Assignment 4: Beautiful (and strange) Abstractions

Since I wasn't able to give you the slide show last night that I wanted to give you to present the next assignment, I will do it here. First are these wonderfully abstract, and full of life painterly color images (above and below) by Saul Leiter, which inspired me to come up with assignment 4 (see the assignment at the end of this posting. I accidently named it assign #3, but now I realize it would be the fourth one!):
















And then a few classic abstractions by Aaron Siskind (inspired by Abstract Expressionist's paintings):








And then a few more contemporary color abstractions by Martin Parr:








And some classic color fragments of William Eggleston:










And finally, for something completely bizarre and abstract: some mirror abstract photos by Hans Breder:








Before I showed you these slides I was going to read to you from Aaron Siskind's 1950 "Credo" artist's statement. Here are some excerpts:

''When I make a photograph, I want it to be an altogether new object, complete and self-contained... ''

"The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus, rocks are sculptured forms; a section of common decorative iron-work, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment.”

And here, again, is your assignment I passed out last night:

Assignment 3: Fragments, Abstractions & Transformations

Based on slides we viewed in class of Saul Leiter, Aaron Siskind, Martin Parr, William Eggleston, Hans Breder and others, try to make a series of photos that explore ways of extracting and transforming elements of the objective visual world into compelling images. Experiment with people as well as inanimate objects. Take chances,... try something completely new and different!

Bobby's Tips for Shooting People

• Find a subject that feels comfortable having you watch and photograph them – and someone you feel comfortable spending a lot of time shooting.

• Spend a lot of time with the subject to get them used to having you around, so that they will stop being consciousof the camera, and start to act natural in front of the camera. Also so you can start to determine the moments and message that you want to photograph and communicate about the person.
  

As you start shooting:

• Start shooting right away – maybe just for 5 or ten minutes, to loosen yourself up, and to get your subject to loosen up in front of the camera. These will probably not be keepers, but they may help you later to establish direction.
  

• Be sure to shoot some overall shots – stepping back and showing the subject as a small part of larger environment. Shoot him/her through doorway, or from outside looking in through window, etc. – to establish the place where you are shooting.
  

• Pay careful attention to the light. Try to find good light, coming from a side direction, rather than overhead (this is not always possible). Move yourself around to find the best angle for light – this will often be light coming from the side – sometimes even shooting towards the light creates more drama and sense of form/shape/mood. You can ask your subject to move too. Pay attention to color of light and brightness/darkness of the image. Color & brightness/darkness of light creates a sense of mood. You can set up lights and move lights around to get good light.
  

• Pay careful attention the framing, background, and perspective. Move around your subject, look at the background. Try zooming in and out to see what that does to the perspective, and the focus of background. Do you want distortion of wide angle? Do you want flatness of telephoto? Be sure your frame is tight. Try rotating the frame to vertical. Be sure there is nothing distracting or unessential in the background. Avoid busy frames with a lot of clashing colors, patterns, and values of light and darkness.
  

• Try shooting through things, under things, from behind things. Often photos that are framed by elements of the environment can give much stronger visual and contextual appeal.
  

• Pay careful attention for the moment. Be ready and shoot a lot. Try to capture essential moments that capture emotion and personality. Shoot a lot of pictures. Remember, just because the moment has emotion doesn’t mean your photo captures the emotion. Try to plan your photographing when actions are going on.
  

• Get them to interact with someone else or do something. Actions and activities are much more interesting to shoot than someone simply sitting, reading, watching TV or talking. Shoot the people they interact with too.
  

• Get close your subject (physically and emotionally). Robert Capa once said, “if your pictures aren’t good enough,you aren’t getting close enough.”
  

• Shoot lots of details. This will likely get your subject to loosen up and talk and offer more things to photograph. Start with details of their life: things that are important to them. This may be journals, tools, framed photos, diplomas, keepsakes, toys, clothes, furniture, etc. Then start shooting details of things that they are holding, using, wearing – showing these object in detail being held, worn, touched, etc. by the subject. Then move into shooting very tight details of their features: eyes, mouth, hands, clothes, hair, feet, body parts, etc – as much as you dare to shoot. You can make an entire essay of just chronicling their body! While you shoot details remember to pay attention to light, framing, perspective & background.
  

• Talk to your subject. Interacting with them & communicating with them might get them to loosen up and show more emotions. Ask them serious questions about their life. Listen. Be empathetic. Try listening without shooting to show them you care and understand. Eventually you can try shooting while their talking to you or someone else about their life (ask them if they are comfortable, tell them you are still listening) so that you can capture emotions they feel while they talk.
  

• Try to provoke a photograph (this can be really difficult!) Tell them what you want them to do while you shoot some shots. Pose some pictures to get posed portraits. Have them act out or pose particular ideas you have that express personality and things you have discovered about them. Notice props – maybe suggest props and actions. Tell them to interact with someone else, give them specific actions. But try to get them to do them naturally. You might also joke with them or ask them probing questions and while photographing.
  

• Decide what you want to say about your subject. Try to write down your “headline” or descriptive title of your photo-series. Then go back and shoot with this focus to your shooting – and then organize and edit your series based on this goal & message.
  

Canon lens coffee mugs

Have you seen these before? I just saw a guy at the coffee shop drinking out of a Canon 24-105 f/4 lens and had to ask him what the story was.

Canon mugs on eBay

Change in Schedule!!!

I just got an email from Jennifer Stoots, and she has informed me that both she and Ron will not be available on May 5th as originally planned, so she suggested that this upcoming class on April 21 would be the best alternative. I know this means an abrupt shift in our schedule, but I went ahead and agreed to do that with them, because I really think this will be a great discussion -- and quite timely after our gallery tour yesterday. What that means is we will shift the bookmaking discussion to May 5th. So all of you that were going to bring in books, materials and questions to this upcoming class, can you do that on May 5th instead?!

Please mark your calendar: next class, April 21: Jennifer Stoots and Ron Van Dongen will talk and answer questions about "how to succeed as a fine art photographer" -- including getting gallery representation, balancing professional and artistic work, marketing your work, preparing for an exhibit, editioning work, networking, etc. Really any questions you have for them would be welcome -- so please bring a list of questions -- and look at their websites so you can have a better idea of who they are -- and please note the number of galleries that Ron is represented by all over the world! -- here are the links for Jennifer Stoots and Ron Van Dongen.

I will also ask them if they are OK with reviewing your portfolios and assignments -- so please bring work, assignments and/or links to websites if you want to get some feedback about your projects.

Assignment 3

Maureen asked for a next assignment, here is an assignment I gave Vaughn (actually 2 different assignments):

1. photograph everything from the perspective of a alien who has just arrived on earth and is trying to record what he finds as a kind of visual archeology, to take back these images to his world so scientists there can make sense and categorize/organize the visual phenomena into some significance.
2. photograph the everything from the perspective of a 2-year-old.

you might want to look at a couple of slide shows from Magnum photographers for inspiration:
Martin Parr and Richard Kalvar. Parr's work in particular is pretty amazing.

Question about today

Who was the photographer who had the really nice mailer we saw at Chambers?

Roger's Flikr Stream

There are some older shots here, but most of them are photos I took after our gallery tour. I tried my hand at shooting from the hip at Saturday Market. My exposure was set too low on many of the shots. View the photos.

"Why I photograph" - "Goals"

A couple of people asked that I post the "Why I photograph" bit that I read last night. I'm not sure if you also wanted a copy of the goals, but I'll post those anyway.

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WHY I MAKE PHOTOGRAPHS

I make photographs because I love the process. I love how film and sensors capture reality. I suppose this is the same Garry Winogrand saying that he photographs to see how something looks photographed. That sounds like a big joke, but there is a lot of truth that that. Because photographs aren’t reality. They don’t capture reality. They are simply PHOTOGRAPH of reality. I love things that are inherently “photographic” in nature. I love shallow depth of field. I love the narrow range of tones that can be captured, causing shadows to go inky black and highlights to get blown out. I love bokeh. I love grain. I love how wide angle and telephoto lenses expand and compress distance. I love the process of capturing an image that I *know* is a keeper. There’s an excitement that bubbles up inside me when I *know* that I’m in the middle of creating something I’m going to like for more than, oh, a few hours. I love working on an image for hours and then waking up the next morning and finding that I *still* like it. I love the images I make. I don't often hear artists say that, but isn’t the whole point — in life and art — to make something that you love?

There are times that I’ll be staring at a picture on my screen. I’ll know that I like the basic look and feel of the picture, but I’m not sure how to take it to the next level — to make it something really special. I’ll play around with levels and curves and masks and color adjustments. I’ll pace around the room and then see the image from twenty feet away and in a flash I’ll know exactly what I need to do with it. That moment gives me a little jolt of excitement. I feel like I spend the majority of my shooting and processing time not knowing what the hell I’m doing, so when that moment of clarity comes, it’s a nice bit of reassurance that I actually do know what I’m doing at least some of the time.

Part of the process that I love is having an image that’s DONE. Then there’s that moment when I get another little jolt of adrenaline showing it to people and they like it. Or hate it. Either way, it makes me feel like I accomplished something.

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I photograph faces because they are endlessly interesting to me. Notice how young babies who are just learning to see the world, stare and stare and stare at faces. They haven’t been told that it’s rude to stare at someone. They get to do what they want, and that’s stare at faces (at least when they aren’t trying to put things in their mouths). I don’t think we’ve out grown that. I should qualify that. I don’t think that *I’ve* outgrown that. When I see an interesting face, and I see them ALL THE TIME, I want to be able to study that face. Having a photograph of someone’s face makes that possible for me and everyone else who looks at the image.

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I had a photo web site ten years and the tagline was something like “seduced by light.” That’s beyond corny, but it still holds true. When I’m photographing anything besides peoples’ faces, it’s usually going to be the light in a scene that makes me want to pick up my camera, not so much the things that the light is illuminating. It’s more *how* the light is illuminating something that makes me want to photograph it. In that sense, I’m using photography in the most literal sense, because it really is the nature of the light that I want to record.

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GOALS

MAJOR, LONG TERM GOALS:

- 10,000 images (30 year plan)

- make a living as a photographer (commercial, editorial, fine art, educator)

- continue to make images that excite me, take risks, try new things, be creative

- be someone who is totally comfortable asking strangers if I can photograph them

- be confident that I can make an interesting portrait in any situation, regardless of the equipment available to me

SHORTER TERM / CLASS GOALS:

- create a new portrait every day and post on collectingfaces.com

- this implies working on approaching and photographing strangers, which is the main point to making a portrait a day.

- contact potential editorial/commercial clients on a weekly basis (say, 5 per week)

- find professional photo orgs, such as ASMP, and attend a meeting to get a feel for them

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Topics for bookmaking class

Ok folks, here is a place for you all to start posting questions and topics to explore for our bookmaking workshop. Please add your ideas directly to this posting. Thanks.

Topics for bookmaking class:

• How do people make a dummy or model of the book?
• Are there agents that will help you find a publisher?
  
• What are the options for self-publishing? Are there funding opportunties for self-publishing?
• What about options for very limited edition "artists books?" how few does the edition need to be? What makes a book an "artist's book" rather than a traditional book?
  
• How important is it to find a writer for the foreword/afterword? How do you find someone to write for your book? What are the criteria for choosing a writer?
  
• How do you "design" a book? What format should the design be given to the printer?
  
• What format should images/files be given to the printer?
• Do you need releases from the subjects?
  
• How do you market the book if it's self-published?
• What are some of the places to sell a self-published book or limited edition artist's book?
• Does it make sense or is it a legitimate "book" if I use a "print-on-demand" service to print the book?
• Is it possible to make money producing a photo book?
• How do you get your book purchased and collected by libraries?
• How do you get your book reviewed?
• How do I get an ISBN for my self-published book?
• How do I get my book listed on Amazon?
  

Mission/Artist Statement and Goals

Per the assignment, here are mine for comment.

Mission Statement

I use color and light as tools in my photographs to create abstractions of ordinary objects. These objects pique my curiosity and the resulting images remind me that there is beauty and joy in the ordinary. I also use these images to explore the personal emotional value I attach to colors and light that surround me on a daily basis. For me, colors and light are about intensity. I strive to create intensity and emotional response through the use of color and light. By creating these images I hope to tap into the notion that colors and light in a photograph can be associated with every human emotion and sensation from strength to iciness.

Perhaps most importantly, I hope to create images that allow my imagination to roam when asking "what is that?" Much like a kaleidoscope’s changing shape, I seek to make images that allow me to constantly re-evaluate” what is this" and "what does it mean."

Goals
A. Artistic
i. Short-Term

1) To solidify my artistic style and portfolio with the intention of having a sufficiently deep and wide body of work to present to a variety of parties

Obstacle/Question: I currently explore one primary theme/style. Should my work be deeper or wider? Is there a case to explore more? If so, why? And lastly, how long can one “ride” a particular style of work before needed to do a new set of work? For example, Roy Lichtenstein seemed to do the same work for decades. Andres Serrano has been exploring themes of disgust and taboo for decades.

2) To explore the boundaries of photography in my work
3) To establish a local network and comfort with my work that enables me to participate in at least one group show within the next 6 months.

Obstacle/Question: My work is not traditional photography. Are there gallery venues more or less appropriately suited to this style?
ii. Long-Term
1) To regularly participate in individual shows at local and/or non-local galleries

Obstacle/Question: Are individual shows mostly a function of network connections within galleries that the artist has no control over? In other words, are these garnered mostly through the status of your work and your general name recognition and not through direct “ask?”

2) To establish a presence within commercial art markets such as interior design, and “stock photography”

Obstacle/Question: There are books that make suggestions on these types of markets and give contacts. Are these effective suggestions? What are the most effective ways to introduce oneself into these markets?
iii. Ultimate

1) To be recognized by friends and the outside world as bringing a joyful perspective to art
2) To generate sufficient quality of work and reviews to be invited to show at major art gatherings such as Art Basel

B. Financial
i. Short-Term

1) To establish a means to create and sell work on a break even basis

(revenue – material costs = 0)

Question/Obstacle: What other compensation models besides the 50/50 split model exist within the gallery/artist relationship? Are there situations when these other models are accepted? Only for established artists?
ii. Long-Term

1) To create a practice that allows me to sell my work at a net profit
2) To attain the ability to make part of living from the sale of my work
iii. Ultimate

1) To comfortably rely on revenue from artistic endeavors as my primary source of income

What is a fair rate to charge for a portrait if you're a beginner? Is it OK to take portraits free of charge, or is that unethical?

Someone asked this question above on our list of issues. I thought I'd try to answer it, and begin the dialogue, seeing if anyone else would hopefully join it.

I would say a minimum rate should be $100 (plus expenses, including printing) for an hour or two of shooting. If the client has a lot of money don't be afraid to ask for more. You might also try quoting a "half day rate" and "full day rate" -- mine would be $250 for half-day and $500 for a full day (and I would ask for much, much more for a wedding). If it was for a friend I might do it for free, or for a trade.

I realize you're just trying to establish yourself. But charge what you think a good photographer should be paid. It doesn't help you or anyone else if you undervalue your time, your work, or the profession. Set the bar high enough that the customer expects to spend money to get good photographs, and push yourself to keep improving and to mak high quality work.

If you think your work is really not that good, maybe you should just do if for free until you get better -- or ask for a "donation" if they like the work.

To further try to answer the second part of the question: I don't think it's unethical to shoot for free -- even if you are someone really good. I think it's totally ethical and quite laudable to "gift" someone your time and talents. But maybe I misunderstood the second part of the question?

that's my two cents. what about other folks -- what do you think is a fair rate for a beginner?

Upcoming PAM lecture

In case you're not on the PortlandPhotoEvents email list, this just came across this morning. I wish I didn't have to teach during that time, sounds like a good one! It's free, he's a very good photographer and teacher -- going to talk about juggling careers -- and it's sponsored by the museum's Photo Council - so also a great networking opportunity.

Here's the posting:


Shawn Records - My Favorite Things: some pictures I've made and some others that I wish I had

Free talk at the Portland Art Museum

Wednesday April 21, 2010
Noon in the Miller Room

Portland Art Museum
1219 SW Park Avenue
Portland, Oregon 97205
(503) 226-2811
info@pam.org
www.portlandartmuseum.org

For more information please e-mail Jim Leisy jimleisy@fbeedle.com or call 503-708-3387

Sponsored by the Photo Council at the Portland Art Museum

Acclaimed Portland photographer Shawn Records will attempt to pull perspective on his professional life, a career that weaves between numerous aspects of the medium.

Records intends to speak frankly about why he does what he does--juggling various aspects of a life in photography, including creating art, working editorial freelance and teaching, as well as his work with Photolucida, a non-profit organization devoted to assisting emerging and mid-career photographers.

Roger's Videos

Roger very quietly posted a video on our blog at the bottom of the link column. I hope you don't mind, Roger, but I'm going to link it up in this posting, so everyone knows to have a look. Click here to go to the video.

Maybe we can take a few moments in class to talk about it, Roger, if that is part of what you want to talk about? or folks can post comments under this posting.

I for one really enjoy the tranquility of the piece. I think it has a very meditative, contemplative quality - -and your title and explanation of it make perfect sense. Makes me ponder what is going on behind the camera (who is this person who is watching travelers, then actually moving slowly himself down the night road, why is he out at night, why is he watching and dreaming these people moving through the darkness); and I also ponder who are all of those other night travelers. Good job, Roger!

Let's see more!

PS: I just noticed Roger said that he shot a video for assignment 2 -- totally cool idea -- this second piece (click here) definitely has a sound/rhythm/mood to it -- it's playful, fun, maybe a little bit silly -- and an intersting use of still images to create music/narrative in a film piece. It's also really interesting and effective (but quite different) to watch without the sound. Did you try that, Roger? others?

what about other folks, anybody got some work to share?!

***Unfortunately Roger had to take the second video down, we will watch it in class***

Model Release iPhone App

As I mentioned in class, there' an iPhone app that costs $9.99 which allows you to enter a model or property name and contact info, display the release form on your iPhone, and collect the model's or property representative's signature. It can then email you and the model/property a copy of the dated release with your signature and theirs (plus a witness). You can then search for a release by date, model or shoot name.

More info at the Apple Store.

Books on RAW processing

Anyone have any suggestions for learning more about RAW processing? I'm totally comfortable working with images once I get them into Photoshop, but I feel like I'm fumbling around with RAW processing settings in Aperture. So if you've got a favorite book that teaches the ins and outs of getting the most from RAW files, I'd love to hear about it. If your suggestions are Aperture specific, all the better, but that probably isn't essential.

Thanks a lot,

Erik