statement with your work? Do you think your photographs should speak for themselves?

Anthony Karen: It definitely has it advantages with certain stories. It introduces you to the project and gives you insight to a situation you may know little about. I took an image of a little boy being chased by his mother a few days ago, without a caption it's just as it sounds, but then you start to read and you find out that the boy and his mother had a concession stand and they were selling food that they hand made. That rice crispy treat in the boys hand had an "88" written on it, the "88" is a code used in the White Nationalist circles to signify the eighth letter of the alphabet -- "H" - HH, Heil Hitler. And his mother was chasing him around during a neo-Nazi gathering.

Not every image will speak for itself, some require text. A simple portrait can be taken to new levels after understanding the story behind it. Not every project can consist of killer shot exclusively, you may need some loose ones to pull it all together and those may require additional information. With that, you have to try and distance yourself from the moment you were in when editing. Just because that moment you took that image was incredible or life changing, doesn't mean it will make a great photo. We all tend to have a hard time letting go of the images we love, but sometimes they simply just don't work, with or without text.

Priscilla Whitenight: What is it about the black and white image quality that you're drawn too?

Anthony Karen: I have no set standard in regards to color versus b&w. Some situations may require color for full impact, but I'll typically select several images from the intended story and match the color to the b&w to see which one works better. I find that b&w can sometimes bring a so-so color image back to life. It tends to give it that documentary feel and can add drama to certain stories. You can get lost in beautiful colors; sometimes I'd rather the focus to be solely on the story and the composition of the photograph.

© Anthony Karen

Priscilla Whitenight: How do you get access to most of the situations you're in?

Anthony Karen: It all starts with research, it's important to have some knowledge of the story you wish to shoot. I'm assuming you're referring to my more controversial stories, i.e. KKK, skinheads and God Hates America/God Hates Fags church?

I'm at a point of having a reputation of being very honest, so some situations just fall into place. I'm also not afraid to be who I am -- I'll show up to a place and everyone might look at me like I'm a federal agent until I crack open a beer or walk around introducing myself and just being me. I'm 6'3, workout, I live in NY (which seems to be the opening topic in 75% of the places I go to, especially once I start talking and they hear my accent), I'm not afraid to speak my mind and I can talk about anything. I'm not one of those repressed individuals that doesn't take the time to get to know the people around him/her. Patience, perseverance, reputation and connections seem to be what's working for me.

© Anthony Karen

Priscilla Whitenight: How do you set aside your "emotional side" when photographing a project that really affects you?

Anthony Karen: I've always had the ability to absorb myself in what I was doing at the time. I do well under pressure, like having someone shoot bullets at me or dealing with a person having a medical emergency, but I can't handle the stress of Christmas shopping, go figure. Anyway, few outside of the photojournalism field can understand how I can be amongst certain groups of people or see some of the things I have and not have some strong opinions. I tell people this: if you want to hear my personal opinion we can go out and chat over a drink, if you want facts, look at my pictures. I love animals, so you could imagine how hard it was to be watching the Canadian Seal Harvest or that I'm as proud a Marine as you'll ever find, but spent a week at the Westboro Baptist Church, whose members picket the funerals of soldiers killed in action. When I'm really focused on something I'm taking it all in. I'm trying to understand all points of views, the human side of inhuman acts, the love you can find in hate, etc.

I leave my opinions at the door. The Seal Hunt was the most difficult projects to be witness to, up until September 2009, when I documented several orphanages for severely disabled children in Haiti. I was concentrating on this one child and my camera strap brushed upon his arm. He immediately started to flail his arms and it was then I realized he was blind. He started grabbing at me and got up out of his wheelchair -- of course I didn't want my camera to get knocked out of my hands, so I backed off a bit. He looked upset and I took the chance of having my camera damaged by the wandering kids and put it down on a bed right next to me. I walked over to the boy, who was about 12 years old and he grabbed me. I picked him up in my arms and coddled him. He was wearing a diaper and I felt the urine drip down on my pants, but he was holding me so tight I couldn't help but to squeeze him back. He was digging his unclipped finger nails deep into the back of my sunburned neck, causing me to bleed and I remember a moment of wondering if he was HIV positive or not.

It was an emotionally draining day, it got to me and it lasted several days after I returned back to the States. I am extremely sensitive and emotional, and I took that moment and separated myself from the camera. I just wanted to devote 100% of my attention to that child. I did continue to shoot that day and did what I set out to do; I'm just giving you a little insight to a moment that "affected me."

© Anthony Karen

Priscilla Whitenight: What life experiences have most influenced your work?

Anthony Karen: My experiences have been an important factor in my life and helped define me as a person and a photojournalist. Growing up wasn't the greatest time in my life -- I was beat up in school and around the neighborhood, I was very quiet and I found myself avoiding social situations to be alone in my room. I started looking at things differently after a while, like I had a deeper understanding as far as empathy, compassion, caring and how to speak my feelings without reservation. I learned that I needed to express myself and be creative on an emotional level. I knew about all types of feelings, because I was in touch with my own and this helps me when I'm trying to connect with people.

I used to be into bodybuilding, I've been in the personal protections scene since I was 18 and fresh out of the Marine Corps boot camp. I've been around death, I volunteered as a Medic, Hospice and I've also had cancer. I take all these experiences with me and I wear them on my sleeve. I think the more ways you can relate to people the better, it opens doors and helps put people at ease.

© Anthony Karen

Priscilla Whitenight: What advice would you give to a young, aspiring documentary photographer?

Anthony Karen: It's not always about the school, gear, connections or being in a war zone. There are great stories all around us. Find a project that you are truly interested in and use it as a tool. Long-term projects are invaluable teaching aids and can help you develop the necessary skills to interact with your subjects. As with anything in life, the more time you put into something, it will show. I routinely search for photo essays similar to the ones I've shot, I ask myself what could I have done better or maybe gain some inspiration for my next shoot. I also like the fact that I can go back and take some chances photographically. I'll have a solid day of shooting under my belt, to the point most would go home...that's when I'll try a non-typical lens, angle, f-stop or even some playful shots that aren't those serious "documentary" style we often seek out -- sometimes you never know until you put it up on the screen.

Photography is very subjective so it's important to own the talent you possess and be somewhat comfortable with your own vision. It's difficult to put your heart and soul into something and have someone flip through your work like it's a Sears catalog. That's why you do it for you. It's upsetting to me how many novice photojournalist I've come across that have been so friendly and down to earth, only to start getting published and turn competitive and arrogant. It's like they lose track of things. This is our passion; think about how long people search to find the one thing that fills their souls like photography does for us. Don't let you head swell and turn into one of those guys sitting around the table in a third world country, bragging about their accomplishments and thinking their shit doesn't stink.

I'd also like to point out the importance of integrity in regards to our chosen field. We have a responsibility not only to the public but also to our stories and those we document. I can't even tell you how many times I've had to pay the price for a journalist trading in the truth for sensationalism. Do it because you can't live without it, not because of money or the possibility of fame. Making it in the business is getting harder and harder these days. If you're looking to get rich, you might need a backup plan, but that's okay as long as you make time for your personal projects.

Q&A: Todd Hido

7557 © Todd Hido

Todd Hido's website: www.toddhido.com

Todd Hido: Well firstly thank you for the interest in my work, I really appreciate it and it's nice to know that students are out there looking at it and that they are inspired by it. Much like I have been very inspired by a lot of different photographers when I was a student and still am today.

Mandie Lousier: How did you become interested in night photography?

Todd Hido: It sort of just happened. I was out shooting and I kept seeing things that I liked after it became dark and I just kept shooting and it worked. I think that I've always been much more focused at night and I am definitely a night person. It just naturally occurred that's when I was able to focus and that's when I was able to concentrate on things. Also, the thing about night that makes me the most interested is that there's a certain mystery to nighttime and there is a certain kind of quietness and a certain kind of solitude and mood that i am definitely curious about. I also really enjoy being out and looking around and driving around and finding things, that's sometimes that is lots of fun to me. Also there is a minimalism that happens at night. Obviously all the dark stuff kind of drops away and you have these big areas of niothing which is partially something that I am interested in. So, that is how that started. I have stumble onto all my bodies of work. I always prefer to discover thins over inventing them.

1447-a © Todd Hido

Mandie Lousier: What do you think the purpose is in showing people your work?

Todd Hido: Well, for me that's easy. I think that it's just a basic need that when I make something I want to share it with somebody.

Although, curiously, I do make lots of work no one ever sees. But much of what I make does get seen by people, mainly because I have a career of 20 years and I have books and shows and things like that. People are often asking me for new work, and luckily I make lots of it. I am obsessed. When I am done with this conversation I have to start working on this other book my publisher is interested in starting. I am very lucky because I have may outlets to show my work, but I remember back when I was a student, my main interest in showing my work was to just share it with people.

I think that making art is about sharing and it's something important to explore for younger artists. You need to find your audience and whoyou are interested in showing your work to. It could be as simple as you make it for a few friedns and for your own self-satisfaction. Which is really what the core reason needs to be that you make your work. I think ultimately that if people stopped showing my work tomorrow and nobody was interested in it I guarantee I would still make it, because it is something I am deeply invested in, it is something that I really enjoy seeing, it is something that makes me really satisfied. Standing back and looking at a print I made-- I love that. I love photography very much.

4313 © Todd Hido

Mandie Lousier: I am struggling staying with my photographic ambitions and where my work is headed. I also find it difficult to explain and talk about my work, trying to find a narrower path is proving a difficult task. What is your advice?

Todd Hido: First of all I would say that it's hard for anybody to talk about his or her work, me included. I've been doing this for twenty years and still I kind of find it difficult to talk about my pictures. I firmly believe your work should speak for itself in some ways and that you don't necessarily have to explain it. To me that's the most interesting kind of work. Art is obviously this extremely personal thing, but it's completely open and ambiguous it can be read on multiple levels.

As far as finding a more narrow path, or how you figure out what your work is about or where it is headed, I think for me basically what I've always done is shoot lots. I shoot night shots, I shoot daytime landscapes, I shoot portraits, I shoot nudes, I shoot with this 126 snapshot camera and I have all of these different kinds of things that I'm working on at the same time. For me I just sort it all out later. Creating and analyzing do not really go together. They are separate things. I think the shape and form of my work comes from editing really, if you looked at my contact sheets, the chronological order, my work is all over the map, literally.

2690 © Todd Hido

Todd Hido: I think you start by identifying something you really like and then you make something to go with it, you're kind of adding on and all of the sudden you have a handful of pictures that are that more narrow path. It is complicated to do and it takes time. I think it's one of those things where the harder you try the harder it is and sometimes things need to naturally occur. If you think about it too much it gets in the way.

I know it's hard in school because I teach as well. I think that art school is this wonderful but also super strange artificial construct. It does not really reflect the reality of the process of art making. First of all, all the best work is made over years and years of time. My House Hunting book for example--it took five, six, seven years at the least to make the images that went into that book. All of my other projects are at least three to four years long. It might seem like they just appear one after another but it doesn't work that way, I literally make my pictures one at a time in all different orders and then organize them later. If you are expected to have some fantastic thing by the end of the semester don't get yourself down if that's not happening because it's really hard to make fantastic work in three months. You have to keep going for it and look beyond school and beyond classes because ultimately it in the end isn't about those classes, it's about your desire to make what has meaning to you.

Friend of The Class: Eckert

Amy Eckert is a fine art and editorial photographer, and the newest addition to the impressive Minneapolis photo scene. I've long admired Amy's series, Manufacturing Home, and was thrilled when she agreed to help judge our website contest.

Thanks, Amy!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

Q&A: Jason Lazarus

To Abdul Abdi (who everyday in Mogadishu, Somalia makes signs that read 'Beautiful Mogadishu' to remind citizens what has been lost) © Jason Lazarus

Jason Lazarus is currently living in Chicago and teaching at Columbia College and the School of the Art Institute of Chicago part-time. He produces work as a fine artist continually, and at the moment is celebrating openings in Chicago at the Andrew Rafacz Gallery, the Spertus Museum, Northeastern University, the Art Institute of Chicago as well as the White Flag Projects in St. Louis, MO.

Jason Lazarus' website
Jason Lazarus' blog

Rose Tarman: Tell me a little bit about your personal background and how it has influenced the way you work artistically.

Jason Lazarus: My undergrad was in marketing, at DePaul University. In ‘98 I graduated with a business degree. I think for me starting outside of art was great. Great artists usually have lived through a number of experiences that they bring to art...if I had kids I'd try to have them get an undergrad in philosophy, and then they could go into the arts, or whatever. It's all about critical thinking, critical observation, micro/macro thinking.















Kashmir and Lindsey (Easter) © Jason Lazarus

Rose Tarman: How do you go about starting a project? Do you go through a specific process usually or is it a spontaneous creativity?

Jason Lazarus: Making making making, later--sorting, editing, and 'whoa! I think I have the beginnings of a project here...'

Rose Tarman: A good amount of your work consists of found photography, altered photographs and performance. In projects like those do you still consider yourself a photographer or do you play a different role with the work?

Jason Lazarus: I consider myself a conceptual artist who uses photography.

Rose Tarman: I’ve always struggled with the pairing of text and image, a title can effect a piece so greatly that it can take away from the visual or lead the viewer in directions you don’t want. How do you get around that? You title pretty much all of your work and pair text with image to create connections and make your viewers think. Is it ever difficult for you to figure out what text to include or present and what not to?

Jason Lazarus: Yes it is. I make titles, change them, change them again. I get advice from peers I trust. No one ever taught me much about text/titles, I developed my own sensibility through artists I admired, art history, and artist-friends...













Otis Redding Motivational Poster Installation © Jason Lazarus

Rose Tarman: How did you start gaining recognition for your work and start marketing yourself as an artist? What would you say contributed the most to helping you get where you are today as far as marketing tools or personal connections?

Jason Lazarus: There is no trick--it's all about your enthusiasm! I got a gallery because I started my own gallery for a year in '02, met another gallerist. We became great friends. A few years later he started to ask me to participate in group shows. It all grew from there. If you're enthusiastic, you're already going to shows, meeting people, going out for drinks, participating in the community. My best connections have been made organically. Young people today are maybe too into marketing themselves without the patience to let relationships grow over time. People out there are paying attention...

Rose Tarman: How important do you find having the most advanced equipment? Cameras, computers, printers, calibration devices, scanners, etc: how high up are they on your list of priorities in terms of updating them?

Jason Lazarus: Ehhhhh.....I don't think that's so important. Do what you need to do to make your pictures look a certain way for aesthetic/conceptual reasons. That's it..

Rose Tarman: Personally I’m trying to figure out how I want to start my career after I graduate in 2011. Why is it you chose the path of teaching? Were there any other career paths you considered or tried out originally? How do you balance teaching and art?

Jason Lazarus: Teaching is awesome. Exhausting, but very reciprocal. The best, most honest, most satisfying/challenging path I’ve found...you just figure out how to make time for both teaching and making. the balance is hard…but starting teaching is the hardest part. You create an amalgam of lectures, books, videos, and other materials as you teach that grow with you...









Recordings (installation) © Jason Lazarus


















Recordings (detail) © Jason Lazarus

Rose Tarman: If you have any advice for someone like myself trying to find a direction and foothold within the fine art world, what would it be?

Jason Lazarus: Keep it real, reach for the stars.

http://yournamehere.com

Clockwise, from top left: Peter Frank Edwards, James Worrell, Michelle Nolan and Stella Kalaw

The photography website gurus/fine folks at liveBooks have graciously agreed to give A FREE WEBSITE (one year of a liveBooks.edu version) to one the members of our class, MIAD-FA382. We're grateful for the support from liveBooks, and also to Miki Johnson, who edits their informative blog, Resolve.

In order to make your photographs more visible, and for you to continue to see the work of working professionals, I've asked a variety of photographers (and one book designer), all of whom have liveBooks websites, to jury your work. The bios, artist statements and project pictures you are working on this semester will be shown to them in a webgallery format. Our panel will then weigh in on what they consider to be the strongest work, and the website will be awarded to the student with the most votes.

Our talented and generous (thanks for participating!) group of judges are:

Elizabeth Avedon
Tara Bogart
Peter Carter
Amy Eckert
Peter Frank Edwards
Elizabeth Fleming
Grant Harder
Stella Kalaw
Tom Lynn
Dave Jordano
Barbara Miner
Michelle Nolan
John Sibilski
Sara Stathas
Sonja Thomsen
James Worrell

And the competition gets better!

Peers: SVA show

© Daniel Bolliger, School of Visual Arts

Take some time to view this online gallery for the show Surface Tension, which features thesis work by 16 students in the one-year MPS digital program at the School of Visual Arts in New York.

Imagination Giants - Lara Ohland

© Lara Ohland

This summer I had the opportunity to study in China for a month, going on studio and gallery visits nearly every day. We were fortunate to stay within walking distance from the 798 art district in Beijing. Before returning home the seven other MIAD students and I decided that we wanted to put on an actual gallery showing of the work that we had created there. We found a space from a generous land developer at the Pritzlaff building in downtown Milwaukee that nearly mirrored the post industrial atmosphere of 798. It was an undertaking that none of us had been through before. From the design of our promotional material to the building our own walls it was a lesson on the involved process of putting out art work. The turn out that we received on gallery night was an amazing reward. It was unique experience to match what we had seen this summer.

Imagination Giants - Aimee Keil

© Aimee R. Keil

For the first month of my summer I was part of a study abroad group that was able to take a trip to China. As part of the trip we were offered school credit, but in order to receive the credit, we had to create an art piece and have it shown in the school gallery. Upon returning myself and the eight others I traveled with, decided that we wanted our show to be a bigger deal than what has happened with MIAD travel abroad students in the past, but because of this we had to plan and organize everything on our own with little help from the school. Finding a place to show our work was the first step, and it was easy we found a space we could use absolutely no cost, the only catch was we were not allowed to alter the space in any way, meaning no holes in the ceiling, the walls, the floor, we had to leave it exactly how we found it. This was tricky, however we ended up pulling it off, and it was well worth it. On gallery night I was quite nervous. I had, had my work show before, but never in this type of setting. Lucky for us we had a great turn out of people, and all the work we put into the show was worth it. It was somewhat amusing seeing others interact with my piece, many were even having portraits of themselves taken in front of it. Since my piece was a reaction to what I had seen in China, I found that many people had a hard time understanding it. The one thing that made my night however, was a native Chinese man who had come to see the show. He was shocked to see anything like this here in America, and he told me that it was like being home, I had captured it well, and he loved the statement I was making.

They Might Be, They Are…Imagination Giants

Everyone knows that if you dig a deep enough hole in your backyard you end up in China. So I wasn’t too surprised, once upon a time not long ago, to be with MIAD’s bestest and brightest in a mad minivan dash to a Shaolin mountaintop, acapellaing ‘Children’s Story’ as our crazed driver raced into the oncoming lane, with the 8 of us packed in among army blankets like so much hay.

As America is going through Kennedy withdrawal, it seems a fitting time to bring up John John’s oft-cited quote, “When written in Chinese, the word ‘crisis’ is composed of two characters-one represents danger, and the other represents opportunity.” One wonders what Kennedy thought about the Cuban definition of crisis, but the Chinese construction of crisis, as Kennedy interpreted it, also applies to living, traveling and making art.

The creative process is fraught with danger and opportunity, a journey more dimensional than a simple trek from one spot to the next. While our lives rarely fall into neat segments, artworks must reach a final form — something even great artists struggle with. “The more one works on a picture, the more impossible it becomes to finish it,” said Giacometti. Turner would sneak into the Tate to touch up his paintings.

To avoid becoming as morose as Giacometti, or in a feud with John Constable like Turner, it helps to remember that the journey is the destination. That’s what artist and photojournalist Dan Eldon maintained until he was stoned to death in Mogadishu. Long after one returns home, the sites and sounds keep marinating in our thoughts. The experience of travel is not confined by borders and dates; the journey of the artist doesn’t dead-end in a single work. These works represent one stop along the way; the adventure is far from over. Imagination giants have long legs. Their strides are great, the ground they can cover is boundless.

Fred Dintenfass

Photography Show: Aryn Kresol.

My first photography show, Chris French Presents: Annie Rudolph, Aryn Kresol, Carrie Allen took place on Friday, October 2nd and Saturday, October 3rd at Vixen Productions in Rockford, Illinois. A big thank you to all those who made it out to see the work! We had an amazing team: Annie Rudolph, Carrie Allen, Chris French, Lonnie Iske [of Vixen Productions], and myself. We worked really hard to put together a fantastic show and it was wonderful to be able to share it. The space looked beautiful! Here is just an over view of the layout* of my pieces:





The days and evenings were spectacular. I met a lot of new and interesting people who have a shared love of art and photography; among them local photographer Pablo Korona and artist Robbie Martin, who I am going to be doing some work for in the near future. I was also able to spend some time talking about work and the show with my former photography instructor from Rock Valley College and mentor, Randy Paul-Petersen.







Chris French Presents: Success! [from left] Annie Rudolph, Lonnie Iske, Chris French, Aryn Kresol, Carrie Allen.


We are planning to put on another photography show for Rockford ArtScene, Spring 2010!

*To see this full post, including images of the complete layout, please visit my blog.

more interviews

© Claire Beckett, left, © Kevin German, right

Two interesting interviews recently popped into my Google Reader, and I think they're both worthy of your time. Please read the interview with Claire Beckett on Fraction Magazine, in which she discusses her series Simulating Iraq. And A Photo A Day has a great interview with photographer Kevin German. You can find more of Claire's work here, and Kevin's here. Also, don't miss Kevin's gear checklist, linked to under the Wisdom column, at right.

Upcoming Guest + Talk: Andy Adams

I'm thrilled that we'll be having Andy Adams of Flak Photo come to class this Friday. He'll be speaking over the lunch period, so our fellow MIAD students can also attend. I'm hoping for a good showing of photography majors from all levels - and all students and faculty are welcome, of course.

Topic: The Internet, Social Media & Photography Online
Despite its limitations, the Internet is changing the way we consider photography and the medium is undergoing remarkable transformations. No longer relegated to the gallery wall or the printed page — photoblogs, online magazines and digital galleries have exploded in recent years — photography now regularly (and sometimes exclusively) appears on computer screens. More significantly, the new media is influencing contemporary photography culture around the world: connecting international audiences to art experiences, enabling the discovery of new work and presenting never-before-seen channels of expression and communication. Today's photographer surfs the web, subscribes to blog updates, uses search engines to access photo websites, and interacts with a global community of colleagues by participating in social networks like Flickr, Facebook and Twitter. All of this results in a collaborative experience that's dissolving international boundaries and creating a community of photographers that interacts and shares their work more spontaneously than ever before.

Bio:
Andy Adams is the editor/publisher of Flak Photo, a contemporary photography website that celebrates the art & culture of photography online. An online gallery and social media magazine, Flak Photo provides unique opportunities for artists and photography organizations to share their work with an international community of photographers, galleries, publishers, curators and editors. The site is published six days a week and highlights new series work, book projects and gallery exhibitions from established and emerging photographers. Recent features include 3030 Press' New Photography in China, Humble Arts Foundation's 31 Under 31: Young Women in Art Photography, Hamburger Eyes Photo Magazine's Inside Burgerworld, the Photographic Resource Center's EXPOSURE: The Annual PRC Juried Exhibition, Big City Press' Hijacked, Volume One: Australia & America, Center's Review Santa Fe 2009 and David Wright + Ethan Jones' Pause to Begin.

Andy, as captured by photographer Jonathan Saunders, who pens the blog, I Like To Tell Stories:

Friend Of The Class: Gould

© Meggan Gould

The front of this promo card by photographer Meggan Gould features is the back of a photograph. The image is from her wonderful series, Verso, in which only the backs of old family photos and found pictures are shown. Meggan teaches at Bowdin College in Brunswick, Maine. You can see more of her interesting project work on her website.

Thanks, Meg!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

Friend of The Class: Keatley

In the past year, Seattle-based photographer John Keatley has made portraits of both Annie Leibovitz and Sarah Palin. John was kind enough to send us two recent postcard promos - one featuring the Leibovitz photo, and the of other writer/director Josh Hornbeck. On his blog, he details the lighting techniques used for the Hornbeck photo in this post.

View more of John's fresh imagery on his website.

Thanks, John!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

Reading: Taryn Simon @ TED

White Tiger (Kenny), Selective Inbreeding Turpentine Creek Wildlife Refuge and Foundation Eureka Springs, Arkansas © Taryn Simon

In further examining photography projects, and the ideas and planning that go into them, please watch this wonderful video of photographer Taryn Simon, in which she discusses two of her large projects, An American Index of the Hidden and Unfamiliar and The Innocents.

The video is part of TED (Technology, Entertainment, Design), an annual gathering of great minds, and the website is a great resource for inspiration. Other talks you'd might want to view: author Elizabeth Gilbert on creative inspiration and Kristen Ashburn on photographing AIDS patients in Africa.

Bio: Matt W. /Ah-V-la/

copyright Matt W. Avila


Restless and love to travel even if it is only to the other side of Milwaukee, but I prefer some place warmer. I will always have a reason to take photographs, for who or for what I can't tell. With my interests in history, psychology and human cultures I feel myself moving in to documentary photography or film.
Seeing the world through other peoples eyes is the most shocking thing a person can do, I'm just glade that I can have the opportunity to actually be there not looking at it in a book or on a sheet of paper.

Bio: Lara Ohland

© Aimee Keil

While I currently live in Milwaukee when asked where I’m from the answer will always be New Jersey. I’m interested in creating both photographs and pictures, and believe that the two can exist separately. I photograph for the reward in exploration. Interested in landscapes, I'm fascinated with photographs ability to abstract and distort space. The better part of my last summer was spent in China, making work that I will soon be showing. I ache to return to my home in Beijing. I claim homes every where I go, occasionally Chicago is one of them.

Bio: Michael Senise

© michael senise

Thinking thoughts, thoughts to pen, pen to paper, paper to printer, printer to hands, and Hands to wall. Conceptual? Yes. Da Daesk? Yes? Photographer? Maybe? Ideas float and sometimes physically exist. Medium varies but typically camera. Restrictions? No. Beautiful? Not often. Unique? Maybe. Often literal but with an idea inside. Enjoyed? By some. Disliked? By many. Regrets? NEVER! Confidence? Too much. Satisfaction? Only as much as I want to give. Traditionalist? HA! Student of and for life. Aware in the Midwest for now, until I’m ready to proceed. 15 minutes of fame? I’ll take 30. Michael Senise, you get it or don’t. The story has already begun.

Bio: Deb Leal

© Debra K. Leal

Deb Leal, 20, Milwaukee, WI:

Born in Corpus Christi, Texas. Place of origin for Eva Longoria and Farrah Fawcett. Where Dick Cheney shot someone in the face.

I was the weird quiet child that drew on the walls with crayons. I’m still weird, and even quieter.

I’m ethnically comprised of Aztec, Spanish, and a pinch of Moroccan.

I’ve had eight boyfriends in my lifetime, three of which I’ve loved. Still love.

I can’t wear white, for the fact that it won’t remain white.

There’s a small gap in my two front teeth.

I believe in Karma.

Bio: Todd Langkamp

©Todd Langkamp

Todd Langkamp was born in Milwaukee, Wisconsin in 1987. He first started taking photos in grade school but didn’t think about it as more than a hobby until high school. It was in his Junior of high school year that he took his first photography class. In that same year he got the chance to photograph the recreation of the Wright Brothers first flight in Kittyhawk, North Carolina. After that trip he knew that he wanted to turn his hobby into his career.

After high school Todd spent two and half years at Arizona State University before transferring to the Milwaukee Institute of Art and Design where he is pursuing his BFA in Photography today.

Bio: Tom Owens

©tomowens

I have spent nearly my whole lifetime, childhood on, in the small town East Troy, WI. Growing up my family did a lot of traveling; childhood summer vacations consisted of camping trips, traveling roughly half of the states. During this time I was always drawn to the camera. In fact I loved my dads old 35mm so much, no one else in the family really got a chance to use it.
Today I am studying photography, going for my BFA at the Milwaukee Institute of Art & Design. I am currently living in Milwaukee, its big change from my humble little town.
I am interested in the many diverse ways photographs can be used in the world today. Yet I’m not sure what is quite right for me. I guess every student has this problem, at least for a little while. I am particularly interested in night, travel, and documentary photography. But there is something about the night, the quality of light, and the span of time that I just can’t seem to get over. Photographing at night I find to be very relaxing, yet exhilarating at the same time. It’s almost unexplainable.
“Perhaps most intriguing of all is that it is possible to photograph what is impossible for the human eye to see” ~ Michael Kenna

Bio: Rose Tarman

© Georgia Lloyd

Call me Rose.

I’m currently nearly twenty-one and very proud of (and always homesick for) my liberal haven hometown, Lawrence, Kansas. I was bought up on granola, kefir and fresh snap peas and was constantly running around in the woods barefoot thanks to my parents’ hippy pasts. Bands like Pixies, Van Morrison’s early years, Muddy Waters and Old Canes to name painfully few, are always playing in my head.

Right now I’m in Milwaukee, getting my BFA in Photography with an Art History minor from the Milwaukee Institute of Art and Design. There’s no such thing as the ‘real world’ in my book, only now, which makes my stomach flip every day (in a good way).

Bio: Georgia Lloyd

© Rose Tarman

Georgia Lloyd was born in San Antonio Texas. She always had a love for art with aspirations of becoming an artist from the age of four. Georgia pursued this dream by taking drawing and painting classes; during high school she attended a magnet school that focused her energy into these subjects. It was during this time that she found photography and decided to let go of the other fine art mediums. Georgia is now a student at the Milwaukee Institute of Art and Design where she is studying to pursue a career as a fine art photographer. Her work concentrates on making abstracted and surreal images that push ethereal and whimsical perceptual qualities.

Bio: Autumn Clark

© Autumn Clark

Autumn Clark is currently working towards finishing her BFA in photography at Milwaukee Institute of Art and Design. Her work tends to be about feminism, gender roles, and sexuality, but lately she has been focusing more inward and photographing her current life as well as her past. She has found that she finds more enjoyment and satisfaction out of photographing her own personal experiences then taking from others. She is continuing to build her knowledge in photography as well as focusing on the direction she wishes to take her photographs and concepts.

Bio: Sarah Moore

© Sarah Moore

As a young artist Sarah expressed herself through painting, drawing, and pottery. In high school she picked up a camera as a new and exciting way to create art. The school she attended did not offer photography courses, nor did she know any photographers to study under in her new endeavor. Without any knowledge of the medium and no direction, photography became an expressive outlet for Sarah’s love and interest in fashion. In 2007 she applied to the Milwaukee Institute of Art and Design with a portfolio heavily weighted in photography. She was not only accepted to the program, but awarded a three quarters scholarship on basis of portfolio review. Sarah will graduate MIAD in 2011 and possibly move forward to graduate school in New York for a more focused education in fashion.

Bio: Kayla Newman

©Kayla Newman

Born in the rural area of Delavan WI. The moment she first put her picture in the developing tray in the darkroom of her high school photography class, she knew she was hooked.

She worked on various projects in high school, including work in chalk pastel, charcoal, watercolor, clay, and other various art mediums. After a time, her work evolved into a love of nature, light, and landscape. However her many interests and desires may open up to new paths in the future, such as environmental portraiture. Presently Kayla is attending the Milwaukee Institute of Art and Design. While there, she is continually discovering herself as an artist, photographer, and as a human being.

Bio: Priscilla Whitenight

© Priscilla Whitenight

Growing up in the Midwest has influenced Priscilla's photography from day one. Her photographs are akin to a modern day Walker Evans, addressing a deep social concern for the daily life of urban, blue-collar Milwaukee. She has always been inspired to photograph the struggle and truth of the working class through her portraiture, landscapes, and found still lifes.

Priscilla also attends the Milwaukee Institute of Art & Design (MIAD) and will be receiving her BFA in photography in May of 2011. After graduation, she will continue to pursue her career in freelance and fine-art photography and will eventually relocate to the East Coast expanding her passion with photojournalism.

Priscilla lives in Milwaukee, WI where she will continue to document her surroundings with her Mamiya C220...

after she wakes up.

Bio: Andrea Payne

© Andrea N. Payne

I’ve only been photographing for four years. I’m still experimenting with different formats, and styles. I really enjoy using film, and the darkroom process, but I enjoy how much control I have over digital and the editing process, using photoshop or lightroom.

Just recently I have discovered that I am a minimalist with my work. People are by far my favorite subject to photograph. If I have an theme for a group of photos I want to take, and that theme involves people, I tend to be very picky with who I choose to photograph. When it comes to clothes, I don’t like any graphics on t-shirts. I don’t like tattoos or piercings, or anything that gives someone a sense of individuality, and lately I’ve been really attracted to plain white backgrounds.

Bio: Aryn Kresol

© Aryn Kresol

This is not about where I have come from or where I am going. This is about where I am. I am currently studying and practicing photography at the Milwaukee Institute of Art and Design. I am scheduled to graduate with my Bachelor’s in May of 2011. Photography is what I have wanted since I was old enough to know what real wanting is. Well, one of the two things. Photographically speaking, I have no commercial ambitions. I draw inspiration from looking at the works of others and from literature. I have been in a long-term love affair with words. I am my mother’s child. The youngest of four. I like swings and skittles but have never had both at the same time. I would rather be hurt by the truth than be told a lie. I do not want to forget to see beauty in everything. I do not necessarily believe that every thing happens for a reason but I do believe that every thing that is meant to happen will. I am currently celebrating my first (independent from school) photography show, which is taking place on Friday, October 2nd and Saturday, October 3rd in Rockford, IL. Information can be found on my blog Here and I will be updating with images and news from the show.

Bio: Mandie Lousier

© Mandie E. Lousier

I am a 21-year-old student at MIAD studying photography. I grew up with two older sisters in the small town of Random Lake WIsconsin. I am drawn to light much like insects, absorbing what I can and projecting how I see it. The thrill of night photography brings me closer to my subject curiously prodding around in the dark to find something intriguing. I am infatuated with stars, airplanes, and airports. After receiving my BFA I would like to move to Alaska and work my student loans off.

Bio: Barbara Vonderharr

© Barbara Vonderharr

I come from the land of snow and purple rain; Minnetonka, Minnesota.

I thoroughly enjoy tigers, quilting, constellations, instrumentals and classical music, good whiskey, William Eggleston, food, gold, paisley, and the blues.

My expressions tend to involve ambient light, intimacy, autobiographical personal subjects, environmental portraiture, subcultures, color and composition.

At times I spend some of my time experimenting with alternative processes such as toning, infrared, various darkroom techniques, and liquid emulsion on a multitude of surfaces.

Bio: Crystal Miller

© Crystal Miller

Born in Palatine, Illinois; suburbia. I am currently living in Franksville, Wisconsin; the boonies. I have one younger brother, he’s a pain, as well as a stepmother, she’s a blessing, which I assume balance out. To put it simply food equals yum. Inspired by, well, everything. Movies, music, art obviously, life in general, positives and negatives in each respect are a huge influence on how I see the world and how I present it in my work. I think learning never ends, yet I want to learn it all. When referring to tough times in the workplace and out of it, just remember that when life gives you lemons make lemonade. Basically, I Love photography.

Bio: Aimee Keil

© Lara Ohland

Aimee Keil is currently a student of photography at the Milwaukee Institute of Art and Design, but is interested in many mediums of art others including sculpture and printmaking. Originally from a small town, but now a city dweller, Aimee is continually inspired by her surroundings. She enjoys shooting night photographs, portraits, and also experimenting with the medium in new and interesting ways. This last summer she spent one month in China working on a independent study with eight other students from her school. While there she fell in love with the people and the way of life and hopes to move there once she graduates. When finished with school she hopes to continue her fine art work, but also may try for a career in photojournalism or commercial photography.

Bio: Kathryn Kmet

©Kathryn Kmet

Katie Kmet was born, and is now living in Milwaukee Wisconsin. Her father worked as a wedding photographer on weekends. She shot film with her father when she was 16, and was inspired to explore photography rather then drawing. She taught herself to study light, composition, and other framing by photographing herself and a few select friends.

When she attended her first year it Milwaukee Institute of Art and Design, she was given the opportunity to show her photographs at a local restaurant during Gallery Night in Milwaukee. After further education at MIAD, she experiments with environmental portraits and has an interest in telling special traits about people and things. She spends her time working hard on her photographs and printmaking techniques, while working on weekends selling jeans to middle aged women.

Friend of The Class: Sklar

I've admired Evan Sklar's beautiful food, interior and travel pictures in magazines for years. He was kind enough to send us this folding, three-image promo. You can see Evan's work on this website, and be sure to check in on his his blog as well.

Thanks, Evan!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

bio.graphy

From left to right: Jeff Hutchens, Andrew Hetherington, Barbara Cole, J. Shimon & J. Lindemann, Thayer Allyson Gowdy, Peter Yang

For inspiration in creating a written bio of yourself, accompanied by a photo (either self-portrait or a picture of taken by someone else), check out the following photographers' websites, please. They are from all different genres, and some of their bios are simple, others are lyrical, and still others are funny. Some have chosen to include a picture of themselves, like the examples above.

Ericka McConnell
Andrew Hetherington
Barbara Cole
Jeff Hutchens
Tara Donne
Kwaku Alston
Shimon & Lindemann
Thayer Allyson Gowdy
Peter Yang
Claudia Goetzelmann
Shawn Records
Jessica Antola
Brian Ulrich
Kelly Shimoda
Jesse Frohman
Natalie Fobes
Matt Eich
Robbie McClaren

Q&A: Michael Wilson

Ben Taylor © Michael Wilson

Michael Wilson is a music, portrait and fine art photographer whose clients include Warner Bros. Records, Sony Music and Elektra Records. He's a photographer's photographer, shooting with older film cameras in a variety of formats, and working long hours in his basement darkroom. To top it off, he's one of the nicest, humblest photographers around. In preparation for their assignment to shoot a cd cover, we looked at Michael's work online and at 3 of his early monographs of personal work. Then the class asked Michael these questions:

Kayla Newman: How did you start shooting cd covers?

Michael Wilson: There are probably two basic things that led to my start in making pictures for music packaging. The first being that I had enjoyed making portraits of musicians. I had always been very interested in music, and in the people who make it so when I began making portraits (as a student in college) I was quite naturally drawn to make pictures of musicians who were in my world at that time... friends and acquaintances mostly. The second was a growing awareness of the potential life for the kind of photographs that I loved and was desirous to make in the world of record packaging. As a music fan, I used to spend lots of spare time at record stores reading album covers to see who was playing on which records, who produced the record, etc... I was also very aware of the record covers... and looking at who made the photographs or who did the design. I would occasionally see records with really beautiful photography... photography that was rooted in the kind of photography that made me fall in love with pictures in the first place, and inside I'd be jumping out of my skin thinking, "I wish I could make pictures like that for music like this." At this time in my life, I was 7 years out of college, 4 years of which I'd spent in a job as a photographer's assistant/darkroom technician at a text book publisher which had an in-house photography department. The grind of doing the kind of work that we churned had gone a long way to my becoming not very interested in photography. By contrast, when I saw a Robert Frank photograph on a "New Lost City Rambler's" record, or a beautiful Simon Larbalestier photograph on a "Pixies" cover, or a Stephen Shore photograph on some record that I knew nothing about, I would remember that I really did want to make pictures. In 1989, with the encouragement of a good friend and the help of my wife, I sent off a handmade book of about 10 or 12 portraits that I liked to a woman whose name I knew only from reading the backs of record jackets... her name was Jeri Heiden and she worked at Warner Brothers Records in LA. Other than that all I knew about her was that her name was listed as Art Director on a surprisingly high percentage of the records that I saw that caught my eye as being really beautiful. It was truly one of those "nothing to lose" moments and I've come to realize that no matter how old we are or where we are in our lives... realizing that we have 'nothing to lose' is a great gift. Anyway, I received a nice note from her a few weeks later and I was very happy and I thought that was the end of that. A short time later, I got a call from a manager of a band (which was from Milwaukee area, by the way) called the BoDeans and Jeri Heiden had given him my name and suggested that I do a shoot with the band as they were going to be close to Cincinnati on tour. I did and the pictures wound up being used in their package. A few months after this, I made a trip to Los Angeles and met with Jeri Heiden in person (she was the head of the art department at Warner Bros. at that time). That meeting led to the use of a personal photograph of mine becoming the cover for the Replacements "All Shook Down" record and Jeri also hired me to shoot the band in Minneapolis. That project probably did more than any other single thing to help get me started making pictures for music.

























Lyle Lovett © Michael Wilson

Kathryn Kmet: When preparing for a musician photo shoot, does the musician tell you what they want out of the book you create, or do they trust you to create it on your artistic judgment?

Michael Wilson: Only very, very rarely have I been given direction going into a shoot and on those occasions the direction has more to do with things like, "make sure it is not too serious " or, "... you know that this artist hates to be photographed." Fortunately, most all of the time that I'm hired to photograph for a project I've been given the trust and free rein to make the pictures that I want to make. In most cases, the project is discussed beforehand with either the artist or the management, or someone at the record company so that I understand the "feel" of the record and so that they know how I go about my work. But beyond that it is usually me doing my best to make the most interesting and honest pictures that I can make.

Jenny Scheinman © Michael Wilson

Andrea Payne: How do you go about making the environment you’re shooting in comfortable for your client? How do you make them relax in front of you?

Michael Wilson: I don't know that I have any formula for this, but I do approach the portrait as a conversation and as such I follow those same instincts, behaviors and courtesies that that would lead to a (hopefully) meaningful conversation with that person or group of people. My being forthright and honest and vulnerable going into the portrait 'conversation' is where I hope to start. I'm not the kind of photographer who has a lot of ideas ahead of time or one who pre-visualizes what I'd like to come away with... so I am almost totally dependent on the subject trusting me enough to open up and welcome me in to whatever it is they might have to share. I really do think of it the same way that you think of meeting any person who you may know very little about and trying to have an honest/meaningful conversation. It takes a bit of time and it is certainly not without akward and uncomfortable moments... moments when I feel totally lost. When I feel that way, I usually will come right out and say so. Quite often that helps. I also keep in mind how much I dislike being in front of a camera -- try to understand some of the discomfort and reluctance that the subject might be feeling.























Bill Frisell © Michael Wilson

Aryn Kresol: Was your utilization of the square format influential to you photographing album covers, or did your work on covers influence your choice of format. In other words, which preceded which?

Michael Wilson: My interest in the square format came before any interest in or awareness of record covers. I became very taken with using a twin lens, square format camera when I first started making portraits in college. I had always been somewhat shy and had difficulty looking at people in the eye and when I discovered the twin lens camera I loved that I could be standing there, basically staring down at my feet, but I was looking into the ground glass of the camera and having this connection with whoever it was standing in front of the lens. As crazy as that sounds, that is where my interest in the square format started. The square certainly does lend itself to the shape of the covers, however.

Georgia Lloyd: For your album photographs, are you in charge of deciding how to design the cover, or are you only in control of the actual photograph to be used on the cover? How do you manage your framing based on this?

Michael Wilson: I have no control in the design of the covers that I work on and I don't want to control the design. I love great design, but I am not a designer. I am not thinking about the eventual design of the project or how my pictures will fit into that design when I am photographing, I just make pictures and let the designer sort out the mess.






















Mose Allison © Michael Wilson

Georgia Lloyd: Many of your album covers are monochrome rather than color. What is this reason behind this decision? Is it purely personal aesthetic, or does it serve more purpose than that?

Michael Wilson: The work I've been most interested in during my life as a photographer has always been the b/w work. Certainly, I do think that there is a distillation or intensifying reduction that occurs when the world is seen without color and this distillation can lend a special weight to b/w work which I love and look for. The more practical reason for the predominance in my work is that I've always been most interested in the work with which I've had the most intersection. By that I mean, when I develop b/w film in my basement, I see the film when I hang it up to dry, I see it again when I cut it and sleeve it, I see it again when I make the contact sheets and then I study those contact sheets quite hard. By the time I get around to making prints (or scans as it is these days) I've had a lot of intersection with the work... I feel like it is mine. I feel attached to the work. I remember when I used to shoot color transparency for assignments, I would drop the film off at the lab, pick it up the next day or so, and then have to send it off to the client right away... and my work flow was such that I really did not spend very much time with those pictures. Sometimes I'd see something color in print and not even realize that it was mine.

Sarah Moore: Do you think a degree in photography is necessary to succeed as a professional photographer?

Michael Wilson: I don't think so...(but stay in school anyway). Quite honestly, I feel very much at a loss when I'm asked questions such as this about what it takes to succeed as a professional photographer. I think that each person will have to determine the definition of success for themselves. If "succeeding as a professional photographer" means making a comfortable living, making good money, it might be wise to spend as much time around photographers and groups of photographers who have developed business models and practices that have proven successful for them... photographers who are making good money. I've been making my living as a freelance photographer since 1987 and I still feel at a loss as to how to succeed as a professional photographer. I feel incredibly fortunate (and grateful) that I have been able to make a living making pictures but the reality is that there are a lot of people looking for the same jobs and I can't imagine that this trend will change. At the end of the day, I guess my opinion is that to succeed as a professional photographer you will have to either love succeeding in your profession as a business person or you will have to just plain love making pictures... whether or not you make money.






















New Orleans © Michael Wilson

Aimee Keil: Does your personal and your professional work ever merge, or are they completely separate?

Michael Wilson: I think that my personal and professional work do merge... they are by no means completely separate. The same instinctive love of pictures, love of seeing is what drives any picture... any strong, meaningful picture, whether the initial impulse to make the picture comes from my personal interest or whether the initial impulse was that I'd been hired to make pictures for a project, it is the same love of seeing that will make either picture work. That being said, there are those times when I've been asked to make pictures of things or people or events that I have very little feeling for... when there is little more than professional obligation at work in the work it usually shows... and I usually don't want to look at it very long.

Rose Tarman: It seems many of the opportunities in your life have come about serendipitously. Do you have any particular advice for an in-progress photographer that has high hopes for the future?

Michael Wilson: As far as advice relative to a career in photography, I would go back to the ideas that I was clawing at in attempting to answer Sarah Moore' s question about what it takes to succeed as a professional photographer. The most specific and particular advice I can think to give anyone who is giving serious consideration to photography as a major part of their life is to look at as many pictures as you can... especially look at the pictures that have been made by people who have spent their lives making pictures for the love of making pictures. When you find work that moves you, be grateful and lap it up. There is probably something in that work that was motivated by the very same things that are at work in you. Make pictures whether people want you to make pictures or not... whether people pay you for your pictures or not. My experience has been that I cannot rightly determine photography's place in my life by thinking about it -- it has been by making pictures that I've come to find out photography's place in my life.

© michael senise

For the h20 assignment I wanted to create a musical artist as well as the cd. So this is my idea thus far. I have yet to come up with a name but I am thinking something along the lines of DJ Big Hands. The thought seems gross, unrealistic, and creepy. This image was shot with a tota light and later maniupulated to give it a bit of a snapshot quality. The mask is from a baby that is supposed to be used for CPR practice and the clothing is an XXXL speed suit with a black pull over hoodie to cover the rest of the subject's head. It was shot in my shower with the water running. I am still playing around with other images at the moment along with text and placement.

© Matt W. Avila

For the H2O assignment I wanted to try to take a straight forward approach, and keep it simple. I walked down to the shore of Milwaukee and tried to catch the waves hitting the concrete. I choose this particular shot of that day because of the color and the shape of the splashing water.

© Rose Tarman

As I was considering the guidelines for this project, I decided I wanted to show sides of water other than it's physicality. I considered hinting at it's presence, conveying other things through it's powers and making images that utilized non-traditional forms of water. Though the approach I chose didn't really fit within those ideas, it was a product of them. Through this image I want to capture an experience of heightened emotion, of a heart pounding and a rush gathering. I want to make those who see it feel what the model was feeling as she was getting water poured over her body. For the most part, it is successful, but I believe making the images I did was more of a progression into making more successful images than actually being the final images.

© Andrea Payne

Out of the several photos I took for the album project this is by far my favorite. The small drop of water that hangs in the subject's mouth gives me the utmost joy. I love little small details like this in a photograph, something that keeps you staring at it forever. The use of natural light also enhances this photograph by highlighting the water softly.

© Rebecca Gaimari

This was a collaborative effort between my model and myself. This was a statement made about people being one with nature. For this series of images, we filled a bath tube with a mixture of water and organic potting soil, my model then emerged herself in the tube. I chose to use the pieces of the dirt that did not dissolve to discretely cover parts of my model in this images. There was a combination of three lights: a over head light, a side light from the left, and then a flash. I then mutted the colors in the post production.

© Todd Langkamp

For this photo both the model and myself decided it would be great to go with a more humorous route. Most of the other photos are more serious or mellow in nature. By going with the humorous or even gross route we kept more with the model's personality. Because of the scene and the way that the model is dressed he suggested the band name "The Accountant Killers" or "The Commodes."

©Sarah Moore

I wanted to take a creative approach to the "H20" album theme. In all honesty this shot was pretty spontaneous. My subject was taking off his shirt so I could photograph him in the shower, and I randomly snapped a few close ups. I enjoyed the composition and wondered how I could incorporate water. The glossy highlights and fullness of the glasses lens' suddenly resembled fish bowls, and I imagined them filling with water.

© Debra K. Leal

For this assignment, I wanted to approach water in a way that was simple, yet comical. Personally, I am attracted to CD covers that offer a lot to look at, yet not in an overwhelming way. For this shoot in particular, I wanted the clean white look in a spontaneous matter. I had Cody, the model, interact with a straw and a glass of water. I photographed his interaction and proceeded to show it in a grid format.

©Kathryn S. Kmet

My main objective for this H2O photo-shoot was to create a scene involving a clothed woman immersed water. I played a lot with light mood and body language. As I shot I became in love with the natural mellow light in the bathroom. I combined the light, emotion, and post editing on the photo to emote a moment when barging into a melancholy moment. The lack of eye contact and see through clothing, assumes that the model is a very vulnerable person. I captured many different images and I think that this one works the best as far as my vision goes.

© Lara Ohland

When thinking about the album cover I wanted to create a narative through imagry that eludes to the use of water. Water drips and flys off the musician provoking the viewer to wonder about the events leading up to the photograph. Motion in visual language comunicates the transitory nature of sound. The unseen element of time has been added to the image and we become aware that what we have seen has passed.

© Aimee R. Keil

When thinking about water I continued returning to the idea that in its natural state it is not a solid form, it is a liquid. The human body is made up of over 75% water, yet it remains in a solid state. When I was shooting I continued to think about this and I began experimenting with the exposure. By overing exposing the photograph, I was able to capture the movement of the water and the body together. Neither is in a solid state, they are both in a way, a liquid.

© Aryn Kresol.

Garry Winogrand said "I photograph to find out what something will look like photographed." This statement very much reflects my own motivation behind this piece. When an idea occurs to me, I have to pursue it. Even if it turns out unfruitful, the process is still a means to quell the compulsion. Often times, as photographers, we have a certain vision (at least with pre-considered pieces) of what we want a photograph to look like. And often times, the resulting photograph is not how we first envisioned. This was not one of those times.
The construction was fairly simple: between the camera and subject, a piece of glass. Onto this piece of glass, the subject released a stream of water creating the ripples and distortion you see here. The glass acts as a barrier but also a part of the space - a place for visual engagement and interaction, not just for the subject of the photograph but for the viewer as well.
When this idea occurred to me, it was a tiny voice in my head asking, "I wonder if...". The question crept its way into my head and the only means of answering was to pursue it. I was pleased when the final image coincided with what I had previously envisioned. Ask me now what I learned when I photographed this and I will answer that I learned what this looks like photographed.

© Georgia Lloyd

For the H2O assignment, I wanted to create an image that pushed the title's concept without having actual water within the photograph. The end result is a time based sequence of the sign language motion for water. I feel satisfied with the end result as for most, it's not plainly clear what the purpose of the images is. Only those familiar with the signing will understand the cover right away. Additionally, these images were shot on a fairly plain background with soft lighting to push the calm mood that water can have.

© Priscilla Whitenight

While photographing my subject, I was thinking about the liquid and solid form water takes on. The clouds give a feeling of serenity, created by both solid and liquid water particles. I decided to divide my subject, recreate him and form him into a new individual -- this idea of transformation reminds me of water. I photographed my subject with my Mamiya C220 outside, using natural light. I chose to use my twin lens because there's something nostalgic and romantic when using medium format, especially when photographing an individual.

©Kayla Newman

When going into this project I knew I wanted to photograph real musicians, then I thought of ways to incorporate water into a space with that artist. I thought this would be an interesting place for a musician. I kind of wanted to give the photo a more solemn look, which is seen mostly through the subjects expression. Instead of using my on camera flash, I set up one hot light, and pointed it off the ceiling so the light wouldn't be harsh.

© Mandie Lousier

There is a captivating aura in instrumental music that flows from beginning to end imitating the flow of water rolling over the ground. I wanted to make this shoot more classical in genre and appearance by using the black and white photograph. The combination of wine glass, water, and candles created the sensual lighting environment I wished the subject to be in. The musician is a classical piano player who I asked to play throughout the shoot to keep the movement and to step away from the possibility of a stiff still image. I wanted the viewer to feel the fluid movement of the piano through the musician.

© Crystal Miller

When starting to shoot for this project I realized that thinking about water also made me think about oxygen and how they work hand in hand with each other. I decided to shoot my "musician" in a calm place that is alive with both water and oxygen. I wanted the cover to be more relaxing, so one could take in the place. This lake is a place I like to come and just be next to, letting myself unwind and that ultimately is the feeling I wanted to get out of the cover. At the same time I wanted to promote my "musician" and his more laid back style with the choice of clothing and the way he connects with the place through body-language mostly.

© Autumn Clark

I have a fascination with water, personally water always comforts me. I was interested in that fact as well as a study that deals with dreams and the phrase "find the word between the letters from h to o". I decided to combine both of these elements, by placing Katie Kmet in a bath filled with water and for her to appear as if she was sleeping. This photograph was shot with a Nikon D300 and just the lights that were already in the bathroom.

Reading: Andrew Phelps @ Ahorn

© Andrew Phelps, from his book Not Niigata

I read an interview recently with Andrew Phelps in the online Ahorn Magazine, and thought it was a timely read for us, in regards to project ideas and realization. Andrew is an American-born photographer living and working in Austria. Not Niigata is the latest of his interesting projects, which have included Higley and Bagdhad Suite.

Please read the Ahorn interview of Andrew Phelps here, and also check out Andrew's website and blog, Buffet.

Friends of The Class: Stein

Amy Stein sent us this postcard announcing her show, which just opened Thursday night at ClampArt (note: there's a little damage to the postcard from mailing, the oval blue shape). Be sure to read Brian Clamp's description of how Amy's work ended up on his gallery's walls here - it's a very informative statement of how the two came to work together. This show features photographs from Amy's Domesticated series, which has been published as a monograph by Critical Mass/Photolucida. I have a copy of the book, and will bring it to class on Friday.

You can see more of Amy's work on her website, follow her thoughts on her smart blog, and read two interviews with her, in our list at right.

Thanks, Amy!

[I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned. - Kevin]

Friends Of The Class: Gerber

I've asked some photographer friends to send the class examples of their promotional materials, so we can discuss how photographers are promoting themselves. Max S. Gerber sent a whole package of goodies - from postcards to posters. Even his letter to me was a stylish portrait, onto which he penned his thoughts. Throughout the semester, I'll be posting examples of more promo materials - so stay tuned.

Max is a California-based photographer who creates compelling, sensitive portraits. His work can be found in national magazines, as well as the book, My Heart Vs. The Real World, for which he photographed children with congenital heart disease. Max's photos can be seen at his website, www.msgphoto.com, and blog, The Latest Shot. And there's a wonderful interview by Charlie Rose about his book project here.

Thanks, Max!

Great Shot: Schutmaat

Bryan Schutmaat ©

Reading over Bryan Schutmaat’s interview is very inspiring to me. I’ve always felt I got into photography late in the game, but seeing Bryan’s work proves that it is never too late to become a successful photographer. He takes something simple like a bed as depicted in the photo above and turns it into something you could stare at for hours. One doesn’t realize how much beauty there is in the simple objects we encounter everyday. I love how clean and sterile his images are. The lighting source seems to be all natural in most of the photos, which only adds to the cleanliness.

To view more of Bryan Schutmaat’s work go to this website: http://www.bryanschutmaat.com/

Great Shot: Steacy

Jack Rabbit, Memphis © Will Steacy

I love Will Steacy's passion for his art, which he explains that he has devoted his life to his art, and that it is the reason he is alive. He made this realization in 2003 when he was almost murdered during a robbery at his former job at a sneaker store, and completely changed his perception on life and what was important to him. His work is about being alive and life and tries to push it with every photograph that he takes and states that you "usually have to fight for the things worth having." By addressing the overwhelming loss and despair that prevail in our urban communities, Steacy wants to make a modern day portrait of the American inner city. I love the way that Will Steacy approaches his subjects with an intensity and honesty.

More work by Will Steacy can be found at his website:

http://www.willsteacy.com/

Great Shot: Edwards

© Jon Edwards

Jon's work as a surrealist has always inspired creative thinking for photography. Most of his shots contain beautiful color, contrast and well developed angles. You may not know exactly what is happening, or being expressed but that is how you know you are looking in on Jon's world. What captivates my attention is his ability to erase or crop out details that will give us hints to reality, but is obvious that he can play with a sort of emotional reality instead.

More can be seen @ http://www.flickr.com/photos/jon-edwards/

Great Shot: Kalina

© Noah Kalina

I was drawn to Kalina's work right away because of the attention to lighting in his photographs. I find many similarities in his work to the images I created when I first started taking pictures. Dramatic lighting has always been very seductive to me as a visual artist, and I think Kalina achieves a wonderful balance beetween dramatic and soft in his lighting technique. It is very enchanting. Kalina says, "I don’t believe in photography as truth. I make myths." I think I would say the same thing about my own work, or something close to it anyway. I believe in photography as a way to visualize something you otherwise could not see....a way to create illusion.

More of Kalina's work can be seen at http://www.noahkalina.com/.

Great Shot: Collins

Prayer Flags © Lane Collins

While going through a series of interviews, artist Lane Collins really stood out to me. I am captivated by her work, which has and air of magic and whimsy to it. Collins grew up here in the states, but after college, she relocated herself to New Zealand. Her work evolves around her own personal experiences. She has experimented with images that represent the four elements, especially air. In an interview with Nymphoto, she tells us about what inspires her. "My element is air, and through research I gathered a number of words that have been associated with air in various religions and cultures throughout history - for example: life force, expansion, oneness, light, soul - and used those to guide me." The image above, which comes from her Ladakh, India series is a perfect example of this. The image has a very whimsical feel to it, with the delicate mountain peaks and the brightly colored flags under the soft glowing sunlight.

To see more of Lane Collins' work, visit her web sight www.lanecollins.com

Great Shot: Laforet

© Vincent Laforet

Before this class I had not heard of Vincent Laforet but after viewing some of his work and reading some of his interviews and his bio I can see why Kevin recommended that I look at his work. This shot by Laforet really caught my attention not only because of the beautiful imagery or the cute moment captured but because of what he said in an interview and also what has also been said by a mentor of mine and fellow photographer. That "photographs are about telling stories, sharing stories." Those are the type of photos I enjoy most and enjoy taking the most.

More of Vincent's work can be seen at http://www.vincentlaforet.com/

Great Shot: Friedman

Eucalyptus Tree © Amanda Friedman

Amanda is primarily a commercial photographer, but she also has a passion for night photography. Many of her night scape photos are shot in urban settings, often with one/multiple bright light sources, giving her photos a dreamlike feeling. She shoots in everyday areas like parks, ball fields and parking lots that we see every day, except during the "day" time. She captures uncomplicated things in such a spectacular way In this photo, Eucalyptus Tree, the form and gesture of the tree is simply beautiful. When i first came upon this photo I immediately thought of a dancer fluidly moving around in the hours of darkness. The clarity and style of her night work really fascinates me. Many of her photos are shot on foggy nights, one of my favorite times to shoot. I love how the light just seems to hang in the atmosphere around its source, timeless. I find her work so seductive and it excites me to make new work of my own.

More of her night work on her website
amandafriedman.com

Great Shot : Lavalette

© Shane Lavalette

Twenty-two year-old Shane Lavalette has accomplished quite a bit in his lifetime. A resident of Massachusetts, he travels and shares his experiences with the world through blog and print publications as well as an expanse of beautiful photographs. In his series Song to a Seagull from 2007, Lavalette gives a goodbye look to Coney Island's Astroland amusement park through photographs. He shows the place's oddities and nuances that hold a sense of comfort for us all, even if we've never been farther east than Cincinnati. This image holds some sort of nostalgia for me, though I've never been a fan of cotton candy and as a child was allowed to indulge when hell froze over. It's something in the soothing palette hazed through rough smoke and harsh angles that both quiets and excites me. The strange combination of childhood death-by-sugar, an undetermined source of smoke and a lone-but-poignant bottle of beer fit quite normally within the contents of the series. All in all I highly recommend taking a gander at Lavalette's website (which hosts links to his other endeavors).

Great Shot: Christenberry

Guinea Church, near Moundville, Alabama 1964 ©William Christenberry

William Christenberry is an artist who works in different media, such as painting, sculpture, and photography. His work is inspired by his southern upbringing in Hale County, Alabama. I find William Christenberry's ongoing work of the American South interesting because he photographs how things change in a specific area, not necessarily through time. His photographs aren't of the same things, so he's showing change through a greater perspective. His art shows not only nature, but vernacular architecture as well or the use of buildings that are found in the South. In this image the doorways frame the tree in the background, but the light adds depth and mystery to the piece. His work not only captures the silent beauty of a sometimes rustic area but it documents the artist's understanding of architecture in a simple yet poetic way.

More work by William Christenberry can be found on his website: http://www.christenberryonline.com/index.html

Great Shot: Stein

© Amy Stein

Amy Stein's interview with Making Room Magazine discussed one of her series of work called 'Stranded' in which she was inspired by Hurricane Katrina to photograph those who are stranded in between destinations and just caught in that feeling of having no able way to continue to move on their way. Her way of going out 'on the open road' and photographing/documenting the happenings of those who are stranded on the side of the road are moving. Her project in New Orleans where she scanned in people's photographs of times before Hurricane Katrina and how they were happy and were content before all their earthly possesions had passed away with the flood. I found her way of working very inspirational as she is inspired by events that have happened to America and the American people and then travels to capture these events. They are beautiful and inspiring!

Great Shot: Sasaki

© Kanako Sasaki

Sasaki's images from her series "Wanderlust" play off ideas from novels, paintings, and the artist's childhood memories. Most from the series include a female in a large scale environment. The resulting images, aesthetically, are ethereal and dreamlike, justly capturing a childlike nostalgia. The feeling that pervades the images, however, is one of being trapped. Some of the images show a girl in unplaceable locations; others show a girl laying face down, possibly physically impaired and seemingly apathetic. The figure is trapped in the mysterious locations and/or by her own detachment and indifference.

To see other photos from Sasaki, visit her home page: http://www.kanakosasaki.com/

Great Shot: Frazier

© Danny Wilcox Frazier

I find Danny Wilcox Frazier's Driftless series to be inspiring to any young, documentary photographer. After researching Driftless and watching Frazier's videos and interviews, I was even more interested in his body of work. Frazier was born and raised in Iowa, and is still constantly asking himself, "Why am I still living in Iowa?". He is drawn to the people of Iowa and genuinely cares for them. Within each photograph of his Driftless series, it is apparent of the intimacy he shares with his subjects. Frazier will often photograph behind a window or in this particular photograph, behind sheets flying in the wind -- he always manages to capture the right moment to best describe each of his subjects. Through Frazier's photographs, he speaks about the hardship that these small Iowa communities are going through during this contemporary time. When I look at his photographs, I feel the struggle he is having as a photographer and as an Iowan. I feel I can relate with Frazier, I am on a constant struggle photographing people in Wisconsin and having to stare directly at their hardship through my lens, but I feel completely empty because in reality I wish there was more I could do to help. I hope in the near future my photographs will leave an impact on others, the way Frazier's photographs have impacted me.

The passion Frazier shows with his subjects and through his photographs is awe-inspiring. To find out more about Danny Wilcox Frazier visit, www.reduxpictures.com/portfolios/frazier or www.mediastorm.org/0025.htm to watch Frazier's videos capturing the people of Iowa and also an exclusive interview with Frazier.

Great Shot: Diefenbach

© Andrea Diefenbach

Diefenbach's photograph from her AIDs in Odessa series conveys the somber situation of her subject with out betraying her vulnerable position. Diefenbach acheives the emotive quality that her subject requires without revealing the details that belong behind closed doors. As a photographer I believe strongly that there are situations and places where cameras do not belong. Deifenbach brings the epidemic of AIDs in odessa to the rest of the world through individual stories in the most carefully crafted manner. Not only are her images beatifully crated objects but they resonate with her respect for the subject. Diefenbach's emersion in this project is evident in her work. "I found it important to follow her story even beyond her dead – how could I have stopped seeing her "
To see the entire series visit her website http://www.andreadiefenbach.com/

Great Shot: Goldin

© Nan Goldin

Nan Goldin's photographs have an underlying theme of love, gender, domesticity, and sexuality and are usually presented in the form of a slideshow; her most famous being a 45 minute show in which 800 photographs are displayed. The photograph above titled 'Nan and Brian in Bed' is one example of how she is able to capture some of the most vulnerable moments in relationships and have people view it as a type of private journal made public. The lighting and composition of this photo conveys life's realities of some relationships. The light pouring through the window creates a dividing line between Brian and Nan. He looks off into the distance, while Nan lays curled up in bed staring at him as if she is holding on to a dyeing relationship. "A lot of people seem to think that art or photogaphy is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings" (Nan Goldin).

More work by Nan Goldin can be found at, http://www.americansuburbx.com/2009/03/theory-nan-goldins-years.html

Great Shot: Seely

Metropolis 52˚29'N 1˚56W © Christina Seely

The beautifully illuminated landscapes of Christina Seely's series "Lux" has an absence of humans, but shows the proof that they are there. The outsider view of each city creates ghostly images of light that bleed into the surrounding land and sky. The color of her night photography creates luscious colors that fade away as the artificial light becomes brighter, like the image of her inspiration. Christina's obsession of the image NASA of the world at night created a seed for "Lux." The way Christina passionately described the NASA image was a new way of looking at night photography: "It is so beautiful while also being somewhat unsettling. I could not help but think about what the light on the map represents about us and how it both dominates the map in it's intense contrast to the darkness of the land and water, and how it looks a lot like bacteria spreading." The interest in the brightly lit areas combines a relationship of art and science that begins documenting the negative impact of our dependency of artificial light.

More about Christina Seely's work can be found at http://www.christinaseely.com/

Great Shot: Schwarm

Distant Fires in Chase County, Kansas - 2006 © Larry Schwarm

Larry Schwarm has engulfed my senses. His work is beautiful. When I saw Schwarm's work for the first time, the intensity of the color in his images was astounding. I enjoy the play between the utter simplicity in many of his fire/ landscapes with the powerful surge of emotion that fills the viewer brought out by the deep colors throughout the images. As artists it is our job to express the emotion for those who can't during times in need. Every year wild fires spread across our plains, force people to abandon their homes, and in the end kill some. There is a great beauty that comes out of fire as there is great destruction; I believe that Larry Schwarm has found that balance in this body of work.

More work by Larry Schwarm can be found at http://www.larryschwarm.com/.

Great Shot

©Erwin Olaf

Erwin Olaf is a very versatile photographer. He always explores through more elaborate staging and concepts in his series. I find this series, The Mother, by Erwin Olaf very interesting because of his use of black on black, and very faint lighting. The lighting creates a very soft and mysterious image which goes well with the theme. Other then the technical aspects of the photograph, I really enjoy the image because it is mysterious, and also dated. the actors are very staged and numb to each other. I seem to be attracted to mundane staging. As you look at the whole story Olaf tells if is a sequential event which helps the viewer understand. Olaf just continues to produce very luscious and beautiful prints that always catch my eye.

More Photographs from Olaf are at, www.erwinolaf.com

Great Shot: Michals

This Photograph Is My Proof © Duane Michals

Duane Michals is a photographer and a writer. As a person who draws as much inspiration from literature as I do from photography, I find his work to be greatly inspiring. An "artist formerly known as a photographer," Michals desires to go beyond description and present through photographs how he thinks and feels about the world, not as it is seen. In this image, This Photograph Is My Proof, Michals supplies the viewer with a nostalgic image, one of a man and woman paired with the following handwritten text: "This photograph is my proof. There was that afternoon, when things were still good between us, and she embraced me, and we were so happy. It did happen, she did love me. Look, see for yourself!" I find this image and conjoining message to be deeply moving because it makes me think of myself in familiar circumstances; it takes me beyond just seeing the photograph and to actually feeling what those words mean. It is great because it has multiple layers. The photograph itself acts as a facade of happiness, while the message that Michals conveys is one of nostalgia, sadness, and doubt.

If you are interested in learning more about Duane Michals and how he feels about his work, I would highly recommend watching this video interview that can be found at: www.pixchannel.com. There are also interviews with other great photographers such as Ruth Bernhard, Arnold Newman, Jerry Uelsmann, Elliot Erwitt, and more.

Q&A: Susana Raab

© Susana Raab

On the first day of class, we had a chance to visit the Dean Jensen Gallery to see Rank Strangers, an exhibit of work by Washington D.C. photographer Susana Raab. Dean spent time with us, discussing Susana's pictures, and how the show transformed from an initial idea to pictures on the gallery walls. Susana kindly agreed to participate in an interview with the class. Each student submitted 3 questions, of which I selected ten below. - Kevin J. Miyazaki

Andrea Payne: Do you prefer to work independently or is it nicer to work with a company like the New York Times? Does one give you more satisfaction than the other?

Susana Raab: I prefer to work independently, I view my paying assignments as creative exercises that will build and inform the performance of my personal work. That said, most everyone treats you exceptionally nice when you are working for the Times, so there is no denying the benefit of that aspect.

Mandie Louiser: Do you think color plays an important role in providing the intended meaning within your work?

Susana Raab: I think color helps seduce and create a mood. Of course it's very important to my fast food work because color is such an important factor in the advertising industries' strategy, and I am trying to mimic that strategy in that project. People respond to color, and understanding this does help create a more successful picture, in my opinion.

















© Susana Raab

Rebecca Gaimari: Are the people in these towns fairly willing to let you take the images?

Susana Raab: People never seem to mind me taking pictures, if they did I would just move on, there is always another photograph around the corner. I think you have to be comfortable with the idea of taking strangers pictures, and when you project confidence and security, people respond to that. On a few occasions I have had people tell me not to take their picture, to which I always acquiesce, but by the time we finish having a conversation they are literally begging me to take their photograph. Just happened last week.

Mandie Lousier: After working on a project for over a year, how do you begin making a rough edit, followed by the final edit?

Susana Raab: I love editing, and find as my projects evolve there are so many ways to edit the project. For me the most important thing is how the pictures play off each other, the flow. There are a million ways to do it, and I usually just make thumbnails and storyboard them out. After you play with editing and sequencing for long enough, the process just becomes kind of intuitive. Stephen, my partner, is usually my only other editor, he understands how I think and we banter about different sequences, but I have never been one who needed to show my work before ten different people to get a sense of how it should be edited. I know what I want to say and how I want to say it. Probably am too decisive!!!

Rose Tarman: I personally tend to work with color medium format imagery quite often, what is it that draws you to the format? How do you think it relates or fits with the subjects and ideas you portray? It can be a difficult medium to work in at times, there are challenges with speed and agility and many of your images depict candid, quick flashes and moments, which I find difficult in my own work much of the time. What are your thoughts on working with medium format?

Susana Raab: I love working in medium format analog. I love the process, how you have to be completely focused on technique the entire time, no chimping on the back of the camera, the uncertainty of the capture, and of course, the quality of the print achieved from the format. I find I respond more to prints made in medium and large formats than small. To be able to capture moments with the medium (am still working on the large format achievement of this) is just a question of practice and patience. It brings to mind Malcolm Gladwell's new book, Outliers, and the 10,000 hours spent practicing a skill before becoming intuitive or proficient in it.

















© Susana Raab

Debra Leal: With A Chicken In Love being one of my favorite images from the series, I wondered if you had to tell the models to hold the pose. If you did, do you feel that it could have been a better/more honest photograph if you hadn’t told them to pose?

Susana Raab: No posing! No models! Those are just real people, not posing, not paying attention to me. I find it amusing how seldom people will pay attention to you when you are holding a ginormous camera to your face. Of course, not using a flash during that moment helped. For me the story is truth is stranger than fiction. The photography is somewhat conceptual, but only in the way that I conceive of what I will say through the picture in my mind, not by setting up situations.

Aimee Keil: While we were visiting the Dean Jensen Gallery, he mentioned that you will be having a show in Shanghai. How do you think the Chinese culture will view these photographs?

Susana Raab: I have no idea how the Chinese will view my photography, since I have no conception of the contemporary Chinese art market. (My education sadly ends around the Terra Cotta warriors). And honestly, I just don't even think about it. It's like producing art with the intention of selling it, it is not how I operate (for my personal work). That would take the joy out of it. The joy is in the production. I don't want to overthink the process.

Priscilla Whitenight: What advice would you give young photographers who are interested in documentary and editorial photography, but have a primary focus in their fine art work?

Susana Raab: You know, I always think about Rilke, who wrote something to the effect of "You must ask yourself in the stillness of the night if I could not create would I die? If the answer is no please go and do something else." There are about a million different things you could do that would be easier than what I am trying to do. But if it is a compulsion within you, then do it. There is no path, but by being involved and pushing yourself, and working constantly you will make a way - and it is the way that is the important thing, not the result (I mean of course we don't want to die in complete obscurity, but if I am able to sustain the process than I consider that success). I am not trying to evade a clearer answer, I just feel that making a living as a photographer is about doing whatever you need to do, there is no straight way. For me producing work is the best part, making new images, and all the other stuff that goes into getting it out there is necessary drudgery. But for that 10 percent of time that I making work, it is sheer heaven. It is enough to keep me going for the other 90 percent.


















© Susana Raab

Todd Langkamp: Who are some of the people and artists who have influenced you in your work over the years?

Susana Raab: Stephen Crowley, Karl de Keyzer, Martin Parr, Margaret Bourke White, Steichen, Martin Chambi, Sam Abell, Edward Hopper, Turner, Jacob Lawrence, Alice Neel, John Singer Sargent, William Faulkner, Flannery O'Connor, Willa Cather, Wendell Berry, Ralph Stanley, Bill Monroe; it's an endless continuum!

Andrea Payne: What is the best advice you can give to a photographer who is struggling to find their voice? How did you find your voice?

Susana Raab: Well if it wasn't a struggle to find one's own voice, what would be the point? Struggle is good! I think it helps to be an independent thinker. Be sure of yourself and your intention. Read and read more. The struggle is what makes it worth doing - what gives your voice the meaning. What is it that really motivates or engages you? Also, I don't go into projects knowing what it is I'm going to say or how I'm going to say it. The discovery is in the process. Allow the process to engage you and you will find the conversation flowing. That is really what it is about, getting into a kind of flow that happens when you are fully present - when everything that you have studied or read inhabits you unconsciously and it becomes a part of your performance. It's about practice. After you practice enough it becomes innate and integral. I always think of Faulkner and James Joyce who wove so many archetypical thoughts and images throughout their texts that everything became layered with multiple meanings. I love this idea of intertextuality, because everything informs us. At whatever locus you are standing on is a composite of cultural interactions that inform you. Use this vantage point to communicate your vision to the world. When I started thinking like this, that is when my images became more layered for me (maybe not for everyone else though!). Also working in a series form helps build the conversation. The single images are not as important as the story they tell collectively. Don't read People Magazine, tune out popular culture as a primary method of information gathering, turn off the tv, and pick up a book, go for a walk. Enjoy silence. Write a letter. Go to a museum. Be engaged in your world and don't worry about getting to Point B.

Thanks all for your thoughtful questions and for visiting my show. I hope I have enlightened you on your photographic journey in some small way!
Warmly,
Susana

Untitled © Rebecca Gaimari

I took this image at a local carnival while in my hometown Houston, Texas. I was intrigued by the contrast the bright artificial lights and colors make alongside the night sky. To me, this image gives the feeling of temperature comparison, the cold night vs. the warmth of artificial lighting. I did a series of images a year back, were I was documenting the same type of contrast. By revisiting the same subject a year later, I was able to get better results out of it, showing my growth in both knowledge and skill of night photography. I am much more happy with the out come of this trial then I was of the first.

Cocktail Rock © Tom Owens


I took this photo on my trip to Quetico Provincial Park in Ontario Canada over the summer. This is just one example the many glassy sunsets and the amazing weather we had. My buddy and his dad have dubbed this cliff face we're on "cocktail rock." After a long days paddle, watching the sunset with a big cigar and a hardy cocktail can be quite relaxing. We started our trip in the northern part of MN at the end of the Gunflint Trail, paddled through the boundary waters to the border of US and Canada, then in to Quetico. All together, in 10 days, my buddy's gps read just over 100 miles of paddling! That was just a tiny portion of the million acre park.
Dont get me wrong, i dont hate people, but up there you dont see anyone except the people you came with and a few other adventurers like us here and there. its the most relaxing thing. Canada Eh!

Untitled © Georgia E. Lloyd

I have recently fallen into a mode of photographing where I seek ordinary spaces that can be flattened through compositional selectiveness. Since January of 2009, this kind of view has been developing without intention through my work. I have decided to embrace and push it, as ignoring this need is utter torment. For the most part, the flattened images I have been shooting are a therapeutic outlet for my very hectic and anxious mind. Simplifying, minimalizing, and focusing on one plane (or forcing one plane) is a near meditative process. I hope to develop this vision through complete dedication to my newfound visual craving.

5th © Michael Senise

Right before my summer began, I decided that I was going to not touch my camera for one month. I really don't have a solid reason as to why I chose to do this other than I thought it would be interesting to go thought my typical routine and instead of bringing my camera, I would bring a notebook and just write down what I thought I would have taken a picture of. I often drew quick sketches to illustrate the story I was trying to tell. Although, this was fun and I tried to continue to do it. except, i got bored. After a few weeks, I decided to begin using a camera again. But I still wanted to do something different. I wanted to use a camera but I didn't want any control over what the result was. So I went on eBay and purchased a bundle of disposable cameras for 30 bucks. I decided that I would only use the disposables until they were gone (obviously.) and I would use them in a manner that I thought would fit. I didn't have to think about anything except pointing the camera where I wanted. this is one of the images that I took of my dog and I while on a walk. I held the camera in a manner that I would never take a picture.

As I stated above, there was no real reason that I decided to change my typical way of going throughout life except for the change itself. I didn't really learn much but I had a great time doing it. I would love to revisit this idea of sacrificing control again the future. I don't have a final photo that I really care for from the group. but I do enjoy just looking through the negatives.

Pour My Pain In A Dirty Glass © Todd Langkamp

Over the summer I had a chance to see the band Dropkick Murphy's at Summerfest. Dropkick Murphy's is an Irish Punk Rock band. This a photo of the band's lead guitarist. The title of the piece is a reference to one of their songs that I thought was appropriate. I really enjoyed doing this series though taking the photos was a real challenge since I was front row center at this concert and the crowd was very wild. For this piece I was really drawn to it from the expression of the guitarist, the slight softness which shows his movement, and the harsh light of the spotlight on his face washing out some of the details. All of this I believe creates drama within the photo and you can really get a sense of the passion of this performer.

Untitled © Barbara Vonderharr

I feel comfortable shooting portraiture as a general basis, but during my summer photography class with Frank Ford, I realized how creating a connection with every person that you are taking a picture of is very important. Being able to create a comfortable environment and a willingness to be open for what you may ask the model to perform can be quite significant to your ability to snap a quality photo. I had my good days, and my off days; but regardless we still had to meet with models and be at the top of our game, ready for any number of characters to waltz through the door to be photographed. From drag queens, bands, to five-year old Johnny Cash impersonators, we learned to better connect with our models as growing photographers. It was a very positive learning experience, and one that I will not soon forget.

Untitled © Rose Tarman

Something about this image breathes inside of me. A monster is growing. Arcing tendrils of leaves churn above a streak of wood and pavement. I’ve had this scene stuck in my mind for months; I’ve passed this spot only twice before I made this photograph. Originally I decided to finally confront the image in my mind because of something that has now been lost to time, a simple red spraypainted phrase “no magic here,” though for me that phrase holds everything I see in this photograph, even without it being spelled out in red. Once I finally got off the bus at the right stop the fence was newly repainted, I'd lost my prize. But then again, I still achieved it, didn’t I?

Untitled © Kayla Newman

Whenever I step outside I find myself awed by the world around me. Though what I find myself admiring the most is nature and its landscapes. The way the sunlight hits the leaves in the trees, the complexity of their limbs sometimes knotted and twisted, and the grandeur of open fields against a rich blue sky. It never ceases to amaze me. This photograph, to me shows that complex beauty that not many people stop to appreciate.

Pyong Choi © Priscilla Whitenight

This summer I was involved with an internship at the Milwaukee Public Museum. The images I had accumulated were more for the viewer, not myself. I was photographing artifacts but had no deep connection with any of the objects. This is the one photograph that I've been drawn to over the summer -- a portrait of my mother. This photograph was a challenge, my mother rarely enjoys her picture being taken. In this photograph, through her gestures and facial expressions, the viewer gets a real sense of who my mother is from 2 split moments in time.

Pyong Choi is not like any of my other photographs I have taken before. I have always been more attracted to photographing objects rather than people. This was just a rare occasion where I was able to experience my mother with her guard down.

Untitled © Debra K. Leal

Stepping away from more-or-less documenting my summer through 35 mm, this photograph was the only piece created digitally and conceptually from the three-month break. For me, this triptych was more of an emotional and sensual record of the connection I shared with the man in front of me, and the environment that we inhabited. Aside from being suggestive in nature, I really wanted this to be simple-- only introducing elements that could closely describe what I felt at that point in time. When thinking about past work I have made, I consider this piece to fit perfectly within the approach I take to pick apart and study intimate relationships with significant others, loved ones, and myself. Intrigued with the idea of understanding and showing the strongest of human emotions (I have yet to find the answer), I continue to present my research.

Untitled © Crystal Miller

This work was taken during a summer photography class. I found while shooting that the connection between the person in the photograph and the viewer of the photograph truly interests me. Although most viewers of this image do not know this young boy, he truly entrances you. Over the summer I worked a lot more commercially in hopes to build up my portfolio for some future jobs. However, the experience was enlightening for me. I want to try and merge my commercial work with my fine art. Maybe I am interested in the relationship that is created while photographing a person that at first is a stranger, but ultimately the experience is something fairly new to me and exciting.

"Untitled" © Sarah Moore

The band featured in this photograph is Reckless Use of Fire. They are old friends of mine from my home town in Iowa, and were passing through on their first tour. I offered to take some professional looking photos to promote their music and help to build my commercial portfolio. To be honest, the whole porch setting wasn't exactly inspired....they didn't want to leave the house and certainly did not want to haul all the way to the school's studio, so I worked with what I had. I directed the seating arrangement but allowed the subjects gestures and facial expressions to be impulsive, to allow the guys to make the photo personal.

Untitled © Lara Ohland

I took this photograph while exploring the woods behind the hostel where I was staying in Hongzhou, China. When going out to make pictures I am easily seduced by atmospheric haze, which along with the transient light falling on the clearing makes this one of my favorite images of the summer. For me it is reminiscent of an elusive and beautiful place.

.Spiraculo. © Aryn Kresol

I set out this passed summer not only to widen my understanding of pinhole photography but to also broaden my experience by photographing a subject I have done well to avoid: landscape. I wanted to challenge myself with the task of focusing on a subject that I did not find all that interesting (at least in terms of what I like to photograph). When it comes to landscape photography, I thought, I could appreciate it for what it is, but it was not for me. And even so, in my mind when I started photographing this summer, I set out with the intention of photographing Nothing. Over the passed year I have become increasingly interested in minimalist style photography. And I have spent time looking at photographers such as Michael Kenna, and it was only after I started photographing to that desire that I became familiar with the work of Hiroshi Sugimoto of the same style. As it turns out, I fell in love - not only with the pinhole way, but with the beauty and sophistication of simplicity.

Untitled © Aimee R. Keil

In May of this year, I went on the Study Abroad trip to China. I had never been out of the country previously, so for me, everything about the trip was inspiring. As a photographer my work varies from project to project and subject to subject, but I have always been drawn to the seductive nature of black and white photography at night. This photograph in particular was taken in Shanghai, and is one of my many favorites from the trip.

Untitled © Mandie Lousier

Photographing at night becomes a trip into a new atmosphere where photographer and subject become intimate with one another. Nature becomes closer, capable of becoming treacherously inviting. The artificial light clashing with natural light becomes seductive drawing the eye to its intensity. Hearing your own breath moving in and out and the wind passing by your ears creating a steady rhythm inspiring picture making.

Searching around in darkness presents small surprises. Night photography has a way of creating colors you did not notice at first sight. The beauty of a long exposure takes how the eye views the subject matter and enhances what is seen.

Art the beat © Matt Avila

My summer was mostly spent in the city, so I did my best not to plan it. I ran around and got to know a group of kids through the Urban Underground, listening and talking to them was one of the best things I have felt in Milwaukee. This combined well with my recent feelings that photographs are even more enticing when there is a certain amount of risk or rush involved.

We found ourselves running and screaming down the block towards this picture here, just in time to catch the bridge before it dropped back down. I think that this picture is influenced by Mark Cohen, and his obsessive control over quick movements and along with his color theory has worn off visibly in my work.

Untitled © Kathryn S. Kmet

I took this photograph in late May, only a few weeks after summer vacation began. A simple trip to McKinley beach with friends was the opportune moment to bring my camera and snap photos. It was a perfect day outside, the sun was bright, and the wind was dramatic. I really enjoy taking candid shots of people I know, or total strangers around them. So snapping photos at the beach is fun for me.

The people I photographed were people I was around quite often at the time, so they were able to ignore me and my camera. I took many photographs of them throughout the day and some better then other I tried to play with composition, and also include the scantily clad women in the background for a humorous contrast in subject matter.

I can see that people may think of this as a snapshot, but I see this as a photograph that captures a moment of disconnection between the three people. I enjoy the composition because of the shapes and perspectives that the figures make. I am always interested to explore new ways to do portraiture work.

Untitled © Autumn Clark

This work is not one of my fine art pieces, mostly this summer I stayed away from fine art to just focus on doing weddings, and head shots for friends. I used this time to brain storm about my fine art work as I worked on these other types of photography. This photograph to me is one of the better head shots since it shows most of his upper body and an expression that seems inviting and friendly which is how this person is with others. This is not like any of the work I have done in the past but I am proud of this piece and the knowledge I gained from taking photographs that are different and new than my fine art.

"Untitled" © Andrea N. Payne

I became very interested in nude photography in the fall semester of my sophomore year. I find the nude form to be a very beautiful subject, and I wish to show that beauty with others around me. I'm continuing to experiment with different sources of light, and how that makes the body feel and look.

This photo is one of my favorites because it only gives a hint of a nude form, and the lighting makes the body look somewhat unpleasant.

welcome!

Class Picture © Kevin J. Miyazaki

This is our class, minus Matthew, who was sick on the first day of class. Please visit back often to see lots of great pictures by these talented photography students from the Milwaukee Institute of Art & Design. The first assignment for the blog: Post and discuss your favorite photograph from the summer.