A 21st Century Pin-up girl

Goals revisited

I'm finally back in DC after a truly hellish travel experience with United (all their fault, and trust me the compensation they gave doesn't even come close to making up for the experience). But now that I've had a chance to think about the workshop and where I'm at, I thought I'd revisit how I did on my original goals.

1. An honest critique
Well, this is the one goal that I'm sure I accomplished. Frankly, Joyce doesn't give great critiques, and when asked outright to talk about the weaknesses she sees in my photography, she wouldn't go there. She did give me a great word as a description--quirky. I take that as a big compliment. I was however, able to get a helpful critique from the Canon explorers of light guy. He got what I was doing/where I was going with the photos and showed me how to make them better.

2. New techniques for getting expressions from my models
More than anything, what Joyce showed us actually validated what I was doing with my models to begin with, i.e., I was on the right track intuitively. However, what she did show me was a better way to start the session and how to slow down and sync up my pace with the model. If anything, one of the biggest lessons was to learn to slow down and not be afraid to wait until the image was just perfect.

3. Outdoor lighting
Well here I think I got more than I bargained for. Because it rained some of this week, we also got a great lesson in studio lighting. Joyce does a very flat lighting with just twosoftboxes at 45 degree angles from the subject. As far as outdoor lighting, really it was just learning to use an assistant to help with the reflectors. I had reflectors and worked with them before, but it was just helpful to spend the hours I did this week with them, considering the types of light I could get from each reflector in given natural light conditions.

4. Work more freely and creatively.
I definitely think this happened!! I'm not sure I could describe how it happened though. Part of it was definitely being around such other creative photographers and part of it was forcing myself to shoot every afternoon, no matter what I was feeling.....trusting that I'd get to that creative place eventually. Part of it was spending time being inspired by other photographs, and learning from Joyce that a skirt doesn't have to be a skirt, it can be used to drape, create a hood, etc. In other words, breaking free from my conception that objects should be used as they were intended.

5. the passover question
More than anything, my style really started to coalesce this week. Movement was definitely a theme--either through the model or the lensbaby, it was present in most of my best photographs. And quirky was in them. I'm not sure I can describe how I get to the quirky, but I know it when I see it. As a result, I'm also more conscious of why I choose to take the shots I do, and select the best from the session.

6. the future
Finally, I have a clearer idea of my photography path for the future. Classes around DC and more workshops will definitely happen. And my goal is to conceptualize and finish a project this year that could either lead to a book (starting with a blurb.com book) and/or a gallery showing. But I think I definitely came to the conclusion this week that the standard for-hire portrait photographer is probably not for me. (though don't worry, I'll still do it with pleasure for family and friends). I feel more comfortable with the idea of doing book-like projects. That seems to suit both the academic and artist in me.

I'm going to try to send out model releases this week, and once I've got them signed for use on the internet, I'll post my work from maine. Stay tuned. I'm pretty certain you're not going to want to miss it.

And finally, I am going to try to keep this going...though I'm not going to post every day, but will try to post every week. It's good to have a place where I can hold myself accountable for photography. And, this will help me progress on my projects, as well as making sure that I'm shooting regularly.

A quirky, fresh eye

....or so says Joyce Tenneson. I take that as a compliment. It could be also be the photography version of "nice booties" (i.e., what you say when you need to give a compliment to a really ugly newborn) ...but I do think it's a good description of the work that I did this week. Very quirky, yet sensitive.

Regardless, I think one of the goals that I'm leaving with is to do a book project. It's one of the things that Joyce really encouraged me to develop. She sees my work as book work (and supporting gallery shows)...it may be that Joyce says that to all her students because it's what she does, but I think with my academic background, it's not out of my reach. I have some strong ideas--- one to take place in Paris and then two that are more studio projects. (I fell in love with the studio this week, even though I was only there for a day). Other goals include submitting to DC photofest and doing the portfolio review (as well as networking at some of the events), some coursework in digital/photoshop skills as well as other workshops. And of course, once I have the book shots, come back in 2009/2010 to do Joyce's book workshop.

Slideshow tonight (the workshops version of a gala) and then wish me luck on getting home tomorrow (thunderstorms may strand me in Boston....AGAIN!)!!

Days 3 and 4

Day 3, we got the Joyce Tenneson marketing lesson. She is brilliant and super detailed oriented. I feel like the possibilities of opening myself to assignment work and books started to materialize through her lecture. She sent us the PDF of her lecture, so there's lots of stuff for me to wade through about how to market myself to magazines, galleries, etc. (when my work gets to that level). But I can begin to see the light of that world and I think it's where I'd like to go. I also could begin to understand truly how much work marketing yourself is.

That afternoon, we headed to the MPW director's home for a shoot. Somewhat controversially, I changed groups. Joanie who was with a bigger group of 4 was willing to work with me wednesday, and we had enough models for 6 groups. The people I was working with monday and tuesday are lovely people, but as photographers, their energy is too chaotic for me. There was a lot of jumping from location to location, whereas I prefer a more methodical progression. When I'm doing my best work, I'm very focused and zen, and it was difficult to get in that space with their energy. I think maybe from now on when I shoot alone I should start with a meditation session to get myself into that quiet focused space. I think I'm better able to complete a photographic idea in that space. So, while I didn't want to hurt their feelings, I also had to do what I needed to make sure I could get what I needed out of the workshop (and yes, I suppose there's a challenge to learning to work with that energy...but I had a done that for two days).

This morning was critique of our work again, and I think I got a great picture of feet in this fabulous southern belle tulle skirt. We also chose the photos for the slideshow tomorrow night. I'm really happy with my photos that are going in. I think they show some serious growth and new directions to explore. This afternoon I was back with my group as the others who hadn't been in the studio were able to be in the studio---and while I really wanted to work in the studio again (I had some great ideas about pictures of impermanence and exploring the edges, entrances and exits to photos)....but I was also feeling a little spent. We were over by an old barn and weathered house. I decided to just do what I needed to do and be quiet, focused and directed when I was shooting---group be damned! I did call out the woman when she was shooting while I was working with and shooting the model. It's just not a polite thing to do....so i just kindly asked her if she would prefer to shoot now and I would wait----she got the message.

We were supposed to be working on a series of pictures. However all week I've been working in series. It turns out to be a very natural way for me to see. So, while I wasn't able to completely explore what I was hoping to, I have some stuff though it's not as strong as my earlier work this week. We had one model there who brought a great creative energy and I realized that I really don't like photographing classically beautiful people. They're not that interesting to me.

In any case, I've got to start developing a model network for me to start with. I plan on doing what Joyce did---offering a free print to any model that sits for me.

Tonight, I need to think about my goals for my meeting with Joyce tomorrow. I'm also hoping for a strong critique from her (not just the blowing sunshine up my ass which is sort of what I'm getting in class---I'll explain more later when I have time.)... as well as some thoughts on where I could realistically develop this in the long term.

Day Two: The Models Arrive!

Yesterday, it was raining cats and dogs. So, while we were to go on location, we ended up getting a studio 101 class from Joyce in the afternoon--which was a real treat. Joyce is known for her studio work, and truly she uses such a simple setup that it's completely imaginable setting up something similar for myself. And we got to watch her work with a model, which frankly was so helpful. Largely just to know that she really doesn't do anything special, but there are something one can do at the beginning to open up the relationship.

We started the morning with critiques of our monday work. Frankly, I was just relieved that Joyce saw we're I was going with the pics and really liked them. We then saw a short film that showed Joyce behind the scenes working with models and doing her commercial work. So, we had a nice chance to talk with her about how she combines her commercial work with her art.

Last night she did a book signing (yes, of course I got one) before the evening documentary. And as students in her class, we can get a print from her for 50% off. I have until friday to figure out what I'm getting, but at that price, it puts the smaller prints in my affordable range, and I know I'll regret not getting one. She also limits her prints to 25 or 50 (I forgot which), so it's a good investment.

Today it's gorgeous and we're headed out on location--so all natural light. And Joyce is going to give us a marketing lesson. Not only is she known for her art, but she's known for being a really smart business woman--so lots to learn today!

Day One: Self Portraits

This morning we started with critiques of our past work. For the record, the big hits were boy on motorbike, homeless, and eyes wide shut.

Yesterday afternoon, we were sent out to the field to shoot with our groups. Our assignment was to take self-portraits and pictures of our classmates. Which means that I had to sit in front of the camera, which I hate. But it turned out that I'm really into this the idea of an abstract self-portrait. I plan on doing a series of them while I'm up here. I'll explain later the meaning, etc.

I've posted a few of the pictures that I showed this morning in class for critique.

p.s. I'm allowed to show these as they either were of me or my classmates, and we gave each other internet permission. From here on out, other than the self-portraits, my model pics will have to wait until when I get back to DC.

Big Sigh

Ahhh. So, I finally made it to Maine and I can tell you already, I love the workshops! When I arrived, unfortunately, there was a mixup in my housing, so they upgraded me to an off-campus B&B---which is such a beautiful little place. You can tell that the owners really take pride in it. The downside is that it's off campus, so I have to call the van to pick me up.

We had a brief meeting with Joyce tonight to introduce ourselves. And I am breathing a huge sigh of relief. Our class has a good mix of pros and amateurs, so I don't feel horribly outclassed. And Joyce is super nurturing, so I don't feel as much anxiety about the class (At first, I was intimidated by the people I was meeting at dinner and at the B&B. Most were serious artists, there to take the master classes.) But everyone is super friendly, not a hint of competition--which is a relief!

During our brief meeting, these are the things I can look forward to this week:

Our own personal Canon rep. No kidding, this guy is going to follow us around with two huge suitcases of Canon bodies and lenses for us to try during the week. Just our class (there are other canon reps for people to borrow from at the main campus, but he'll be the only one following us into the field). I am afraid of what this will do to my bank account.

Wine and cheese at Joyce's house. We'll get to see her studio set up and have some nice social time.

And some serious prep work on the part of the workshops. They've hired the models, scouted the locations, etc. We are in for a serious treat.

Oh, and apparently in Maine I look like I'm 22. Everyone I talk to thought I was in the teenage program or just out of college....until I start talking about my job, and then they get very confused until they ask me how old I am. I'm not sure if it's a compliment, but I'll take it.

On the down side, it's unlikely that I'll be posting pics this week, as we're not allowed to ask for an internet release from the models until after the workshops are over.

I'm off!

As many of you know, I'm off to Rockport, Maine to take a class in portraiture. On some level, it's sort of like camp for adults, except you work on photography for 14-16 hours a day and there's beer and wine.

I'm feeling like I did in college before I would start a class. Completely intimidated and unsure that I was going to be able to accomplish what the syllabus said I was going to have to do for the class! So, I suppose the lesson of the day is "trust in the process."

If you'd like to read more about the workshops in general: http://www.theworkshops.com/

Goals, Goals, Goals

One of the things that they suggest we do prior to coming to Maine is to set some goals we'd like to achieve during the workshop. So, what are my goals?

1. Get an honest critique of my work
Look, I love you all for telling me how much you love my photography. That's always great to hear in any context. And more than anything, I'm glad it can provide some bit of pleasure for you. But if I'm really going see what I've got here, then I've got to hear what is specifically good and specifically bad about my work. Don't get me wrong, I'm not looking forward to it. But it's the only way that I'm really going to make significant growth as a photographer.

2. Learn new techniques for getting the best expression out of models/people
This is probably one of the main things that attracted me to this specific course. Sometimes I feel like I have a limited bag of tricks. I'm sure that those of you that I've photographed more than once are pretty familiar with them at this point! So, if I'm photographing someone and find that these tricks aren't working, I start to get nervous and tense...which is only bad for the end result! It would be nice to have a wider variety of techniques to pull from.

3. Learn better ways to use outdoor light for portraits
This is probably the second thing that really attracted me to this course. The portraits that most draw me in are the ones that have an evocative use of light. One of the goals of the course is to show us how to set up a simple outdoor studio, as Joyce does. Often times I feel like I'm trapped by whatever light I happen to find that day. To some extent, I'd think that natural light photography will always have that issue, but I'm curious to see how having more control over the outdoor light will impact my photographs.

4. Work more freely and creatively
Sometimes when I'm photographing people, I even bore myself. It's the same angle over and over, it's the same expression. My gut tells me that many of my assignments in the coming week will push those boundaries. Still, it will be nice to come up with new techniques to use when I feel myself getting into a rut. And while digital definitely makes it easier to take a risk, I'd like to see how far I can push it. Sometimes I think (particularly in a portrait session) that I don't take strong risks as I want to guarantee that I'll have at least one picture that isn't horrible and I can give to the person. However, what would happen if I really went out there and risked coming back with nothing?

5. Understand what makes my vision different from all other photographic visions (the passover question!)
If there is one thing that will stay with me from grad school, it's Debby asking me the question "What makes this paper different from all other papers?". It's a useful question. Probably one of the most useful questions you can ask yourself. I've found that if I can't answer that question on any project that I'm working on, then I don't have a clear enough vision for it to be successful. While I have a vague idea of what makes my photographs uniquely mine (the level of tension and emotion/sensitivity, the use of blur/bokeh, the angles, the close crop), I would like to be able to answer that question more concretely. Are those things really so different from what other photographers do? What is it about the way I combine these elements that creates a statement? Is there an unifying statement about my photography?

6. Get some ideas on where I can take my photography
So, in the end, what do I want to do with all of this? While I love doing portraits, I am not your normal portrait photographer. I really don't think I'd be happy taking photographs of people's kids from here on out, even if the parents understood my photographic vision. Nor do I see myself making this a fulltime thing any time soon. Art is meant to be shared. So, what's the best way of sharing what I do?

Local happenings

This morning gave me a nice little boost. One of the local blogs (DCist.com) used a photo of mine for their morning new post. For those that are unfamiliar with DCist, it's a "popular local blog in Washington and it covers all the goings-on of the Capitol. The site has been mentioned in The Washington Post and the New York Sun, amongst other publications." They get quite a bit of traffic, so it's a pretty decent site to get a mention on. Every once in awhile, when I feel as though I've got shots of DC, I'll submit them to the DCist flickr pool. However, they're NEVER chosen for the photo of the day. Maybe that's my next goal: get a photo of the day.

But, this may be a decent argument of including this one in my workshops starting portfolio.

In anycase, here's the link should you feel like reading about DC news: http://dcist.com/2008/08/06/morning_roundup_292.php

The Starting Point

Before I go, I thought it might be a good idea to take stock of where I'm at right now in my photography. Above is one of my most recent pictures.

I need to include 10-12 photos for the class to review monday morning. (Unfortunately there are a couple of pregnant nudes that I'm using for the portfolio that I've not posted as I don't yet have the model's permission to blast it all over the web!) Knowing that I'm going to use at least 1-2 of the pregnant nudes. Which pictures should I cut? Are there pictures that I'm not including that I should?

The entire group that I'm considering (minus the nudes) are here: http://www.flickr.com/photos/ebreidy/sets/72157606559559245/