tag:blogger.com,1999:blog-68176930540937040532024-02-06T18:45:06.936-08:00the image, deconstructedUnknownnoreply@blogger.comBlogger46125tag:blogger.com,1999:blog-6817693054093704053.post-86954322526141205952011-11-06T09:58:00.000-08:002011-11-06T10:00:44.067-08:00We've Moved!The Image, Deconstructed is located here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a><br /><br />Thanks for everyone's support!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-7406247299366519252011-10-10T14:36:00.001-07:002011-10-29T08:03:25.202-07:00Spotlight on Ben Depp<img src="http://farm7.static.flickr.com/6165/6237370583_f9b0ae547d_o.jpg" width="954" height="637" alt="bendepp7"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Thanks for taking the time to share your thoughts<br />on this difficult image. Please tell us a little bit<br />about your background first.<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I'm working in Haiti these days. I moved to Haiti in 2008, and I<br />worked as a staff photographer for an NGO for two years before<br />going freelance. I had been freelancing for a few months when<br />I made this picture.<br /><br />Cholera was introduced to Haiti by the UN soldiers almost exactly<br />a year ago (and 6,500 people have died as a result). The latrines<br />on one of the bases were draining straight into a river. A few weeks<br />before I shot this particular image, I photographed the funeral of<br />one of the very first deaths by cholera on assignment for The Times. <br />As I watched – and photographed - the epidemic's spread across the <br />country, it seemed to me that the official numbers from the Haitian <br />government were too low. The immediate response was such that I <br />didn't get the sense people were really grasping the gravity of the<br />situation.<br /><br /><br /><img src="http://farm7.static.flickr.com/6103/6237369941_71b152d5ab_o.jpg" width="954" height="637" alt="bendepp"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Let's talk about covering cholera in Haiti. What was going<br />on in your mind before making this image?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I don't like news stories that start with “Haiti is the poorest country<br />in the Western hemisphere.” While covering cholera, I didn't want to<br />be doing just another Haiti-is-so-poor-and-screwed kind of story.<br />But cholera was (and still is) very serious. Although I avoid the doom<br />and gloom stories as much as possible, I felt like this was an important<br />one to follow. People were literally dying within hours of contracting<br />the disease, and I felt a need to try to convey the real sense of urgency<br />that would push donors, NGOs, and the government to take things<br />more seriously.<br /><br />Cholera is so easy to treat. It's senseless for so many people to have<br />died (and still be dying) with all of the resources that are actually<br />available in this country. Many victims have died simply because they<br />or their families didn't know that they should go immediately to a<br />treatment center upon exhibiting symptoms.<br /><br />After the first month or so, when there was no shortage of coverage,<br />and, rightly, some clinics stopped allowing photographers inside.<br />Cholera pictures were available for anyone who needed them, and I<br />stopped covering it.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6226/6237894536_c4fcfdeb52_o.jpg" width="954" height="637" alt="bendepp6"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Let's talk about the day you made the image.<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />The first cases of cholera had just been reported in Port-Au-Prince.<br />With the unsanitary conditions in camps and lack of potable water<br />accessible in shantytowns, I was terrified about what that meant for<br />the city. Another journalist and I went out on motorcycle to see<br />what situation was like. I expected to see people dropping dead in<br />the streets and, literally, that's what we found. First, we came across<br />one victim dead on a sidewalk. Fifteen or twenty minutes down the<br />road we came across a young man who was still alive, but barely. His<br />mother was trying to take him to a cholera treatment center and he<br />had collapsed a mere few hundred feet from the entrance. He was on<br />the side of a fairly major road that runs across along the bay of Port-<br />Au-Prince. I shot a couple frames and then my friend and I tried to get<br />the staff at the treatment center to bring over a stretcher. We thought<br />they were on their way with the stretcher, so we went back to him and<br />kept shooting. He died within a few minutes.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />As you started making the image, what was going on<br />in your mind?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I was mostly thinking, “Where the hell are the people with the stretcher?”<br />It didn't seem like dragging him to the clinic was a good idea. Honestly,<br />I was also thinking about how to compose pictures to do justice to the<br />situation - there was the broken fence behind the guy casting really nice<br />shadows, which made the scene more ominous looking. There was also a<br />canal in the background that I felt alluded to the Styx, “the river of hate”<br />in Greek mythology that separates the world of the living from the world<br />of the dead. I wasn't able to include it in the image because it was too far<br />away. Coming across this type of situation is rare – yes, even in Haiti - so<br />I didn't want to screw it up and or miss any important details.<br /><br /><br /><img src="http://farm7.static.flickr.com/6165/6237370363_4b52836a98_o.jpg" width="954" height="637" alt="bendepp4"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What were your concerns as you made the image,<br />and what was going on in the outside area of the<br />image?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />Well I was afraid that he was going to die and I'm always uncomfortable<br />shooting pictures of this kind of thing. I don't want to be exploiting suffering<br />just to make strong pictures if they're not also important pictures. I only<br />had a 20mm lens with me that day, so I was physically pretty close to him<br />and I didn't want to upset either him or his mother with my presence.<br />Outside of the image, a few young guys were standing nearby, watching.<br />They were scared to get too close to someone with cholera. Meanwhile,<br />the mom was frantic, wailing and walking around in circles. As he died<br />she was trying to give him water, as if in denial that she was losing her son.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6108/6237894848_8f4e1a1ae8_o.jpg" width="954" height="637" alt="bendepp9"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What impact did this have on you emotionally?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />Seeing people die from cholera is particularly tragic because it's so<br />preventable. I was angry at the injustice of it, especially since the cholera<br />deaths are really a direct result of systemic issues of greed and corruption.<br />It's criminal that the water and sanitation infrastructure isn't better here.<br />It could be, but it's not. It's also criminal that the UN hasn't taken<br />responsibility for introducing cholera to Haiti. It still makes me angry.<br /><br />My sister was dying of cancer while I was shooting this, so I was processing<br />that too. Anticipating her death made me more emotionally connected to the<br />people I saw dying of cholera. When the young man died, I was very conscious<br />of the process of his death. He was half awake, a minute later unresponsive<br />and then he stopped breathing and I was wondering the whole time if that's<br />what it would be like when Martha died. I was in Haiti for the earthquake in<br />January of the same year and though I saw hundreds of maimed and dead<br />bodies, I had still never witnessed anyone passing from life to death. 2010<br />was a heavy year for me and I'll be affected for the rest of my life by the<br />succession of traumatic events, but I wouldn't say this one man dying had a<br />profound effect on me in and of itself. It's more the accumulation of loss and<br />witnessing suffering.<br /><br />Ten minutes after shooting this image, I came across a ten-year-old boy dead<br />in the road. His mother hadn't understood how quickly cholera could kill him,<br />hadn't been able to take him to a clinic and now that he was dead she didn't<br />have money to do anything with the body, so she put him in the road for the<br />government body collectors to find.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You said, "It's more the accumulation of loss and witnessing<br />suffering" that has had an effect on you. What effect has it had?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I think I have some PTSD. I've always been easy going and in the past<br />two years, I have become less patient, more easily irritable, more<br />emotional, and at the same time, less affected by shocking things that<br />maybe should have an effect on me. I think all this is pretty normal<br />given my experiences. I'm still pretty laid back so the changes in my<br />personality are somewhat relative but are still unnerving for me.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What did you learn from making this image?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />What makes this image successful is the focus on the mother and the fact<br />that I was able to capture her grief. I don't think many of us can relate to<br />dead bodies in an emotional way, but we can all relate to grief - and I would<br />guess that that's certainly the most true for mothers who see this picture. I<br />only understand this now as I look back at the pictures in the process of<br />grieving the loss of my sister. At the time, I was just trying to capture everything<br />that was happening.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What surprised you about making this image?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I was surprised when all the elements came together. I was trying not to<br />intrude too much on this woman's personal space. To frame the image,<br />I was able to position myself so that she walked back and forth in front of me<br />and I didn't have to follow her with my camera in her face. I was also a bit<br />surprised that nobody minded that I was shooting pictures of this situation.<br />I think that that was only because the people around had seen me try to<br />engage with the dying man and try to get help for him.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6108/6237370233_c4dac18ef4_o.jpg" width="954" height="637" alt="bendepp3"><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />How has working in Haiti changed you as a photographer?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />I'm still learning all the time and my work is improving. I'm learning<br />a lot from other photographers working in Haiti, both on shooting<br />stories and how the business side of freelancing works. I'm slowly<br />becoming more successful freelancing which is a good feeling. Since<br />I've been here for three and a half years and have really developed as a<br />photographer at the same time, I'm not sure what I can directly<br />attribute to Haiti so much as just working full-time and being<br />involved in a dynamic community of photographers.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What do you wish people knew about covering<br />Haiti that you think most people don't know?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />If you haven't worked in Haiti, you should depend on a good fixer. In Haiti,<br />everything is based on relationships and you need to be able to engage with<br />your subject and establish a certain level of trust. This is true everywhere,<br />but decades of external intervention and power imbalance make Haitians feel <br />particularly exploited by foreign photographers. Without good relationships, <br />shooting in high-stress situations can also be dangerous. Several photographers <br />I know almost got killed covering cholera. Because UN troops introduced the <br />cholera, there were rumors that foreigners were spreading it on purpose and <br />in several instances, photographers following the trucks picking up the bodies <br />of victims got attacked. Their fixers were able to negotiate on their behalf.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />In conclusion, what advice do you have for people<br />covering these situations?<br /><br /><br /><span style="font-weight:bold;">BEN:</span><br /><br />Try to be a human before being a photographer - if you have the chance to<br />save somebody's life, do it. Walking away from a malnourished child on the<br />edge of death or a cholera victim that needs transport stays with you.<br /><br />Don McCullin says it best:<br /><br />I have been manipulated, and I have in turn manipulated others, by recording <br />their response to suffering and misery. So there is guilt in every direction: <br />guilt because I don't practice religion, guilt because I was able to walk away, <br />while this man was dying of starvation or being murdered by another man <br />with a gun. And I am tired of guilt, tired of saying to myself: 'I didn't kill that <br />man on that photograph, I didn't starve that child.' That's why I want to <br />photograph landscapes and flowers. I am sentencing myself to peace.<br /><br />I sometimes wonder how long it will be <br />before I'll need to 'sentence myself to peace.'<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6055/6237894756_2641f8bac3_o.jpg" width="954" height="637" alt="bendepp8"><br /><br /><br /><br />+++++<br /><br /><br /><p style="margin-bottom: 0in">Ben Depp has worked as a photojournalist since 2005 and hopes to make a living taking pictures for many years to come. He has entered several photo contests but never won. Recent clients include <font face="Times New Roman, serif">Newsweek, The New York Times, TIME, </font><font color="#000000"><font face="Times New Roman, serif"><font size="3" style="font-size: 13pt"><span style="font-weight: normal">L'Équipe</span></font></font></font><font face="Times New Roman, serif"> and The Times. Ben still lives in Haiti with his wife and cat. </font> </p><br /><br /><a href="http://www.bendepp.com/">http://www.bendepp.com/<br /></a><br /><br /><br />+++++<br /><br /><br />Next week we'll explore this telling image of the Texas drought<br />by Austin American-Statesman photographer Jay Janner.<br /><br /><a href="http://www.flickr.com/photos/80268288@N00/6249776437/" title="1 by drtfoto, on Flickr"><img src="http://farm7.static.flickr.com/6213/6249776437_8da5c27b60_o.jpg" width="600" height="408" alt="1"></a><br /><br />As always, if you have a suggestion of someone, or an image you<br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com<br />logan@imagedeconstructed.com<br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-53133533933334958742011-10-08T09:03:00.001-07:002011-10-22T07:43:59.317-07:00Spotlight on Matt Roth<img src="http://farm7.static.flickr.com/6227/6231381195_692cc1f63e_o.jpg" width="954" height="804" alt="100928Vet448.2.JPG"><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Thanks for taking part in this and sharing your thoughts.<br />Please tell us a little about the backstory of the image.<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Ross! Or should I call you TID? Thanks a ton for letting me be part <br />of this super-cool blog. I'm humbled and stoked!<br /><br />Back when I used to be a staffer for the Patuxent Publishing Co., <br />one of our products I would shoot for was Howard Magazine. It's <br />one of those hyper-local, glossy, lifestyle mags targeted for women <br />from 35-60. We got a new art director, Michele Moy. It went from <br />something stodgy and predictable, to a fun, visually engaging magazine. <br />Our Cadillac issue was the annual Best of Howard edition. The awards <br />are poll-based, so whoever has the most friends wins. It had nothing <br />intrinsically to do with quality. That being said, corporations like The <br />Cheesecake Factory would win "Best Dessert." But being a true hyper-<br />local publication, we would only feature the local winners.<br /><br />Before the winners were picked, the magazine team, Creative Director<br />Michele Moy, Designer Brian Young, one other photographer (Drew <br />Anthony Smith in 2009, and Sarah Nix-Pastrana in 2010), and I would <br />brainstorm. We looked through the categories and picked which ones we <br />thought might be the most interesting to illustrate. I picked the ones I <br />wanted to shoot, and Drew and Sarah picked the ones they wanted. And <br />for most of the shoots we also had four pairs of hands to drag gear in, <br />set up, troubleshoot and break stuff down. These shoots gave me a taste <br />of how much I LOVE working with a crew.<br /><br />We had room for 6 images -- 5 full page/double trucks and one cover.<br />BIG BEAUTIFUL PLAY!<br /><br />Ever since Michele started, she's been really good about reinventing the<br />magazine. She was also blessed with a boss who was expertly hands-off.<br />That is to say, she knew what was going on, but knew not to meddle in<br />things she's not trained for (i.e. photography and design). So Michele was<br />given the keys to the car, so to speak. She also knew to trust us <br />photographers and be ready for surprises -- which is good for me.<br /><br />I don't have the temperament to really WANT to sit down and plan <br />something out. As a result I'm pretty good at being, uh, for lack of a <br />better phrase, creatively resourceful on shoots. All that means is, I'm really <br />good at "making something out of nothing."<br /><br />Truth be told, I get a little anxious when stuff is over-planned - <br />especially when it comes from someone else's brain. In my experience, <br />when expectations for a shoot are too tightly prescribed I tend to make <br />lackluster images.<br /><br /><br /><img src="http://farm7.static.flickr.com/6060/6231379967_e097abf715_o.jpg" width="504" height="756" alt="090929Golf146.jpg"><br /><br /><br /><br />There are some exceptions, though. The Best Golf Course of Howard<br />County illustration was VERY planned out. We went on an extensive <br />tour of the golf course to find the right tee. There were a lot of logistics <br />to worry about. For example, what if someone needed to play through? <br />We also thought up the story beforehand: Warren Klauschus is trying to <br />blow Martie Browning's ball from going into the hole. We needed genuine<br />characters, visual storytelling layers, a clean background and a ball that<br />looked like it was about to drop in the hole. Before we brought out Martie<br />and Warren, we had a water-tight formula and stuck with it. The ball, by<br />the way, was super-glued to a golf tee and jammed into the lip of the hole.<br />And that's basically how most of these shoots went.<br /><br />Then there's the Plumber of the Year photo. I had a vague idea of how I<br />wanted to shoot this. We also didn't get a chance to scout his location<br />before the day of the shoot either. The only thing I really wanted was<br />water spraying at the camera! Luckily, Ken Griffin was up for whatever, <br />and he had Plexiglass for me to stand behind. That big wrench? Totally his<br />idea. He asked, "Do you want me to hold something? I have a giant wrench."<br />I was like HECK YES! I've learned to be open to my subjects' whimsies.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6060/6231380017_7c3dfc06f8_o.jpg" width="504" height="756" alt="091008KenGriffin045.JPG"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />That gives us a great context to the Vet of the Year shoot, thanks.<br />Now let's talk about that image specifically.<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />The Vet of the Year shoot was somewhat similar to the golf course shoot.<br />We scouted the location, met the human players and procured a "cone of <br />shame." We also had a story thought out. Admittedly, it was a bit less witty <br />than the golf photo. We wanted visual storytelling layers: a sad, sick, cute <br />dog, the caring vet, a connection between the two, and a concerned owner<br />peeking through the window.<br /><br />A quick digression to set up my next point: the one thing I've learned over<br />the years is to shoot and EDIT for the READERS. I think journalists, editors<br />and managers can sometimes lose sight of who their real audience is. When<br />I was tired of getting yelled at by my bosses, the quality of my content became<br />weak. I knew the bosses wanted photos that told the complete story, regardless<br />of how underwhelming the image. I always wanna win the page flip war. If I<br />make an image -- scratch that -- if I can get an image PUBLISHED that makes<br />the reader intrigued, then I win! And, y'know, so does the reader.<br /><br />If a reader sees a photo and reacts audibly then you have a great photo.<br />Unless it's groan from boredom.<br /><br />"Hahahahaha!"<br />"Awwwwwwww."<br />"Wow!"<br />"What the…?"<br />"Gasp!"<br />"Sigh."<br /><br /><br />For all these Best Of photos I wanted to elicit an emotion by telling a story,<br />typically a funny story. With the vet shoot I was initially trying to make a funny,<br />yet cute picture that would make the viewers go, "Awwwww."<br /><br />But by the grace of Dr. Barbara Feinstein, I ended up with this amazingly<br />absurd picture. I would've never story-boarded this image. And let's be honest,<br />if I pitched this idea, it'd most likely get thrown out. This wonderful instant<br />is the sum of a few hours of patient humans dealing with two remarkably<br />shy and uncooperative dogs. The first half of the shoot starred an entirely<br />different cast. And we made some pretty good photos, which I've included.<br />I think the one we almost used was the thermometer photo.<br /><br /><br /><img src="http://farm7.static.flickr.com/6099/6237208167_5b64a49d90_o.jpg" width="954" height="633" alt="hmCatandDogHospitalB#50584"><br /><br /><br /><br />But when Dr. Feinstein came in, she suggested a little role reversal.<br />I was like, "Sure! You can put the cone of shame on your head. Are there<br />scrubs that'll fit Moosh? Oh! And a stethoscope! Can Moosh wear your<br />stethoscope, too?" But as you can see from the contact sheet, Moosh<br />cooperated for half a second -- which is good because all I needed was<br />1/160th of a second (waka-waka!)<br /><br />What makes this photo work? It's their connection! I believe Moosh is<br />genuinely concerned for Dr. Feinstein in this picture.<br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br />This looks like it took a lot of time to organize. Did you call her in advance<br />to prep her, or the vet in any way?<br /><br /><br /><img src="http://farm7.static.flickr.com/6228/6237208159_17a4228fc6_o.jpg" width="954" height="636" alt="hmCatandDogHospital #50584"><br /><br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Oh yeah. Totally. Ha! You can't just barge into a vet's office, lights in tow,<br />flatter them with an award and expect them to give you like two hours of<br />their time. We were pencilled in. Heck, we were pencilled in for the location<br />scout. That alone took almost an hour. Don't get me wrong, looking around<br />the vet's office doesn't take that long. But when scouting locations, you<br />have to think about things like: Is this a good/clean/appropriate background?<br />Does this setting say "vet's office?" Will we be in the way of normal business<br />practices if we take over this space? Where will we put the lights if we use<br />this space? Will the lights create an unavoidable glare in that reflective<br />surface? And I had to be cautious of how close I was to the cats -- 'cause<br />I'm allergic! Don't worry, I took my pills. And debatably more important than<br />finding a good location, we have to establish rapport with our subjects or,<br />as I sometimes like to call them, "the protagonists!" Typically, but not always, <br />we try to use the business owners for these shots. Luckily, both owners<br />were game and very fun to work with.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You make this sound a lot easier than it probably was, mentally, to pull off<br />(which is a compliment to your style.) Could you please talk about how<br />you interact with subjects in preparation for a shoot, and also on<br />location?<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Ha! Thanks. I suppose in some sense, everything's easier in hindsight. But<br />if you'll let me diverge into another abstract truism, I'll answer this question<br />with a bit more idea-driven girth. Not to put too fine a point on it, you have<br />to know how you affect situations.<br /><br />Like most photographers who cut their teeth in a photojournalism program,<br />we're told we need to be "flies on the wall." The thing I learned about myself<br />is that I can't operate like that. Well, I can, but I end up being that creepy,<br />bearded guy in the corner… with cameras. Yeah, who wants to talk to <font style="font-style:italic;">that</font><br />guy? I do think the "fly" approach works really well for the people who have<br />a quiet, ghost-like energy. But the thing is, it doesn't work for everyone.<br /><br />You have to play to your strengths. Me? I tend to bring a loud, gregarious<br />energy into the room. That doesn't mean I make big, flamboyant entrances<br />(Ta-daaaa! Who wants some Matt Roth Photo action?) But it does help to be <br />self aware. More often than not, I realize that people notice me when I walk <br />into a room and yes, I realize how conceited that sounds. Trust me. It's not <br />for my looks (flips hair, purses lips, trips over an ottoman...) The point is, <br />I'm less successful when I attempt to be inconspicuous.<br /><br />So, I try to ethically become part of the scene. I meld into it without messing<br />with it. Does that make sense? And when you set the rules of engagement <br />with a subject it helps to have a few boilerplate phrases. In fact, I learned a <br />really good phrase from my friend Patrick Smith. Rather than asking the <br />subjects to "ignore me," I ask them to "act like I don't have a camera." It might <br />sound like I'm splitting hairs, but I find asking people to ignore me (and my big <br />dumb energy) their mannerisms and eye contact look like they're avoiding <br />something (me!) in the pictures.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6173/6231381317_51e45bc629_o.jpg" width="954" height="636" alt="hmCatandDogHospital #50584"><br /><br /><br /><br />A lot of people, viewers included, understand that game, and know what<br />it looks like. But when I ask them to act like I don't have a camera, I also<br />encourage them to talk to me and ask me questions, if they want to. It's<br />great! Not only is the shoot more comfortable for both me and the subjects,<br />but it gives them license to relax. I'm not asking them to avoid the wooly<br />mammoth in the room. And of course, when people talk, you get to flex<br />your journalism muscles too. So if any of you fledgling photojournalists <br />out there are also failing or feeling weird using the "fly" approach, <br />switch your gears up. Get close. Be Chummy.<br /><br />So to answer your question, my loud energy makes a ton of sense in a<br />photo shoot scenario. I actually feel like I'm on top of my game when<br />I have or am part of a crew. I guess when I have a crew to lead, I become<br />more confident and happy, which ultimately, puts the subject at ease.<br />Of course, it also helps to have extra hands on set too. That way I don't<br />have to move light stands and sweat the small stuff. I can just focus on<br />the subject.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6151/6231900998_bed6a7d857_o.jpg" width="954" height="636" alt="hmCatandDogHospital #50584"><br /><br /><br /><br />I genuinely like people too. So I try to have "the protagonists'" best<br />interest at heart. And here's the kicker... I also make sure they know that. <br />For my Athletes of the Year photos, for example, I told them <br />I want them to look like they're the stars of a Nike ad! <br />Think about it. Most of them reached their athletic apex being named<br />All-County. It's a big deal for them, and I think that's an important issue to<br />address. But the Baltimore Sun and the Washington Post (to a lesser degree)<br />so often employ the studio cattle call approach. Don't get me wrong, I<br />understand that method from the newspapers' perspectives, it saves time,<br />it makes the process easier. It's "streamlined," which means rigid and often<br />results in boring photo play. I'm not knocking the photographers.<br />I'm knocking the system. Almost every shooter on both of those staffs is ultra-<br />capable of banging out awesome portraits if they were given the time and<br />freedom. We were lucky at Patuxent. But for obvious reasons, the athletes<br />I've shot really don't like the cattle calls. So I use this opportunity to try to<br />make them feel awesome! And they'll gladly give me two hours <br />just to make sure they don't look weird kicking a soccer ball. <br />Form is important. …and remember, photos are forever.<br /><br /><br />And yes! I let them see the back of the camera, too. Only for portraits,<br />though. The exception being unless the issue I'm illustrating calls for an<br />unflattering picture of the subject, or if I've been given explicit instructions<br />to not show the subject the shoot. This does two things, it lets them know<br />that I'm genuinely interested in making sure they look good. And it lets<br />them know where they need to make adjustments. People are picky about<br />very specific things. Personally, I like knowing they LOVE the photos. I try<br />to be as transparent in my motivations as I need to be. If they understand<br />where I'm coming from and what I need from them, they're more likely to<br />play ball. Of course, there are exceptions. The end goal is to come to a<br />meeting of the minds. And like I said earlier, I've found a lot of success<br />from letting my subjects….er, Protagonists! add to the shoot.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6050/6231381115_466041f52c_o.jpg" width="954" height="697" alt="bestvetcontact"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Can you briefly discuss how you approach lighting<br />for this and other assigments?<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Haha! Uh, a lot of people have me pegged as a lighting wizard… which<br />I'm not. I think I'm successful with lights only because I don't think they're<br />scary. I think using lights is fun. Each shoot is an experiment. <br />Sure, I have a few clutch set ups I rely on when I need to. I think<br />that whimsical attitude keeps lighting fun for me. But for this set up,<br />I think I shot through an umbrella behind me to my right and I bounced a<br />light off the ceiling to my left. I also set up a small speedlight zoomed to<br />105mm in one of the cabinets behind the subjects for some rim light --<br />but I'm pretty sure the batteries died way before this shot happened.<br />This photo doesn't rely on the lighting set up, and this was by design.<br />Sometimes lighting can be the reason to look at a photo, and our goal was<br />to tell a story. Lighting was only there to optimize the image's quality and<br />to ensure we could shoot at ISO 100.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What problems did you face during the making of this<br />image, and how did you overcome it?<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6173/6237292351_4778be2875_o.jpg" width="954" height="636" alt="hmCatandDogHospital #50584"><br /><br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Well, the obvious problems we faced were the dogs, which we anticipated.<br />They lost interest in what we were doing fast. The flash bursts scared them…<br />Well, that and they were in a vet's office. We all know how dogs get in a vet's<br />office, right? I'm sure if we had a budget, we would've hired a trained dog.<br />Truthfully, I'd say most of the shoot went wrong. But that was fine. We really<br />just needed three usable photos.<br /><br />I guess I usually go into shoots expecting things to go wrong, so when<br />they do, I just deal with them -- and learn from them. Success is a process,<br />y'know? I knew the best photos would involve some kind of connection. And<br />eye connection is pretty powerful. Of course, timid dogs don't make eye<br />contact, so I tried looking for different stories to unfold. We almost went<br />with a photo of the first vet checking the first dog's temperature. It's funny<br />because those thermometers go up the dog's butt. And butts are funny.<br />But more than that, there was a pretty good little story being told too, <br />with concerned owner peering in from the outside window. We could've<br />easily wrapped after that shot, but it didn't quite have that, "Oh, hell yeah!"<br />effect I really wanted. So, I powered through. I knew there was better. And<br />a lot of you shooters out there can attest to that electric feeling you get when<br />you make that one "best image." Well, I got that feeling when I made the image<br />we're deconstructing.<br /><br />The whole shoot was like climbing out of a valley.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6155/6237811130_ddb4edf322_o.jpg" width="954" height="636" alt="hmCatandDogHospital #50584"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What have you learned about yourself that you didn't know<br />by making these kinds of images?<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />Well, let's see. We all know It's easy for photographers to get pigeonholed.<br />And it's easy for us to let ourselves stay in those pigeonholes. Because of<br />my Athletes of the Year photos, I've become known as a sports guy -- which<br />I'm really not. Don't get me wrong, I like athletes, but I'm kinda dense when<br />it comes to the world of sports. But after the modest success I received from<br />these Best of Howard shoots, I really wanted dig my own pigeonhole as a<br />concept photographer. Those shoots were so, so much fun to create. I got<br />to use my imagination! How fun is that? It also made me realize that while<br />I'm a fine, competent photojournalist, I'm way better at being a portrait/<br />concept/editorial/commercial/advertising/making-stuff-up photographer.<br />I've also learned a ton more about how to use lights more effectively and<br />blah blah blah... But more recently I've learned that I need to learn how<br />to put the lights away, too. Lights are great! But lights are also horrible.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What have you learned about other people?<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />The lesson to be learned from this shoot is to always be open. Open to your<br />subject's ideas (sometimes they're really horrible though) and open to a<br />change in idea. It was an important reminder to me that plans are only<br />as good as they are successful.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6227/6231381195_692cc1f63e_o.jpg" width="954" height="804" alt="100928Vet448.2.JPG"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Thanks, Matt. Any final thoughts or advice?<br /><br /><br /><span style="font-weight:bold;">MATT:</span><br /><br />I've had my fair share of photographers ask me to help them learn how to<br />use lights. A lot of them think it's something they really need to master. I<br />tell them, don't make lights so big and serious. Remember the first time<br />you picked up a camera? How magical was that? If you think about lights<br />as something you need to get better at, you'll miss all the fun. <br /><br />++++<br /><br /><br />Matt Roth is still in his first year as an independent photographer in Baltimore, Maryland. Up until December 2010, he was a staff photojournalist with the Patuxent Publishing Company for 6 years. While there, he was NPPA's Best of Photojournalism's 2007 Runner Up Photographer of the Year for Small Markets (what a mouthful, right?) He won a bunch of other awards, but whatever... His current clients include AARP Bulletin, Education Week, The New York Times, The Sporting News, The Chronicle of Higher Education, and ESPN the Magazine. He's working on (and failing at) a project where he makes one portrait a day until he turns 34 next August. And even though the project has already suffered lapses, he'd rather earn a B+ than a W/F (withdraw/fail). He also hopes that analogy makes sense. So, if you'd like to be portraitized (traumatized through a portrait shoot) feel free to contact him. Matt Roth is also working on a Matt Roth Project where he makes portraits of as many Matt Roths as he can find. Like the NFL player, the three-point specialist who sits the bench for the Hoosiers, the guy who used to be married to and starred with Laurie Metcalf on the TV Show "Roseanne," as well as the guitar player from Austin (which is in the works!) and the brother of Susan -- who he briefly dated in high school. Seriously. He dated a girl whose brother had the same name as him. He already photographed the OTHER Matt Roth photographer... And of course, if you know any Matt Roths feel free to contact him. Matt Roth also thinks is weird to talk about himself in the third person.<br /><br /><br /><a href="http://www.mattrothphoto.com/">www.mattrothphoto.com/</a><br /><a href="http://mattrothphoto.com/blog">http://mattrothphoto.com/blog</a><br />e: matt@mattrothphoto.com<br />twitter: @mattrothphoto<br /><br /><br />++++<br /><br /><br />Next week we'll look at this powerful image by Ben Depp, one<br />of only a few photojournalists living and working fulltime in Haiti:<br /><br /><img src="http://farm7.static.flickr.com/6107/6250186544_07bef4ab79_o.jpg" width="600" height="401" alt="ben"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-71255440056164086142011-09-14T14:38:00.000-07:002011-10-20T19:25:35.183-07:00Spotlight on Daniel Kennedy/Nicole Truax<span style="font-weight:bold;">TID:</span><br /><br /><br /><img src="http://farm7.static.flickr.com/6113/6231762896_5008a871f0_o.jpg" width="954" height="637" alt="Joe Archery_005"><br /><br />Daniel, thanks for your willingness to talk about this image.<br />Please tell us some about what this image is, and why you made it.<br /><br /><br /><span style="font-weight:bold;">DANIEL:</span><br /><br />Ross, it's an honor to have my image on this blog along side such <br />talented photographers. Thank you!<br /><br />Joe Phillips, an aspiring actor and friend, hired my business partner and I, <br />Nicole Truax, to do a character shoot for his portfolio. Instead of the usual <br />straightforward headshot, we opted to go all out for a full character study. <br />This better shows the actor's potential to portray a certain look. Character <br />shoots offer actors the ability to create a body of work in a short <br />period of time that they can then pair with their film work to show <br />greater versatility; something very valuable in the entertainment industry.<br /><br />So… a bottle of lighter fluid, several arrows, a bow, and 36 military-grade <br />smoke grenades later this is what we came up with. One of Joe's <br />skill sets is archery; he also has a British accent. So creating the <br />character of a warrior/archer was something that came natural, and <br />also a role he would enjoy playing.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br /><br />We're going to include a number of images from the shoot to give <br />people an idea of how this developed. It's interesting to hear your <br />thoughts, though, from the beginning. Can you talk about how you <br />mentally prepared for this?<br /><br /><br /><br /><span style="font-weight:bold;">DANIEL:</span><br /><br />The idea for this started off very simple. Joe needed a shoot, and he <br />gave us a list of looks that he wanted. Nicole and I began to talk <br />about what we wanted and the first idea was very simple: take Joe <br />up a mountain and photograph him with a bow and arrow. At some <br />point Nicole said, "I wish we could light the arrow on fire."<br /><br />"Well why can't we?" I said. "I know a way to rip up a shirt, tie it in a ball, <br />and light it on fire so it burns for a long time but burns relatively cool so <br />it's not dangerous."<br /><br />"Really?" she asked me. "Let's do that," she said.<br /><br /><br /><img src="http://farm7.static.flickr.com/6214/6231763440_c4ee166c14_o.jpg" width="954" height="637" alt="Joe Unedited-1"><br /><br /><br />Then, of course, once we had a flaming arrow involved, we wanted to <br />put him in a swamp, make a ton of smoke, cover him with muck, and <br />give him a giant knife. I mean, isn't that the obvious progression of <br />thoughts? One thing may not have worked without the other, but with <br />everything together it becomes "cinematic." That is, as long as you get the <br />lighting and atmosphere right. I think we get bored easily and always <br />want to do something exciting and different. So it's natural for us to <br />get inspired by something and run with it.<br /><br />To prepare, we also looked through thousands of photos and drawings <br />of warriors/archers on the Internet, and could barely find anything that <br />really helped. Often we make a folder of images that inspire us that we <br />find online. This usually helps give us an idea of good ways to light a <br />certain subject. Obviously we don't copy the images, but it helps to see <br />how other photographers have solved similar problems and it gets your <br />own mental gears turning. There was a serious lack of high quality <br />"Warrior/Archer photography." I wonder why? Maybe we can fill that void.<br /><br />For the location we chose to meet at my parents' house in upstate New<br />York (about an hour and a half away from Nicole and I, a three hour trip for <br />Joe, and an hour trip for Colin, who also helped.) This was the best place I <br />could think of that we would have access to, and not get arrested. My <br />parents own three acres, and there are miles of woods behind their house. <br />Colin (a long-time friend/Army captain/weapons specialist) and I had played <br />paintball throughout high school in those woods and I immediately thought <br />of a swampy area for the location. I knew we had to do it there. We had <br />staged our own battles there for years, it just made sense to go back there.<br /><br /><br /><img src="http://farm7.static.flickr.com/6153/6231763492_a0e097902d_o.jpg" width="637" height="954" alt="Joe Unedited-2"><br /><br /><br /><br />It's weird, creatively I always find myself going back to shoot at strange <br />places I've been. It just seems right. If you visit enough areas, eventually <br />you'll have somewhere to go for anything I suppose.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Once you began the shoot, can you walk us through the next step?<br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br /><br />Basically, we first had Joe walk around wearing a green shirt and we lit <br />an arrow on fire to add drama. At first the photos didn't look believable to <br />me, they looked more like we were "pretending." I was worried that the <br />photos wouldn't resonate the way I wanted them to. I'm sure every <br />photographer can relate to starting a shoot you're really excited and anxious <br />about, and looking down at your first images on your camera's LED screen <br />and having a mini panic attack because everything just looks wrong -- <br />nothing like you had imagined them to look in your head.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br /><br />I'm a big fan of problem solving, so in this case, how did you <br />solve the problem of “pretending?"<br /><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6058/6231764272_28ecdac792_o.jpg" width="954" height="573" alt="contact2"><br /><br /><br /><br /><br /><span style="font-weight:bold;">DANIEL:</span><br /><br />It looked like "pretending" because 1) that's what we were doing, and 2) <br />we didn't have the lighting figured out yet. Lighting is everything. So we <br />decided to see how things looked out in a more open, swampy area with <br />more sunlight pouring in. I had Colin McNulty assist with the shoot, and <br />you can see him placing some smoke grenades in one of the images. <br /><br />I had Colin set off smoke grenades while I would shoot and relight the arrow <br />with Kerosene. Nicole and I often switch back and forth while shooting, <br />one working lighting and talking to the client while the other shoots. This <br />helps because when you're working lighting you're often closer to the subject <br />and can notice certain things that you might not from behind the camera and <br />vice/versa. I had started shooting in the woods, then had Nicole shoot in the <br />swamp at first. I handed off the camera to her and started to use an umbrella <br />to create diffused side lighting. After some trial and error, we moved back <br />into the woods and Nicole suggested we use side/back lighting with a bare <br />flash. This is where we finally got the lighting the way we wanted. I also had <br />a better understanding of how the light effected the smoke because I could <br />see it happening up close. Something I wouldn't have arrived at if we didn't <br />switch spots and jobs. <br /><br />One of the major problems was with lighting the smoke. We had to figure <br />out an angle to illuminate the smoke without blowing it out, so we couldn't <br />have the light source in front or else it looked too fake. Again, we had to <br />overcome this to make the scene work.<br /><br />The image became more believable at this point. We asked Joe to lose the <br />shirt and dirtied him up with mud and water; this made him look more like <br />a warrior and less the part of the actor playing the warrior. At the beginning <br />of the shoot, the shots kept reminding me of B movie stills and I hated them. <br />Everything changed once we got the lighting figured out (how to illuminate <br />Joe dramatically while also illuminating the smoke so it didn't become too <br />bright or dark.) We decided to move back into the swamp area and use the <br />same lighting techniques we had figured out while using more smoke grenades.<br /><br />I crouched low and had Joe walk towards me while Colin set off more smoke <br />grenades in locations both up and down wind. I had him repeat this walk <br />several times to get different looks. Nicole walked slightly behind him while <br />he walked so the light source moved with him. The main image being <br />featured in this post happened at that time. This is where everything really <br />fell into place. At this point Joe was covered in mud, wet, relaxed and <br />shirtless in 40-degree weather. I think he finally felt the part.<br /><br />Nicole and I would often stop to look at the photos on the screen and <br />collaborate on lighting, angle and composition. This is usually how we <br />work, passing the camera back and forth, throwing new ideas to each other.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6161/6231242849_ac54ce964c_o.jpg" width="637" height="954" alt="Joe Archery_002"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />You said you collaborated with Nicole on this shoot. In what ways do <br />you collaborate mentally?<br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br />Nicole and I collaborate on every project. It's one thing that I think has <br />led so much to our growth. With two minds working on something it's <br />always easier to keep things fresh. We both have a similar view of what we <br />think looks good and our style has evolved together. Prior to the shoot, we <br />often bounce ideas off of each other, and are very honest if we think <br />something won't work. <br /><br /><br />The fact that we are both equal photographers in the business also helps <br />when managing people during a shoot. Sometimes as an assistant you <br />aren't really even allowed to interact with the clients. When we work <br />together we feel completely comfortable directing/talking to the subject <br />while the other person is focusing on technical aspects. So instead of just <br />having to isolate yourself for a minute in thought, which can be awkward <br />for a subject, one of us can always take point. In short, we do everything <br />as a team. I've worked with other photographers, and there's never the <br />same synchronicity unless it's with Nicole.<br /><br /><br /><img src="http://farm7.static.flickr.com/6036/6231242961_e7fb5324b1_o.jpg" width="638" height="954" alt="Joe Archery_003"><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br /><br />One of the reasons I admire this image so much is that too often we wait for <br />someone to give us an opportunity to be creative, or conversely, critique <br />others for our lack of opportunity. Can you tell us how old you are and how <br />long you've been shooting? I think it's insightful for people to know this.<br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br />I'm 24, Nicole will be 24 this week. I started shooting in fall of 2006 when <br />I took my first B&W photography class at the Hartford Art School. Nicole <br />has been taking classes since she was very young; she was actually eight when <br />she took her first photo darkroom class. Professionally we have been <br />shooting since May of 2009, the month we graduated from college. We tried <br />to find jobs in the photography world, and actually applied to more than 300 <br />of them in a four month period, went on two interviews, but were rejected due <br />to lack of experience. So since we couldn't find anything else, and rejected the <br />idea of finding a job in any other field, we started our own business in <br />September of '09, Linked Ring Photography. We've both interned for other <br />photographers, but came to the realization that you learn a lot more from <br />doing than watching.<br /><br />For Joe's shoot, it really started out as simple head shots, which he's hired us <br />to do in the past. But as we sat and thought about it, we wanted to make this <br />particular shoot different. Take it to the next level. Something we could all <br />be proud of. When we shoot a job the way we've seen other people <br />do it, it just doesn't stand out as much to us. When we go the extra mile to <br />make something "crazy," it stands out.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What were some other problems you faced, and how did <br />you deal with them?<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6031/6231244013_07f452fc92_o.jpg" width="954" height="569" alt="contact"><br /><br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br />As with any shoot, nothing works perfectly. The first problem was we <br />didn't have a generator or external power for our strobes. Our 500+ feet <br />of extension cord was short by 100 ft of where we wanted to shoot. So <br />we opted to use external flashes, which we would have eventually used <br />anyway due to their mobility and what we needed the light for.<br /><br />It was raining on and off. Thunderstorms were set to come in during <br />the early afternoon so we had to shoot in the morning, both for light <br />and safety.<br /><br />It was cold, there was poison ivy everywhere, and Joe had only slept three <br />hours the night before in order to travel for the shoot.<br /><br />Smoke grenades are extremely difficult to control as the wind changes, etc. <br />Apparently it's not, "Hey, let's light an arrow on fire and throw some smoke <br />grenades and everything will be great." It's "Oh my God, how are we going <br />to do this now that everyone is suffocating and we can't see?" I'm exaggerating, <br />but it was a learning process and we literally used about 25 grenades <br />before we understood the wind currents, the way the light would interact <br />with them, as well as where Joe needed to be.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6056/6231243113_eb3dd478e9_o.jpg" width="637" height="954" alt="Joe Archery_004"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What did you learn about yourself during the making of the image?<br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br />That in order to be as good as we want to be, we need to treat all shoots <br />like this. We need to always use our creativity and put in that extra <br />mile to make things complete. We need to put an emphasis on concept, <br />location, and props.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />In the end, what did you take away from this experience, <br />and what advice do you have for photographers?<br /><br /><br /><br /><span style="font-weight:bold;">DANIEL</span>:<br /><br />Don't settle or cut corners to make something easier. Being a photographer <br />is hard. You owe it to yourself, and the people who believe enough in you to <br />pay you, to do everything you can to make your work the best it can be.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6113/6231762896_5008a871f0_o.jpg" width="954" height="637" alt="Joe Archery_005"><br /><br /><br /><br />++++<br /><br /><br />Linked Ring Photography is a Greenwich, CT based commercial photography studio that consists of Hartford Art School graduates Nicole Truax and Daniel M. Kennedy. Like the original members of the Linked Ring Brotherhood, we believe that photography in itself is capable of the highest forms of art. Our mission is to create a new and exciting experience in each and every project through our concept-driven ideas and lighting techniques. <br /><br /><br /><a href="http://www.linkedringphotography.com/">www.linkedringphotography.com/<br /></a><br /><br /><br />++++<br /><br /><br />Next week we'll learn what happens when dogs attack, take over <br />the world, force us to wear cones and play fetch. <br /><br /><img src="http://farm7.static.flickr.com/6180/6238939622_15f7131a0b_o.jpg" width="600" height="506" alt="100928Vet448.2.JPG"><br /><br />It's actually an image by Matt Roth, who specializes in creative portraiture.<br />I really love his work and he'll offer a lot of wonderful insight.<br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-17123521792062538382011-09-14T13:50:00.000-07:002011-10-08T08:53:08.593-07:00Spotlight on Sol Neelman<img src="http://farm7.static.flickr.com/6130/6195569597_4dc748479a_o.jpg" width="954" height="637" alt="solmain"><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Sol, thanks very much for participating in this blog. It's great<br />to look into the unique world in which you work, rooted in weird <br />sports, and we thought this picture was a great example.<br /><br /><br />Can you set the stage for this image?<br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />Thanks, Ross, for asking me to participate in such a cool photo <br />series. It's an honor. I'm sharing with you an image from Bring <br />Your Own Big Wheel, a fun bike race that happens in San Francisco <br />every Easter. It used to take place on Lombard, but the event has grown <br />so big, they now host it on Vermont Street.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Before we get too much into the image, let's back up and talk<br />about your path in photography. You seem to have found a <br />niche in your work for which you are known. Can you<br />tell us about your path to this?<br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />Well, I've always loved sports. Not that I was ever any <br />good at them. But I grew up as an only child with a <br />single mom. Sports was a language I could use to <br />communicate with other guys, to have something in <br />common with them. <br /><br />My family has always been travelers. I went around the <br />world when I was 4. So I always knew I could travel and <br />I love to have new experiences and meet new people. <br /><br />I stumbled onto photography in junior high school. One <br />of my best friends was in a photography class and I <br />wanted to do the same. Never thought I had found a <br />career there, but as I got older, the only thing that <br />interested me professionally was photography. It allowed <br />me to travel and to attend sporting events. And, believe <br />it or not, I was also pretty shy, so photography gave me <br />an excuse to be outgoing. <br /><br />Around 2005, a colleague in the business asked me what <br />I love. It was a simple question, but one I hadn't really <br />given much thought to. I was so focused on working at <br />The Oregonian, doing the daily grind of Photo-J. I had <br />gotten a little sidetracked over the years. I told her I loved <br />sports, photography, travel and weird shit. And things clicked.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6147/6195569367_36a60bc662_o.jpg" width="954" height="637" alt="sol5"><br /><br /><br /><br />That same year, I attended Geekfest in Austin, a photo <br />retreat organized by aphotoaday.org founder Melissa Lyttle. <br />That was the first time I really shot for myself, not worrying <br />about what would run in print. And I had a blast. When I <br />returned home to Oregon, I made a point to search out fun <br />sporting events to photograph for myself. The first one was <br />roller derby, which was just starting to blow up again. From <br />there, I kept going.<br /><br />I had also been working at the paper with Bruce Ely on his <br />brilliant photo column, Sidelines. We'd go to high school <br />events and look for photographic moments anywhere but <br />in the field of play. That approach to sports photography <br />had a profound impact on me. No longer was I trying to <br />make soul-less photos with long glass. I was trying to capture <br />honest, intimate, storytelling moments with a wide angle <br />lens. At one point, I told Bruce that I wanted to take Sidelines <br />and make it international. Along the way, it's evolved into <br />focusing primarily on weird and unique sporting events.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Regarding the image, how did you hear about it, and<br />what made you decide to cover it?<br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />Man, my memory is horrible. Somehow it had been on my radar <br />for a couple of years, most likely a tip from a friend. I had seen <br />some videos online, which showed its potential. I didn't realize <br />it'd be as great as it was.<br /><br />An advantage of being freelance is I have tons of free time. So <br />I loaded up the car and drove down to SF.<br /><br />Now I never thought I'd have a photo book published from <br />my weird sports, but that was definitely becoming a goal. <br />Ironically, this photo is on the cover of my new book, which <br />was just published by Kehrer Verlag in Germany.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />How do you make the decision that the sport is "weird"<br />enough to cover? What is your criteria?<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6164/6196083030_95b99ebf67_o.jpg" width="954" height="637" alt="sol4"><br /><br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />It's got to be fun. First and foremost. And photogenic. Yeah, <br />fun and photogenic. And with some level of athleticism and/or <br />competition. If it's a spin-off of traditional sports, even better.<br /><br />I know many times folks have looked at my photos and questioned<br />whether it's a sport or not. That's cool. But what's great about <br />this being my project is I get to define it and make the final call.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Lets talk about the image now. Talk about your<br />mental preparation for this picture. <br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />My mental preparation? Try not to fuck it up. <br /><br />One thing I love about weird sports is that it's usually pretty <br />photogenic, lots of low-hanging fruit to pick. I'm sure you <br />could argue that the events I find are more interesting than <br />the images I make. My goal is to simply capture the feel and <br />the atmosphere. And not to fuck it up.<br /><br />I'm also looking for layers, which is a reason why I prefer <br />using a 35mm f1.4 rather than a 400mm lens. I want more <br />information, not less. I want more intimacy, not less.<br /><br />One thing I've learned about making photos is that oftentimes, <br />if you see a moment, it'll repeat itself, you just need <br />to watch for it and be ready. I had seen waves upon waves <br />of dressed-up bikers go down this hill. I chose a spot that <br />had nice lines and layers. At the bend, folks usually had a <br />HOLY SHIT!/Come to Jesus moment. It was also near enough <br />to the starting line that the pack was still pretty dense. I <br />wanted a congested image full of crazy riders having fun, <br />perhaps in a mild wipeout. I knew this spot had the potential. <br />I did move around a bit to mix things up for the 2-3 hours <br />of racing, but I kept coming back to this spot because I felt <br />it had what I was looking for.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6151/6196082908_b43577b551_o.jpg" width="954" height="637" alt="sol3"><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What surprised you about this experience?<br /><br />Well, at first, that anyone showed up. I arrived an hour or <br />two early and found rock star parking in SF, which never <br />happens. There was hardly anyone there. The rain was starting <br />to come down and I was worried that folks might not show up. <br />A few of the early birds there told me not to worry. And sure <br />enough, tons of riders dressed in costumes arrived right before <br />race time. <br /><br />I was also a little surprised at how many fans showed up. For <br />an off-the-grid event like this, it had a strong turnout. I know <br />the organizers were complaining aloud that it was getting too <br />big - and mainstream. That's what usually happens with <br />these weird sports: they either blow up or they die on the vine <br />too quickly. If there's something I want to photograph that <br />might not last another year, I try to hit it up right away. <br /><br />Slamball, I'm thinking of you.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Was there something you wish you had done<br />that you didn't do?<br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />Honestly - and hopefully without sounding arrogant - no. <br />I'm not saying I couldn't have made better photos. Or done <br />things differently, because I could have. Over the years, <br />I've come to peace with the way I shoot photos. I'll miss <br />things and others will capture better frames. But in order for <br />me to be the best I can, I can only be myself. That make sense?<br /><br />A pet peeve of mine has always been picture editors that <br />say, "You should have shot it this way." or "Too bad you <br />didn't get this." There are really no rules in photography. <br />And I look at my photography as an evolution. I may want <br />to reshoot something because I didn't get what I wanted, <br />but I don't look at it ever with regret. My only regret would <br />be not showing up and taking photos in the first place.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6149/6195568757_f94bb86ff5_o.jpg" width="954" height="674" alt="solcontact"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What advice do you have for photographers<br />who try to carve out their own niche in <br />photography?<br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />There's really only one thing: <br />Don't take "no" for an answer.<br /><br />I have 68 images in my book and only 2 were ever <br />published in print, despite my best efforts. Almost <br />all of the photos were taken on my own time and dime. <br /><br />Don't think I haven't pitched being a weird sports <br />photographer to magazines, because I have. But I <br />refuse to let any lack of interest from others deter <br />me from what I want to do. <br /><br />Back in the day, many folks like myself signed up for <br />newspapers with the hope of being assigned killer <br />stories at home and abroad. Budgets and priorities <br />being what they are today, that's not really feasible. <br />It's one of the reasons why I left the newspaper world. <br />I wanted more ownership of my career.<br /><br />If you start taking photos of what's important to you, <br />that's all that really matters. Eventually, if you do it <br />long enough, that's how people will start to identify <br />you. Being my own assignment editor is pretty cool. <br />I always say yes to fun photo ops. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6176/6195569531_9c50ce0ce2_o.jpg" width="954" height="637" alt="sol6"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What have you learned about yourself<br />that you didn't know at the beginning <br />of your path in photography?<br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br />It's taken a long time, but I've come to terms with my <br />unique, random path as a photographer. There's a <br />misconception that there's a single formula to success. <br />There's not. All the steps - and missteps - I've made <br />along the way helped bring me to this point. There is <br />more that I want from my career, but if I look at what <br />I have, I'm very thankful.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6163/6196082754_0f7a41f579_o.jpg" width="954" height="637" alt="sol1"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />You said: "There's a misconception that there's <br />a single formula to success." I think that's even <br />more important these days for people to hear.<br /><br /><br />Can you expand on this?<br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />Sure. I'm going to embarrass my good friend Matt Eich, <br />because he's a great example of what I'm talking about. <br />I love Eich. I love his work. You can never say enough great <br />things about Eich. Never. <br /><br />I think the kid just turned 25. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6172/6199373971_2d4eb91ea0_o.jpg" width="954" height="637" alt="solmatt"><br /><br /><br /><br />I've talked with many young photographers who tend to <br />compare their careers to Eich's. "If he's 25 and killing it, <br />why am I not taking pictures like that and I'm 30?" (Imagine <br />if you're 40, like me.) Comments like that are not fair to <br />anyone involved. <br /><br />Everyone has a path, a unique path, and life experiences that <br />drive their passions and pursuits. Some, like Eich, figure <br />their shit out earlier than others. We don't expect any two <br />people to be identical. Why would we assume the same <br />about career paths?<br /><br />I've met photographers who kill it now who didn't get into <br />it until after trying other career paths. Former law student, <br />ambulance driver and forest firefighter turned badass <br />photographer Matt Slaby is one who comes to mind. <br /><br />Back in the day, a common experience for editorial <br />photographers starting out was to 1) go to a college for <br />photojournalism; 2) intern at a small paper; 3) intern at <br />a larger paper; 4) graduate and work for a small paper <br />for 1-2 years; 5) leave your small paper for a larger paper <br />after 3-5 years; 6) leave that large paper for your dream <br />newspaper job; 7) retire in your velvet coffin.<br /><br />One step was supposed to lead to the next step. It didn't <br />always work that way then, and it's definitely less so now <br />since all papers are struggling. In many ways, that's exciting <br />because you can create your own formula to success. <br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What have you learned about others?<br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />You know, I can really identify with those who do weird <br />sports. There's no fame or glory in it. They do it strictly <br />because it's fun and allows them to be silly. That's what <br />I think photography has afforded me as well, the ability <br />to have fun and be silly.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6130/6195569597_4dc748479a_o.jpg" width="954" height="637" alt="solmain"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I had a friend look over your interview, and <br />they asked me to include this question: <br /><br />"What would be your dream weird sports <br />assignment, and how would you like to cover it?"<br /><br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />Well, what we really need is a Weird Sports Olympics. Two <br />weeks of nothing but photogenic silliness and all-access <br />for the press photographers. We could have one for summer <br />sports, another for winter. Honestly, I'm surprised this hasn't <br />happened already.<br /><br />What would really be my dream is to have a regular photo <br />column for a magazine (I miss others paying my expenses.)<br />I've already shot a lot of the more celebrated weird sports. <br />What I'd really like to do is go further off the grid and find <br />some sporting gems outside of Europe and the U.S. Do you <br />have any influential people who read this column?<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Thanks, Sol. In conclusion, you recently published <br />a book of your work, how can people buy it if they're <br />interested?<br /><br /><span style="font-weight:bold;">SOL</span>:<br /><br /><br />People interested in the book can go to:<br /><br /><a href="http://www.weirdsports.de/">http://www.weirdsports.de/<br /></a><br /><br /><br />If folks want to see my latest adventures working on the <br />next volume of Weird Sports, they can check out my blog at:<br /><br /><a href="http://www.solneelman.com/">http://www.solneelman.com/<br /></a><br /><br /><br /><br />++++<br /><br /><br />Sol Neelman spent from 1997-2007 as a newspaper photojournalist. <br />The final 7 years were spent documenting his home state as a staffer <br />for The (Portland) Oregonian. Yep, an Oregonian at The Oregonian. He <br />has placed in the Pictures of the Year International (POYi) competition<br />for Best Sports Portfolio and Best Action. His mom is most proud of the <br />2007 Pulitzer Prize for Breaking News Reporting, which he won with a <br />team of staffers from The Oregonian for coverage of a missing family <br />in southern Oregon.<br /><br />His work has appeared in National Geographic, ESPN the Magazine, Sports <br />Illustrated, Rolling Stone, People, Newsweek, TIME and The New York Times <br />among others. Commercial clients include Nike, eBay and ACE Hardware (The <br />Helpful Place!).<br /><br /><br />++++<br /><br /><br />Next week we'll discuss this self-portrait of Ross Taylor and how you, <br />too, can get into monster shape by just reading The Image, Deconstructed<br />and eating kale.<br /><br /><img src="http://farm7.static.flickr.com/6058/6218233745_26ce490c03_o.jpg" width="600" height="400" alt="danieltease"><br /><br />It's actually a striking image made by Daniel Kennedy. He'll discuss the <br />creation of the picture, and how he problem-solved to make it happen.<br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-53873823786726059852011-09-10T11:12:00.000-07:002011-10-01T08:13:05.952-07:00Spotlight on Jay L. Clendenin<img src="http://farm7.static.flickr.com/6167/6189186558_28473de9c3_o.jpg" alt="153229_en-Bono_JLC_" height="750" width="500" /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Thanks, Jay, for speaking about this image and your experience.<br />Please tell us a little bit about your role at your newspaper.<br /><br /><br /><span style="font-weight:bold;">JAY</span>:<br /><br />I'm a staff photographer at the L.A. Times, with the majority of<br />my assignments being portraits and a large number of those<br />being celebrity portraits. This particular assignment was for a<br />portrait of U2 front man, Bono, for our award-season insert section<br />"The Envelope." Bono had written the song "Winter" for the movie<br />Brothers, and I was tasked with making a cover image, and at least<br />one other scenario/look for inside. I also have to thank fellow staffer<br />Liz O. Baylen for NOT being available to shoot this, so that I got the call...<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Before we start talking about the featured image, tell us a little<br />more about what it's like for you to photograph famous people.<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />It's been a long and winding road BACK to my hometown of L.A.<br />I always had an affection for Hollywood and the ability to create<br />illusions - and now that's the majority of the work I do. Portraits<br />have always been a favorite challenge of mine in photography.<br />During my time at the Hartford Courant (just under four years), my<br />first newspaper job after college, I covered everything. It was around<br />2000 that my editor at the time, Bruce Moyer, re-introduced me to<br />the 4x5 camera, and encouraged me to take his camera out and shoot<br />feature section assignments with it. I was hooked.<br /><br />It made me slow down. No motordrive. I had to interact more with<br />my subject and direct them. There were very few opportunities for <br />"found" moments since I had to TELL a subject they couldn't move after <br />I focused the camera.<br /><br />I began focusing on portraiture and after leaving the Courant for New <br />York City, then some time in Washington, D.C. covering politics, I made <br />it known that I was interested in portrait assignments. When I began <br />talking to the L.A. Times in the spring of 2007, they were interested <br />in my feature projects and portraits, which is the majority of what I <br />shoot now.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Please tell us how you prepared for the assignment.<br /><br /><br /><img src="http://farm7.static.flickr.com/6156/6188696955_0e14a8782a_o.jpg" alt="153229_en-Bono_JLC_" height="627" width="500" /><br /><br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />I approach all my portraits with the same commitment to<br />not make someone look bad (attempting to take into account<br />their insecurities or privacy issues), but I will say I am less tolerant<br />of impatient/rude/demanding "celebrity" subjects than of non-<br />celebrities. When someone crosses over that line of obscurity and<br />become "famous," they become a professional in our/their world<br />(media/pop culture).<br /><br />When someone from the L.A. Times, or any media outlet, is coming to <br />take their picture, I see this as two professionals working together to make a<br />picture. Sometimes my vision and the celebrity's, or more often the<br />celeb's publicist's vision, can be in great contrast with each other,<br />which leads to the sociological aspect of doing portraiture. I always try<br />to look up a subject's history (www.imdb.com) and scan their shows<br />and awards to see if there are any bad subjects to bring up, things I <br />should avoid.<br /><br />With Bono, since I am a huge fan of U2, I was pretty confident I could go<br />the safe route and just ask him about his music. My celebrity shoots are<br />usually completed under 10 minutes. While I will talk a little while<br />shooting, the longest exchange is often the introduction, when I try to<br />analyze their greeting and our first couple exchanges to see if I'm able to<br />break the ice (and possibly convince them of an idea I have.)<br /><br />With Bono, my number one challenge/goal, was to get a shot of him <br />without the famous glasses. This was MY goal, as a creative artist. My <br />editors rarely give direction for these shoots, other than to remind me <br />to leave room for type, etc. In researching him, I knew there were few <br />pictures of him without the amber glasses, so that was at the top of my list.<br /><br /><br /><img src="http://farm7.static.flickr.com/6158/6172582711_e3e13a8ecf_o.jpg" alt="153229_en-Bono_JLC_" height="750" width="500" /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Ok, now onto the image. Describe what happened when you<br />first met him and how you handled the beginning of the shoot?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />I arrived about two hours early to his hotel to feel out the publicist<br />and approach the subject of no glasses. I was immediately shut down.<br />She was adamant that the "story" I was there to shoot for was about<br />his song for the movie, not a "Bono revealed," piece. With that in my<br />head, we headed to the room and I began my set-up which took about <br />45 minutes. During that time, an army of people were on hand for <br />clothing, make-up, assistance... which added chaos. He walked in and <br />was incredibly sweet and humble, immediately making his way to me <br />and reaching out to shake hand, ahead of the usual publicist introduction. <br />He asked me what I wanted to do, and I described my ideas: fairly moody <br />lighting because it was a somber movie/theme, a couple scenarios, and a <br />couple clothing options if possible. He gave me a nod of approval and we <br />started. That's when the trouble began.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I learned that at one point he looked at what you<br />were shooting and he didn't like it. How did you handle<br />that, and how did you move forward?<br /><br /><br /><img src="http://farm7.static.flickr.com/6131/6189208328_6170ed4de3_o.jpg" alt="153229_en-Bono_JLC_" height="750" width="500" /><br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />YES! I shot about 10 frames in my first lighting scenario and he<br />asked to see them. He looked and then made a sound of disapproval, <br />"Hmmm." I started to sweat. "I don't like it. I don't like it at all." My<br />heart sank and panic set in. I've had publicists kill an idea before, but<br />to have a subject not like what I was doing - especially someone I admire<br />so much - I felt defeated. I started to pick up the pieces, and then said, <br />"OK. What did you have in mind?" From that point on, we worked as a team. <br />I shot a few frames and we looked at the pictures together, changing his <br />position, adjusting the lighting. I would say all my portrait shoots are a <br />collaboration, but this time I was definitely being guided more than I was <br />directing.<br /><br />It's always a delicate dance creating portraits, because subjects always<br />have a reason for wanting their picture taken, but we have to come<br />to a common ground on WHAT picture we make together. The more <br />well-known a subject, often the more control they exert over their image, <br />which can differ from the image I was hoping to make in our 10 minutes<br />together!<br /><br />After going back-and-forth with Bono, he suggested we do some without<br />his glasses. I fought the urge to celebrate! "Sure," I said, "We could try that, <br />if you want..." After a couple digital frames, I grabbed my 4x5 (a zone VI <br />field camera) and loaded my last frame of color polaroid. I was psyched <br />because I was able to get a clean polaroid, my LAST polaroid, of the scenario <br />I had hoped for. It ended up being our inside lead image.<br /><br /><br /><img src="http://farm7.static.flickr.com/6167/6189186558_28473de9c3_o.jpg" alt="153229_en-Bono_JLC_" height="750" width="500" /><br /><br /><br />I want to mention that I feel like having my 4x5 in the room, within view when<br />the subject walks in, has usually benefitted me by adding a couple extra<br />minutes to the shoot. Subjects seem to appreciate the "art" of shooting the<br />"old-fashioned" camera and film, when there isn't the typical instant<br />gratification. The mystery has an excitement to it, but for me, I love slowing<br />down the process of making an image. There is much more interaction<br />with the subject. I concentrate more on the frame and the moment than <br />I think I do with the motor drive (5D MKII.. What, 3 frames in a burst?)<br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I'm curious about the periphery of the shoot. I'm assuming<br />a lot of people, some handlers of Bono, were around. How<br />do you handle working with them as well?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />The Bono shoot wasn't as crazy as some shoots, in terms of other<br />people in the room. As I mentioned, because they were performing<br />in town a couple days later, there was extra chaos, with a couple<br />clothing racks and stylists on hand, but they were all very respectful<br />of my time with him. Once we started shooting, everyone disappeared <br />with only the publicists staying within ear-shot. That was actually <br />a rarity, in my experience. I think it says something about Bono. <br />Most publicists stand nearby, if not right behind me, so they can <br />give their "input" during the shoot.<br /><br />My impression is Bono knows exactly what HE is willing to give for each <br />photo shoot and he can be (and was) direct in his opinions. A good <br />publicist knows they're not going to speak over him, and so she let me <br />have my time with him alone. If anything, on this shoot, I might have been <br />trying to win the publicist to MY side if things hadn't smoothed over when <br />he said he didn't like what I was doing!<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />You don't have a lot of time with people like Bono. How do you<br />mentally prepare to make a good image in such a short time.<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />It's true. Even at the L.A. Times, we only get about 10 minutes to make<br />our pictures. In fact, I will often get cut short of my allotted time, where<br />as a writer is rarely (never?!) cut short during an interview. I find this<br />hilarious, considering a picture on the cover of a section is what gets the<br />most attention.<br /><br />To answer the question, I don't know if I'm actually mentally prepared<br />when I go into my assignment. I try not to think about anything more than<br />assuming I'll only get 10 minutes to work. I usually think about making a <br />picture with strobes and another with ambient light. I try to imagine two <br />scenarios, knowing I can usually make 20-30 frames of a scenario (with <br />a willing subject). It's become a bit of a reflex. When I get a portrait <br />assignment, Bono included, beyond an IMDB check, I usually check <br />google images to see what's out there, so I don't repeat something. That's <br />NOT to say I won't try to "improve upon" an image I find! Lighting becomes <br />the biggest weight on my mind. Because I'm shooting primarily portraits, <br />I feel pressure to mix up my lighting and space out similar lighting scenarios.<br /><br /><br /><img src="http://farm7.static.flickr.com/6008/6195235302_6599f64700_o.jpg" width="504" height="638" alt="1"><br /><br /><br />(This is a 4x5 image, shot with my favorite film, the now extinct, Polaroid <br />Type-55. The "spots" across the image are caused by the drying up of the <br />chemicals and the uneven application across the piece of film. I've been <br />milking my last couple boxes, with the film used on this shoot being about <br />1.5 years past it's expiration date!)<br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What surprised you about working with Bono?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />Bono was surprisingly sweet and easy to work with. As I've said in the<br />past, it was a sure highlight of my career so far. I've shot a fair number<br />of subjects who would be considered "A-list," but with that categorization<br />can come a list of issues. People often flex a tighter grip on their image,<br />publicists are more demanding and everyone is usually late! <br />NONE of that was the case with Bono, it was all easy and enjoyable.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What did you learn that you didn't know before?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />Hmm. Well, I think getting him to the point where HE suggested<br />trying a shot without his glasses, highlighted for me the idea that<br />you shouldn't completely give up on an idea just because a publicist<br />tries to squash it! The dance I do with publicists, trying to remind them<br />that I'm here for the L.A. Times and not shooting their publicity photo, <br />is a delicate one, with lots of smiling and agreement. In the end, <br />I really want the subject to hear my idea and decide if they want to try <br />it or not. My idea is the EXACT reason a publicist is there - to keep their <br />client from doing anything THEY don't think is good for their image.<br />But my name goes under the subject's face, I don't <br />want something that looks bad either.<br /><br /><br /><img src="http://farm7.static.flickr.com/6164/6189247556_fc21519b2d_o.jpg" alt="LA_20091209_LAEN_0_LA_1_S_S22-S23_S022-S023_CMYK_TD_022_LA_we_20" height="933" width="500" /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I'm assuming things sometimes go wrong. How<br />do you problem solve on short notice?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />Yes! I've had several close calls with disaster. I think the most<br />important thing to remember is showing confidence when the<br />sh@t hits the fan. Whether it means moving on quickly to your<br />other idea when you explode a neon peacock while shooting in<br />the office of an NBC executive (yes, it happened), or suggesting a<br />different body position when your first idea nearly sends Tom<br />Cruise out a second-story window (that dude has superhuman<br />speed!). Staying calm and giving the impression that all is going<br />as you planned, will help keep everyone on your side.<br /><br />Making a face at the back of the camera when you don't like<br />something or taking too long to compose, gives the impression<br />that you aren't sure of your idea, or worse, yourself. I always<br />want everyone in the room to think I've done this 1,000 times,<br />and there is no reason to doubt me, so that when something<br />LOOKS like it is going wrong, I can re-direct their attention to<br />another idea.<br /><br />That's the mental stuff. I also think it's really important to have a<br />checklist that I'm reviewing in my head. I go over my camera<br />gear, review what i'm thinking about for lighting and figure out what<br />film and holders I may need. When I get to the hotel/location I'll be<br />shooting, I do the same review as I'm loading my cart. In my experience,<br />most problems, beyond something having to do with the actual location of<br />the shoot, have to do with not having some piece of gear. Be it extension<br />cords (I have 1-100ft, 2-25ft, 2-splitters) or lights (5 heads total, 3 Canon <br />strobes) or pocket wizards (5 total), or my trusty canon 45mm TS lens.<br /><br />I take everything in with me. I also make a point to see what lighting<br />options I have when I enter a location. It may be arranged that<br />we're in a hotel room, but I always survey the lobby and any outdoor<br />spaces, hallways and the room, all while paying attention to what<br />available light there is and where my power outlets might be.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Moving forward, how do you see your work evolving?<br /><br /><br /><img src="http://farm7.static.flickr.com/6021/6189253214_ca3151b168_o.jpg" alt="153229_en-Bono_JLC_" height="639" width="954" /><br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />Wow, that's DEEP! Look, I am psyched knowing that I get paid to make<br />pictures and lucky enough to be at a place that lets me concentrate on the<br />work I like doing. I hope our industry can continue to flex and bend and<br />my job will still be around in the distant future. Every day I get a new<br />subject and share a new experience, not just with the subject I work with,<br />but with a pretty big audience that I wouldn't have if it weren't for the LAT.<br /><br />I'm definitely excited by the idea that technology is changing the way we<br />deliver what we do at the newspaper. I haven't tackled much motion yet,<br />but I am constantly amazed by my co-worker Liz Baylen and the pieces she<br />produces using stills, audio and video. Hopefully I can get her to teach me<br />some of her magic in the coming year?!<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />In conclusion, what advice do you have for photographers?<br /><br /><br /><span style="font-weight:bold;">JAY: </span><br /><br />As I look back on where I've been and what I've been lucky enough to<br />shoot since leaving San Jose State in '98, I think I would say, be honest<br />with yourself about the type of photographer you want to be. It sounds<br />hokey, but it's something I think is really important in growing as a<br />photographer and in turn, as a person. In my 20s, I wanted to "do it<br />all," including running off to cover war and hoping to be a James<br />Nachtwey. But time passed, and after shooting a little bit of everything,<br />(minus war/foreign strife), I realized I really liked portraiture and<br />working one-on-one with people in an environment where I had some<br />control.<br /><br />Even after leaving a newspaper and freelancing for anyone who would<br />hire me, I came back to mostly editorial work, because there is always<br />a variety of subjects and assignments, and the historical aspect of our<br />documentation is so stimulating. There was definitely a time when<br />jealousy would creep up inside me when someone around me flew off<br />for a cool assignment in a remote corner of the world, but that is long<br />gone. I feel like I've found my niche and I'm very happy to focus on that<br />exclusively. I'm confident that I am capable of doing just about any<br />assignment out there, but I don't feel the need to "prove" it any more.<br />I think people should be confident in what they choose to pursue, but be<br />self-aware and mindful of opinions from others they trust.<br /><br />Today, one of the most valuable aspects of my job is that it allows me<br />to be done with work and home almost every night in time to tuck <br />my daughter into bed. I've come to realize as I've gotten older (matured? <br />never!) that my priorities have changed. Competing for awards is a great <br />way to mark the years of my career, but sharing life-experiences with my <br />wife and daughter far outweigh a collection of trophy boxes gathering dust <br />in the garage. <br /><br /><img src="http://farm7.static.flickr.com/6001/6194718157_64c7f5dec1_o.jpg" width="505" height="754" alt="2"><br /><br /><br />EDITOR'S NOTE:<br /><br />All Bono photos are copyright of Los Angeles Times.<br /><br />+++++<br /><br /><br /><br />Jay L. Clendenin has been a staff photographer at the L.A. Times since October, 2007. To see more of Jay's work:<br /><br /><a href="http://jaylclendenin.com/">http://jaylclendenin.com/</a><br /><br /><a href="http://framework.latimes.com/search/clendenin">http://framework.latimes.com/search/clendenin</a><br /><br /><br /><br />+++++<br /><br /><br />Next week we'll take a look at the weird world of Sol Neelman:<br /><br /><img src="http://farm7.static.flickr.com/6171/6195490228_13d787fb46_o.jpg" width="604" height="404" alt="soltease"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-19278520219096329522011-08-31T16:10:00.001-07:002011-09-24T08:51:43.016-07:00Spotlight on Nick Oza<img src="http://farm7.static.flickr.com/6156/6140903391_8f6824f848_o.jpg" width="954" height="664" alt="ozamain"><br /><br />TID:<br /><br />Nick, thanks for taking the time to speak with us. <br />This is such a powerful image. Can you talk a little <br />about the background of the picture?<br /><br /><br />NICK: <br /><br />Back in 2006, then-Arizona Republic reporter Judi Villa, <br />and I were shadowing a gang task force unit with Phoenix <br />Police Department. The story was focusing on how Phoenix <br />gangs were seeing an influx of members from Los Angeles. <br />We were working in neighborhoods just south of downtown <br />Phoenix when we heard from the police radio that shots had <br />been fired in a nearby predominately Hispanic neighborhood. <br /><br />We were just a few blocks away from the scene. It was <br />pandemonium. A man had been shot. He was lying in <br />the middle of the road, dying of multiple gunshot wounds. <br />His friends and family were hunched over him, begging <br />him to not succumb to his wounds. <br /><br />I asked the detective if I could approach the crime scene. <br />He said he would “take some heat,” but allowed me to take <br />photos because it was such an important story. Then the <br />detective told me that the man who had been shot was the <br />same man who just 10 minutes earlier had refused <br />to talk to me for our story. <br /><br />I approached the scene. The man’s mother screamed, "Oh my <br />God, please don't leave me!" to her son, as she prayed over his <br />body. But it was too late - he was already gone.<br /><br /><br /><img src="http://farm7.static.flickr.com/6081/6140966239_62cec79bf9_o.jpg" width="954" height="637" alt="FEATURED" alt="oza2"><br /><br /><br />TID:<br /><br />This image is part of a larger story, can you tell us <br />what was the origin of the story (how it was pitched <br />and began), and how long you worked on it?<br /><br /><br />NICK:<br /><br />The Republic’s Director of Photography, Mike Meister, put <br />full faith in me as the new kid on the block. It is very important <br />that your photo editors know your strength, instead of just <br />seeing who is available during the shift (I have always been one<br />of the "street guys," so this assignment was a good fit.}<br /><br />At the time, I was just three months on the job, and didn’t know <br />the city’s neighborhoods well. Villa, who for years had reported <br />and written about crime in the Valley, pitched the story about a <br />resurgence of street gangs moving west from California to Phoenix. <br />Officials were reporting that the gangs were more violent and more <br />organized than before. So, we went with police for an 11-hour ride-along <br />to document the growing problem. <br /><br /><br /><img src="http://farm7.static.flickr.com/6157/6172726670_05eecc6dea_o.jpg" width="954" height="637" alt="gangsearch1"><br /><br /><br />Along the way, we made several stops looking for <br />gang associates, and documented as the police <br />responded to crimes related to the gangs – including <br />a carjacking and a drug search in a suspected <br />gang banger's car. Villa and I worked on the story for <br />a week. Our work resulted in a front page <br />Sunday story and an online slideshow.<br /><br />While reporting the story, I kept in touch with Grace <br />Villavicencio, the mother of Andrew Vargas, who had died. <br />She allowed me to document her as she visited her son’s <br />body at the morgue, the funeral home, at the cemetery <br />where he was buried, and later, she invited me to her home. <br /><br /><br />TID:<br /><br />This picture below is very disturbing. Can you tell us what <br />is going on here, and how you managed to get the picture?<br /><br /><br />NICK:<br /><br />His mom called me on my cell phone and asked me if I wanted to join<br />her to see her son for the first time at the funeral home. It was the first time <br />I became emotional and I said, "Are you sure?" When I went to the morgue <br />the guys were yelling at me to get out but the mom said, "He's with me."<br />As soon as we got in the room I stayed behind. I was observing the scene,<br />and I started hearing a brother of the victim crying hard. This image was<br />when his mother was explaining what happened. Vargas said, <br />to her son Kiki, "Look what happen to your brother. They were trying to kill <br />you and now your brother is laying for you." It was such a surreal, dark, scene. <br /><br />I hid my face behind the camera so they couldn't see my emotion. <br /><br /><br /><img src="http://farm7.static.flickr.com/6151/6172207903_74c3764f4c_o.jpg" width="954" height="639" alt="morgue"><br /><br /><br /><br />TID:<br /><br />One of the things I admired most about your coverage of this,<br />was how much you stuck with it. You eventually covered the <br />funeral of the person who was shot. How did you gain access?<br /><br />NICK:<br /><br />It was simple, they actually called me to let me know about<br />the wake. I had earned their trust enough for them to call me.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6153/6172186523_8919f8cbb1_o.jpg" width="954" height="647" alt="funeral"><br /><br /><br /><img src="http://farm7.static.flickr.com/6163/6172715516_74228e6c79_o.jpg" width="954" height="637" alt="ozaheart"><br /><br /><br /><br /><br />TID:<br /><br />What was your approach to this story?<br /><br /><br />NICK: <br /><br />I wanted to tell the story of a mother’s grief from her <br />point of view. Oftentimes, gang related stories are <br />told from the point of view of law enforcement, and <br />too often, the emotion behind the story – the gut-<br />wrenching grief of a family – is untold. <br /><br />I set out to tell that story. I immediately got to work <br />to try to get to know the mother. Two days after the <br />shooting, I returned to the street where the man died. <br />I wanted to see where he came from, where he lived, <br />who his family was. Neighbors directed me to his mom’s <br />house. I knocked on the door, and made my pitch: I <br />wanted to illustrate how Phoenix’s gang problems <br />affected her family, and tell the story through their eyes. <br /><br /><br /><img src="http://farm7.static.flickr.com/6152/6172207915_6a71ce706b_o.jpg" width="954" height="674" alt="home"><br /><br /><br />She said she remembered me as being respectful at the <br />crime scene. She invited me into her home, showed me <br />her son’s room, and talked with me about her son, and <br />how he became a gang member. Since she was willing <br />to tell her story, others were, too. That credibility allowed <br />me to “work the streets” and find other gang members <br />who talked with us for the story. <br /><br /><br /><br /><br />TID:<br /><br />Ok, now onto the image itself. Tell us what led up to the <br />image, and what was going on in the moment.<br /><br />NICK:<br /><br />The crime scene was very surreal. <br /><br />Over the years, I have covered emotional scenes. I’ve seen <br />people die in combat. I’ve photographed many murder scenes. <br />But this one was different knowing that I had just spoken to <br />the victim a few minutes earlier. (Later I learned from police <br />that the man was not even the intended target. The gang <br />members meant to shoot his brother).<br /><br />On the scene, I heard two young men swearing and asking <br />the victim to not give up. The mom was crouched over her <br />son, crying. And the cops were trying to gather information <br />from witnesses and the man’s sisters. <br /><br /><br /><img src="http://farm7.static.flickr.com/6168/6140966435_a586c0c2f8_o.jpg" width="954" height="637" alt="oza4"><br /><br /><br />It was a very sad scene. What shook me the most was the <br />way the mother was sobbing over the loss of her child. I’ll <br />never forget it. She was cradling her son’s upper body, rocking <br />him back and forth. As a father to a young child, I cannot <br />imagine losing my child in an instant – and so traumatically. <br /><br />The memories of that day will haunt me forever. <br /><br /><br />TID:<br /><br />Were there any points of conflict or struggle during the <br />making of this picture, and how did you handle it?<br /><br />NICK:<br /><br />The biggest challenge in getting this photo was getting the <br />police to allow me to take pictures of the body. Because of the <br />sensitive nature of the scene, I had to stress to the <br />detective that the public had a right to know what was <br />happening. While sad, the man’s death illustrated the point <br />of the story: that increased gang activity was leading to more <br />crime and violence in certain areas of the city.<br /><br />At first, the detective would not allow me to take photos. After <br />some back-and-forth on the issue, the detective finally allowed <br />to me to shoot photos, saying, “I’ll take the heat.” And he later did. <br />The detective also asked that I take only tasteful photos. I only <br />shot half a dozen frames - the least amount of photos I’ve ever <br />shot on any assignment. <br /><br /><br /><img src="http://farm7.static.flickr.com/6173/6140966383_038ed40c26_o.jpg" width="954" height="637" alt="oza3"><br /><br /><br />Also some of the gang members and their friends were not happy <br />that I was there taking photos. But as time wore on, they grew <br />tolerant of me and didn’t get in my way. The lesson I learned there <br />is that patience and respect will overcome almost any story. <br /><br /><br />TID;<br /><br />What was the reaction after the image was published?<br /><br />NICK:<br /><br />The images of that scene were very powerful. Response came <br />in from within and outside of the newspaper, saying that the <br />photos captured the mother’s grief. I heard from the family, <br />police, neighborhood activists, and my peers. <br /><br /><br />TID:<br /><br />I'm sure this was a tough moment, and story, to work on.<br />What lessons did you learn from this experience?<br /><br />NICK:<br /><br />This story really instilled my belief that if you are honest, <br />persistent and respectful, you can work your way into any story. <br />When working on such sensitive stories, you often have only your <br />gut to rely on – those feelings that tell you to either keep pushing, <br />or stop pushing. <br /><br /><br /><img src="http://farm7.static.flickr.com/6156/6140903391_8f6824f848_o.jpg" width="954" height="664" alt="ozamain"><br /><br /> <br />TID:<br /><br />In conclusion, what advice do you have for photographers to<br />get access to such moments, and also how to handle it<br />once you get access?<br /><br />NICK:<br /><br />I love challenges and I am not afraid to fail. My success is based <br />on all of the failures I’ve racked up over the years. My best advice <br />to photographers is to allow yourself to fail. Allow yourself to push <br />boundaries. Allow yourself to follow your gut feelings. Street <br />photographers must work fast on their feet and make snap <br />decisions that can either make or break access to a photo. <br /><br />Oftentimes, photographers get stuck in the mindset that they <br />must quickly find photos and move on to the next assignment. <br />But I work on the philosophy that photography is a craft – a <br />means of exploration. Just work it and success will come.<br /><br />As philosopher Muktananda has taught: if you are the master <br />of dancers, all of the dancers will follow you. If you are the master <br />of art, all artists will follow. But if you understand yourself, <br />everything will come to you. <br /><br />TID:<br /><br />You said, "I work on the philosophy that photography is a <br />craft - a means of exploration." Can you please elaborate?<br /><br />NICK:<br /><br />We as a photographer are too often driven by the narcissistic values<br />stemming from competition. Instead of focusing on this, I think we need <br />to explore and understand life issues more, as well as put yourself on <br />the other side of camera (imaging yourself in the shoes of others).<br /><br /><br /><a href="http://www.nickoza.com/">http://www.nickoza.com/</a><br /><br /><a href="http://www.pbs.org/newshour/rundown/2010/08/the-images-of-sb-1070.html">http://www.pbs.org/newshour/rundown/2010/08/the-images-of-sb-1070.html</a><br /><br /><a href="http://www.azcentral.com/community/surprise/articles/2010/04/07/20100407-parkinson-brain-stimulation.html">http://www.azcentral.com/community/surprise/articles/2010/04/07/20100407-parkinson-brain-stimulation.html</a><br /><br /><br /><br /><br />+++++<br /><br />Next week we'll take a peek into celebrity portraiture with <br />this image of U2's Bono by Jay Clendenin of the Los Angeles Times.<br /><br /><img src="http://farm7.static.flickr.com/6172/6172231015_8a4569dded_o.jpg" width="404" height="604" alt="153229_en-Bono_JLC_"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog go to:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-24217045650688975132011-08-30T10:58:00.001-07:002011-09-21T16:03:56.861-07:00Spotlight on Leah Nash<img src="http://farm7.static.flickr.com/6199/6133647470_2c90f8c1fd_o.jpg" width="954" height="636" alt="leahnash12"><br /> <img style="display: none;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzg-VUlA7FRzFAgbGk_SJJ6kJqci8hlysrr2vhrW0UEamGpdjes3P_uTFpAEVi3v6rOaiTv2z39ytmby74__tB1Ek8c7ne7gwo3YGUnYhckgDLL0DpLQir5Mx5DWLs1TLzzgzV9yGn-ZA/s800/thumb2.jpg" alt="FEATURED"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Leah, thanks for taking part in this. Please let us<br />know more about the background of this image.<br /><br /><br /><span style="font-weight:bold;">LEAH</span>:<br /><br />No problem, I’m rather flattered to be a part of this <br />project, a lot of great and insightful work here. The <br />image pictured is from a long-term project I’m doing <br />following five people who have Asperger's syndrome, <br />a form of high-functioning autism. Asperger’s presents <br />in many forms, but in general, people with Asperger's <br />often experience difficulty with social interactions, they <br />have a flat affect and don't make eye contact. They also <br />tend to fixate on one or two things, which is why they often <br />make brilliant lawyers or computer experts - because they <br />can spend hours working on minute details. Anna Bauer, <br />the subject in these photos, is 21 and lives with her mother, <br />Mary. She loves scoreboards, alarms, roller coasters and <br />most importantly the 24-second shot clock - of which she <br />owns two. Her dream job would be a professional scorekeeper. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What was happening the day the image was made?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />The day this image was made, Anna was moving from her <br />childhood home. Moving for anybody can be pretty disruptive, <br />but for people with Asperger’s, who tend to like routine, it is <br />an even bigger challenge. I was really excited to be there, <br />because I am always for looking for moments of change or <br />growth when I am photographing longer stories. It is a way <br />to move things forward visually, a marker of the passage of <br />time. And because it was a pretty highly emotional situation, <br />I knew it would be an opportunity to document something <br />visually rich. <br /><br />Practically, too, I saw this as a chance to photograph Anna <br />with her shot clocks. These things are immense, <br />they weigh about 40 pounds each, and she has two of them <br />that she bought off of eBay for around $750. The ironic part is <br />that though she loves them for their design aspect, she hates <br />loud noises, and so disconnected the buzzer. At any rate, since <br />this is such a specific and interesting part of who Anna is (plus <br />so illustrative of Asperger’s) I considered it a pretty important <br />picture to make. The move was a chance to incorporate them <br />naturally. And because there are two, and two parts to the <br />move, it gave me several chances to experiment!<br /><br /><br /><img src="http://farm7.static.flickr.com/6076/6133647068_de00ab928e_o.jpg" width="954" height="636" alt="leahnash4"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />This is such a unique, intimate situation. Can you tell us <br />what was going on in your mind during the shoot?<br /><br /><br /><span style="font-weight:bold;">LEAH</span>:<br /><br />Just that I felt really fortunate to be there. I haven’t been <br />able to really focus my attention on a long-term project in <br />a while; as a freelancer I am usually too busy with daily <br />newspaper and magazine work. That is the one downside <br />to being self-employed! I ended up getting a Regional Arts <br />and Culture Council grant (www.RACC.org) to spend a year <br />on this project and it has been such a gift. When you are <br />allowed the time to build a connection with people I think <br />it really shows in the work, that is how intimacy is created. <br />Plus, some people you just click with, and you know you have <br />something special. It doesn’t happen with every story or <br />subject, it is a fleeting, intangible sort of thing. You create <br />this magical little window of time where you have this <br />unusual but very connected relationship with someone <br />that would never exist anywhere else. Look, photographing <br />somebody’s life, that is a pretty big responsibility, one that <br />I take incredibly seriously. So during the shoot, I guess I was <br />feeling the weight of that, and the joy of it too. I could also <br />feel her getting more and more comfortable with me. This was <br />a day when she was at her most vulnerable, and she trusted <br />me with that. Experiences like this are why I became a <br />documentary photographer.<br /><br /><br /><img src="http://farm7.static.flickr.com/6210/6133102131_5702745ef6_o.jpg" width="954" height="636" alt="leahnash2"><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Now, lets talk about the image. Tell us what was going on, <br />and how you made the picture.<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />The final image was really a summation of the day. Overall, <br />Anna dealt with the move pretty well, but I could tell she <br />was feeling raw. Her old room was a cacophony of color and <br />mementos, and here is this new space, stark and white. <br />This was when most of the moving had already been done <br />and it was later in the day. Anna was getting tired and at first <br />she laid down on her mother’s bed. I made a few pictures <br />there, first from a distance and then getting more and more <br />into her personal space. I would say that my approach is pretty <br />low key. I talk very little when I am shooting, if at all. I always <br />love images that are made from above when people are sleeping <br />or in bed, because they really put you right into the story. <br /><br />I also love them because they conjure images in my mind of <br />photographers in their bare feet, balancing on wobbly mattresses, <br />trying not to fall on their subjects! So me being in her personal space, <br />her feeling sleepy and vulnerable, and the trust that I had built up <br />with her, all led to the final image. She eventually moved to her room <br />and to the shot clock. The clock soothes her, it is her friend, and so <br />naturally that is where she sought solace. It was an unusual situation; <br />one that I had never encountered before, but I think so much of why <br />I am allowed access into the private parts of people’s lives is <br />because of my complete lack of judgment. I come from a place <br />where I view whatever anyone does as normal. Because, for them, <br />it is. That is their normality.<br /><br /><br /><img src="http://farm7.static.flickr.com/6173/6133646754_883a45da7b_o.jpg" width="954" height="636" alt="leahnash1"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You said in a previous email:<br /><br />"She has been bullied a lot over her lifetime because she is <br />different. Looking at these images I really feel and see a <br />progression of her getting more and more comfortable with me."<br /><br />What do you mean by this?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />Anna has mentioned several times that growing up and <br />being with her peers wasn’t the easiest thing for her. She <br />is different, or neuroatypical, to use the lingo, and high <br />school students love to crucify those who are different. <br />What she really wants is respect, and I respect her. I also <br />give her acceptance and attention; basically, I think she is <br />cool and interesting. And as a result she feels comfortable <br />around me, comfortable to be herself, with all the <br />idiosyncrasies that come with A, being human, and B, <br />being a human with Asperger’s. That day really seemed <br />to be a turning point for both of us and I think that is pretty <br />obvious visually.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6068/6133102403_aed83ea5db_o.jpg" width="954" height="636" alt="leahnash7"><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6075/6133647286_a441b3c7c4_o.jpg" width="954" height="624" alt="leahnash8"><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Were there any moments of tension during the making of this <br />image or the story? If so, how did you handle it?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />Photographing a project about Asperger’s is difficult because <br />everyone who has it experiences it so differently, so you can’t <br />make generalizations or definitive statements about the syndrome.<br />Then you have to look at why you are photographing the story. <br />One of my subject’s therapist told him he thought I was taking <br />advantage of him, and he and I had to discuss that (at 7 in the <br />morning). I have to be very careful about how I word things <br />and what phrasing to use, because many people with Asperger’s <br />don’t see it as a handicap. The people in the autism community <br />have a phrase, “Nothing about us, without us,” and so I very <br />much want this to be a collaborative project. The final published <br />piece I envision running will have all quotes instead of captions, and <br />two online pieces will have audio interviews. That way, my biases <br />can be minimized as much as possible. Even this interview I will <br />have Anna and her mother look over and approve.<br /><br />In terms of this image specifically, during the day she and her <br />mother would sometimes fight or Anna would say something to <br />embarrass her. But that is just life. When people apologize <br />because their house isn’t clean or their children are <br />unruly, I always say, “Hey life is messy, that’s what is so great <br />about it.”<br /><br />Shooting her with the clock was definitely a private moment <br />and I ended up taking a lot of pictures, because I wanted to <br />have a variety of angles and distances. That way when I was <br />building the story later I would have options to choose from <br />that would give visual variety. So it was clearly a moment I <br />considered important because I was pushing the shutter like <br />crazy. Anna and I have the understanding that if she doesn’t <br />want me to shoot anymore, she will tell me and I will stop. <br />She is good about making her wants and needs known. Better <br />than most of us, I imagine. Maybe a minute after I took the <br />final image, she told me she wanted to be alone and I left her <br />room. This one of the last images I made that day.<br /><br /><br /><img src="http://farm7.static.flickr.com/6172/6133102317_69970714cc_o.jpg" width="954" height="636" alt="leahnash5"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What surprised you most during this assignment?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />I think what surprised me the most was the depth of her <br />relationship with the shot clock. It is easy to say that people <br />with Asperger’s fixate on things, but I have been struggling <br />with HOW to show that. Anna answered that question for <br />me. This assignment also had made me question societal norms <br />and really look at how society defines someone as “different.” <br />Our culture has a very limited, prescribed way we have deemed <br />appropriate to act and it is so interesting to see how <br />people respond when someone doesn’t follow that script. In <br />doing research for this project I spoke to a woman who made <br />the argument that as a species, we need people with Asperger’s <br />because they encourage out-of-the-box thinking and help <br />advance society. Many have made the claim that Einstein <br />and Issac Newton had Asperger’s, again, because they saw things <br />differently.<br /><br /><br /><img src="http://farm7.static.flickr.com/6170/6133102515_1cd16611cd_o.jpg" width="954" height="636" alt="leahnash10"><br /><br /><br />In regard to Anna's relationship with the shot clock, that day her <br />mother mentioned to me that she used to talk to the one at the <br />community center near her house. Also, she used to love the <br />gym floor there, and would lie face down on it, also for comfort <br />and companionship.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What did you learn about yourself during the making<br />of the image/story?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />I think it just reminded me rewarding I find long-term <br />projects, and how difficult they are. I have been lucky <br />enough to work with photo editor extraordinaire, Mike <br />Davis (www.Michaelddavis.com) on this project and it <br />really is invaluable to have a second set of eyes and <br />someone to push me and my shooting. One of his <br />suggestions was to have me spend a day shooting no <br />more than three feet away from my subject! Plus, <br />I can bounce ideas and thoughts off of him. As a <br />freelancer, I get very little feedback from clients, and <br />so I feel lucky to have him on my team. <br /><br />What this project has also reinforced for me is my belief <br />that you have to give parts of yourself to your subject; <br />otherwise, it’s not really a fair trade. And that no matter <br />how many experiences I have had or how many different <br />things I have photographed, people can always still surprise <br />me.<br /><br /><br /><img src="http://farm7.static.flickr.com/6082/6133647332_f5889e6757_o.jpg" width="954" height="636" alt="leahnash9"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What mental advice would you have for other photographers <br />who want to gain access to this type of intimacy?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />Leave assumptions and judgment at the door. Make people <br />want to have you around. Be gracious but persistent. Everyone <br />works in different ways; you have to find what is authentic <br />for you. And remember that though you might take pictures <br />everyday, your subject isn’t photographed everyday, and that <br />you are leaving a significant footprint.<br /><br /><br /><img src="http://farm7.static.flickr.com/6079/6133102565_631c5fbd70_o.jpg" width="954" height="636" alt="leahnash11"><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What do you want people to know about Bauer, that <br />you learned from your experience with her?<br /><br /><br /><span style="font-weight:bold;">LEAH:</span><br /><br />What I have realized with Anna and with many of the people <br />with Asperger’s that I have been documenting, is because <br />they can’t follow social cues, their guards seem to be lowered. <br />While most of us walk around acting a certain way, pretending <br />to be a certain way, Anna doesn’t have that. She will tell you <br />when she wants you to leave, order banana cream pie for dinner, <br />ride a roller coaster 20 times in a row. There is a certain beauty <br />in that lack of artifice, in that emotional honesty. <br /><br />Overall, I just really want people to know her story. To see <br />what a day in her life is like. I have this crazy idea that <br />knowledge breeds acceptance and understanding. So if <br />people get a little insight into Asperger’s, then hopefully <br />when they meet someone who has it, (or when they realize <br />that their neighbor, or son, or the guy they work with has it), <br />then they will be a bit gentler and better equipped to <br />meet them halfway.<br /><br /><img src="http://farm7.static.flickr.com/6199/6133647470_2c90f8c1fd_o.jpg" width="954" height="636" alt="leahnash12"><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />I was very moved by a letter her mother wrote to you, (see below) <br />and in conclusion, I wanted to share a part of it. I think it speaks <br />to your character and your work.<br /><br />+++<br /><br />"Your insights about Anna are very moving and accurate. I so <br />appreciate that you have accepted and understood her. I do <br />know that she feels that you are a good friend and that she<br />does feel open around you, as I think the photos reveal. You <br />have won her heart, which is saying something!....<br /><br />...If there is anything that Anna and I want to contribute to the <br />world, it is to have people understand and be supportive of autistic <br />people. I think Anna is particularly well equipped to do that. She <br />has been working a lot on her autobiography…maybe she will <br />show that to you..to help with your captions.<br /><br />Attached is a little drawing Anna did when she was 14... capturing <br />her affection and love for scoreboards and of course shot clocks..."<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6062/6131304466_7f2a9572fe_o.jpg" width="600" height="725" alt="Anna loves scoreboard_2004"><br /><br /><br />+++++<br /><br /><br />Leah Nash has a passion for documenting the normal and the extreme, which she often finds are one and the same. Graduating Cum Laude from Vassar College with a degree in psychology she then went on to receive her Master’s in photojournalism at the University of Missouri where she was awarded a Fulbright Grant to photograph the AIDS crisis in India.<br /><br />Over the years she has received the Marty Forscher Fellowship for Humanistic Photography, the NPPA Kit C. King Scholarship and was named a Magenta Foundation Emerging Photographer. Leah has also been honored by Photo District News, the Eddie Adam’s Workshop and by Pictures of the Year International. Her clients include Newsweek, Rolling Stone, Mother Jones, GEO Magazine, The New York Times, The New York Times Magazine, Der Spiegel, Stern, The Wall Street Journal and The Washington Post. <br /><br />Recently, she received a Society of Professional Journalists award for her photo essay exploring Asperger’s syndrome and homelessness and in 2011 was given a Regional Arts & Culture Council Grant to expand the project. She is also working on a book entitled, Monogamy?, looking at the viability of monogamy in today’s society and can often be found trailing Pick Up Artists, men who make their living teaching and learning the art of seduction.<br /><br />Her work can be viewed at: <br /><br /><a href="http://www.LeahNash.com/">http://www.LeahNash.com/</a><br /><a href="http://www.LeahNash.com/blog">http://www.LeahNash.com/blog</a><br /><br /><br />+++++<br /><br /><br /><br />Next week we'll feature this powerful image by Nick Oza:<br /><br /><br /><img src="http://farm7.static.flickr.com/6087/6133143675_490aca837c_o.jpg" width="604" height="406" alt="ozatease"><br /><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross@imagedeconstructed.com <br />logan@imagedeconstructed.com <br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-90987201125627011232011-08-30T10:43:00.000-07:002011-09-18T16:47:43.752-07:00Spotlight on Chris Tyree<img style="display:none" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd5zDsiTz59hQHQK8mSYCKqwhTmT6OU_TQWPxhjWS-aWWnPU1RZ_FAm2oBcoYFYgseDT5iS9JKEcpWDzUtE99xRGJ_O9isjHF5Ijt_dCW73wPPx5Xu5sbFgW6rmnBjQjKb4HHuUbuvNZI/s800/thumb3.jpg" alt="FEATURED"><br /><span style="font-weight:bold;">TID:</span><br /><br />Chris, it's nice to connect with you. Lets talk about this image.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6201/6101436936_792b29eb7a_o.jpg" width="954" height="637" alt="tyreemain"><br /><br /><br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br /><br />The project was called Summer's End, and I photographed <br />my father-in-law's final days as he succumbed to cancer. It <br />was as much a project about how we, the family, deal with <br />loss, deep love, and hope. These images I'm sharing came on <br />the last time I saw him alive. It was earlier in the day when I <br />made them. He passed away that night. <br /><br />The project actually started when I'd stopped by after work <br />and had my camera with me. My son Jack had been at <br />their house with my wife since the morning and had gotten <br />use to seeing his grandfather in the bed by that point. Jack <br />had just turned three a couple months before. As I walked <br />into the dark room I saw Jack feeding his grandfather ice chips. <br />It was the last solid food he ever had. There was something <br />about watching my little baby taking care of his grandfather <br />and I snapped a few frames. That night at home I looked at <br />what I shot and started crying. I felt that I needed to do something <br />or say something and it hit me in the face that what I needed <br />to do was not show the agony or pain, but show the devotion, <br />love and life that was going on around that dark room. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6189/6100901633_cff6365051_o.jpg" width="954" height="637" alt="popfeed"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You said you needed to do something, or say something. Why did <br />you feel that way, and what did you do about it?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />Over the years I’ve had assignments that dropped me into the <br />emotionally tumultuous lives of complete strangers. Some <br />really serious life and death issues, ya know? I never felt like a <br />vulture because I’ve always tried to establish a good relationship <br />right up front, but being in such a personal and intimate situation <br />with the focus of making a storytelling photo can make one feel <br />both exposed and vulnerable. I can only imagine what it must <br />feel like on the other end of the camera. The way I’ve always <br />handled these situations was to just to be me and be honest with <br />the subjects. I’m not an aggressive shooter by any means and, <br />maybe I shouldn’t admit this, but there have been many times when <br />I felt that making the image wasn’t worth the price the subjects <br />would have to pay and so I didn’t raise my lens. There is this <br />crazy balance in my mind, “What does making this image mean? <br />Will photographing the situation shed light on a larger issue that <br />needs to be addressed?” Then I hear myself reiterate something <br />I heard James Nachtwey say once, “If you don’t shoot it, who will?” <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6066/6101458774_49b171e829_o.jpg" width="954" height="637" alt="pop3"><br /><br /><br /><br />It all gets weighed together with the news value of the story and <br />the emotional place of the subject matter. Generally speaking, <br />the answer most often came back that the power of the intimate <br />situation provided a necessary moment to telling the larger story <br />that could have a profound impact if seen and so I snapped the <br />shutter.<br /><br />But, what if it was my family... I really did think about that <br />sometimes when I was facing one of those situations. How would <br />I feel if someone was making a picture of me or a loved one <br />facing a serious situation? There is no easy answer. There never is. <br /><br />So, when I walked into that room and saw Jack feeding his <br />grandfather ice chips I conjured up those questions again and <br />I had a really hard time answering them. But what dawned on <br />me was this: How could I make pictures of dying children or <br />victims of awful tragedy if I couldn’t focus a camera on the <br />people close to me too? And so I snapped the picture. It seemed <br />like too much of an important moment in the lives of everyone <br />involved not to be memorialized. Later that night when I started <br />reflecting on it and all the images I’ve ever made in similar <br />situations I felt like what I have been focused on for most of <br />my career was the tragedy right in front of me and not the life <br />that moves around it. Often it was the news of the day and that <br />mandated that I shoot from that more limited point of view. But <br />I started thinking, where there is pain and anguish there you can <br />also find love and compassion. That was the expression on Jack’s <br />young face and Pop’s sunken one. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6209/6101464812_cc0b2b59a7_o.jpg" width="954" height="637" alt="pop4"><br /><br /><br /><br /><br />So, I went back the next day to show my father-in-law, Pop, <br />the image and talk to him about what it meant and the realization <br />the photo brought to me about life revolving around him. It <br />wasn’t an easy discussion for me but he understood and knew <br />that telling it could help others be more at ease if they were in <br />his situation. He was so gracious. <br /><br />And so, for the next few weeks of his life I focused on a story <br />of devotion, love, loss and rebirth. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6210/6100922847_c730782bc6_o.jpg" width="954" height="637" alt="pop5"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You said in a previous email that you called the project "Summer's <br />End." Why did you name it that, and to what extent did you document <br />him?<br /><br /><br /><span style="font-weight:bold;">CHRIS</span>:<br /><br />The name of the project is actually quite literal. Pop died as the <br />summer faded with most of his family keeping vigil at his home. <br />But it meant more to me too. Pop was always like the sunshine, <br />warm and happy. He filled a room with his shining smile. He was <br />summer in a body. I don’t think he liked the cold either, really. <br />He grew up in the Philippines and was happiest in brutal heat. <br />The other thing I liked about the title was this: it conjectured that <br />there would be something coming after summer. That life would <br />continue, just differently and just as beautiful if we care to look. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6182/6100928401_ca34c97c9e_o.jpg" width="954" height="637" alt="pop6"><br /><br /><br /><br /><br />I was lucky that I was working at The Virginian-Pilot at the time <br />and was given time off not to necessarily work on this project, but <br />to also be there for my family. This was a pretty emotional time <br />for my wife as you can imagine. She loved him to pieces. So, I was <br />able to spend most of three weeks documenting this project. Many <br />times just spent sitting with him holding his hand and talking to <br />him about the times we spent rock hopping in El Paso, playing <br />golf and taking care of his “girls."<br /><br />I think that is a really important lesson that is often overlooked or <br />an essential tool that separates the good from the great, that ability <br />to listen and be patient. To be in the moment and not necessarily <br />shooting it. When we are IN the moment, then everything we are <br />seeing, hearing, and feeling will come through the photographs <br />that follow and they will be powerful images that you can’t turn <br />away from.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Lets back up some. Did you have an initial thought to document<br />his final days, or did it stem from this day alone?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />Pop had been dealing with cancer for several months and though <br />I’d made a few pics here and there for some family events and <br />things, I guess I was shielding my innermost feelings and also <br />struggling with what to say visually about it that would add <br />anything new to the thinking about cancer or death. <br /><br />I didn’t see the story that early and that was my mistake maybe. <br />I don’t know. Maybe it was fortunate that I didn’t see it so clearly <br />then and that it hit me near the end. Because for me, the focus <br />wasn’t about a person suffering from cancer, though that is certainly <br />an important subject, or a story about a person dying, as powerful <br />as that is. No, for me it was really about passion and love that <br />surrounded his bed in that dark room.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6061/6101563308_cdc7e6dd30_o.jpg" width="954" height="637" alt="pop13"><br /><br /><br /><br /><br />The whole project though stemmed from that image of Jack and <br />Pop. When I saw the love and the intimacy of the moment, I knew <br />what the focus would be and that I did have something to say with <br />my images that could be shared and contemplated for a deeper <br />understanding of what death means to all those involved. It was <br />the idea that there is so much love and life going on around him.<br /><br />Ironically, I had already shot the bookend to this story on Pop a <br />year or so before when I photographed a story about Jane Does <br />and unclaimed bodies. How empty and sad that made me feel to <br />think about people who once were part of this community of life <br />and then were lost to the abyss with not so much as their name <br />placed on the ground above their name. Just a number, if even <br />that.<br /><br />I thought about that story when I was looking at the picture I <br />made of Jack and Pop, it was a profound moment.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Now, lets talk about the image itself. Can you walk us through<br />your mental state that day before, as well as within, the moment.<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />On the day this picture was made I’d actually gone into the <br />office to work and had an assignment to photograph at a <br />graveyard. I kind of remember thinking that that was a crappy <br />assignment given my circumstances but maybe it was just part <br />of the journey, ya know. I got over to Pop’s kind of late in the <br />afternoon and it was really quiet in the house. It seemed a bit <br />abnormal because for the previous three weeks there were people <br />constantly coming in and out, especially the grandkids. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6073/6100958359_5c6cc2f839_o.jpg" width="954" height="637" alt="pop8"><br /><br /><br /><br /><br />It was evident that the mood was heavier and Pop’s wife, Sandi, <br />my wife, Mel, and her sister, Olivia, were in the room with him <br />when I walked in. Mel was crying by herself nearby and Olivia <br />and Mom where nestled by his bed. I made a few pics then took <br />Mel out into the living room for a while to talk. Pop’s breathing <br />had become shallow and he was sleeping. I was kind of caught <br />needing to counsel but also feeling the need to document what <br />was going on. It was kind of confusing. While in the past I had <br />a single purpose to make the image, here I was feeling that <br />my duty was to be a support system first and photographer last. <br />And that is how it should be.<br /><br />I could just tell that the pendulum had shifted and that the end <br />was imminent. So I was respectful and really just sat and prayed <br />out in the living room for a while. When I walked back in, Sandy <br />had crawled up in bed with her husband. This was the first time <br />I’d seen her do that and immediately took a frame, then I <br />remember starting to shoot the scene closer than I usually <br />would have because there was a tear in her eye and I was afraid the <br />moment would change. I needed to start close. After I made <br />that picture, I started to pull back. In the span of about 10 minutes <br />I made 30 frames. Then I put the camera down and just sat with <br />my family. That night I went home to take care of things at our <br />house while my wife stayed the night with Pop. About 1 am I got <br />a call that Pop had passed away. So that moment of them in bed <br />together, the unconditional love, the long goodbye, the simple <br />touch, and the fact that in the framing of this picture they form a <br />heart has stuck in my head like a brand on a cow. It is one of the <br />most important pictures I’ve ever made.<br /><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6189/6100961827_2735cd8c41_o.jpg" width="954" height="637" alt="pop9"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Were there any moments of tension during the making of this <br />image, or the story? If so, how did you handle it?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />Actually one thing I remember about this day was how quiet<br />and calm things were in the house. By the point this <br />picture was made, everyone was comfortable with me being <br />around with the camera. One thing I never do is constantly <br />stay in someone's face with a camera. I wait, listen and watch <br />and only shoot when there is a good or intimate moment. So <br />when I walked into the room, I knew things were different. <br />Generally there had been levity around the room every day, <br />kind of taking the edge off the hardness of the situation, but <br />not this day. It was serious and still. I think we all knew the <br />end was imminent and so the family was spending time saying <br />their goodbyes. If anything this moment was peaceful.<br /><br />There was never any real tension with the family about telling <br />this story but there was tension in my own head and heart. I <br />was still struggling internally about whether this was too <br />personal or if I was doing the story justice. What was I really <br />trying to say with the story? All these things were bottled up <br />and I was working through them as the story progressed.<br /><br />What I did was to look myself in the mirror and ask myself what <br />my motivation was. I asked, “What did I hope would happen by <br />telling this story?” I also had to be confident that I could be both <br />a supportive husband and a photographer. But supportive <br />husband first. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What did you learn about your family during the making of these<br />images that you didn't know before?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />I always knew how much everyone adored Pop. I knew they would <br />do anything for him. What I didn’t know was how much they <br />trusted me to give this project the level of excellence it deserved. <br />Everyone supported what I was doing and spent time talking to <br />me about it. Even though I occasionally felt like I was intruding<br />into really private situations, I was always welcomed. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6063/6100966037_47f93bd56a_o.jpg" width="954" height="637" alt="pop10"><br /><br /><br /><br /><br />Some might think it would be much easier to shoot a situation <br />like this in your own family because of the access, but I actually <br />found it harder because of how close I was to it. Harder because <br />my first inclination wasn’t always to take the picture but to offer <br />support or help out around the house. My focus wasn’t totally about<br />the photography and I kept having to refresh my mind about the <br />narrative I was trying to tell with the images.<br /><br />About the only thing that surprised me was how Jack related to <br />this dramatic scene. At three, he was still a baby but somehow <br />he realized what was going on but it didn’t frighten him though <br />he was sad. He was so loving to his grandfather and would <br />spend hours spinning around in a chair beside his bed while <br />talking to him.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What did you learn about yourself?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />I always preach about taking risks and, for the most part, that is <br />what I’ve done my entire career. Not every risk panned out but <br />more often than not, the result was often worth the risk. Yet for <br />some reason, I just couldn’t step off the ledge this time to start the <br />project. As I reflect on it, I think I learned that I can and should <br />be more open with my feelings as they permeate through my <br />camera when the issues are so personal. I also learned that it is <br />very important to take time with really deep subject matter and <br />reflect on what you are seeing while trying to make sense of it. <br />If we are always “on” and not taking the time to let the emotions <br />burn through our eyes and into our hearts, then we are missing <br />a greater part of the journey.<br /><br />The feedback after the story published was so overwhelmingly <br />positive that I learned that I should trust my instincts more often, <br />not be afraid to share my personal feelings. I learned that I can slow <br />down the shooting and be a human being first and a photojournalist <br />second and still make emotional, powerful and important pictures.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6193/6100969977_d1bbe0d268_o.jpg" width="954" height="637" alt="pop11"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What would you do differently?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />I believe I bottled stuff up and didn’t trust myself to do this <br />project in the first place. I also felt like I wouldn’t do it well <br />enough. And felt like I would be doing my family an injustice. <br />If I had to do it all over again, I would have had the <br />conversation with Pop much earlier on. <br /><br />But in some ways, while I made mistakes, it was all a learning <br />experience. Photography, like life, is nothing but a learning <br />experience. I’ve been shooting professionally for almost 20 <br />years now and I’m constantly learning something new about <br />myself or about photography. The two are married. So I really <br />wouldn’t do anything differently, even if I knew the outcome <br />would be the same or better. That’s part of the journey. It is <br />also what makes me stronger in the future.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />In general, how you do approach intimate situations like<br />this?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />Quietly. I remember when I was at Ohio University and our first <br />assignment in picture story class was to go out and tell a story <br />using one roll of film in one day. All but one of us did a process <br />story or place story. Really easy projects with no emotional value <br />whatsoever. But one of my friends came back with an amazing <br />group of emotional and intimate pictures of a child living with <br />HIV/Aids. Everyone was blown away. We asked him how he got <br />such moving images and he basically said that since he was <br />from Korea and didn’t speak English that great (at the time) <br />they never talked to him and he just melted into the fabric of<br />their lives. I’ve carried that lesson with me since then. <br /><br />I believe in being upfront with what my goals are with the project <br />and how the images will be used. After that, I just listen, watch, <br />feel and wait for the defining moments. I don’t click the shutter <br />unless there is a good moment or a good reason to do so. I give <br />people space and then work my way closer. I use my body <br />language to communicate and watch theirs to see when I’ve <br />intruded too much and then I back off. <br /><br />The easiest part is making the picture. It is everything that leads <br />you up to the decisive moment that makes you the kind of <br />photographer you are and frankly, the kind of person you are <br />too. I think the best photographers are those who are psychologists, <br />anthropologists, sociologists, physicists and a bunch of other “ists” <br />before they are photojournalists. You have to gage the situation, <br />the moods and expectations of your subjects, the importance of the <br />moment, the quality of light and then you have to reach deep into <br />that spirit within you to find your voice both narratively and <br />artistically. Then you can click.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6197/6101523042_bb6118cb85_o.jpg" width="954" height="637" alt="pop12"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What suggestions do you have for photographers, especially<br />photographers who have never been in these situations?<br /><br /><br /><span style="font-weight:bold;">CHRIS:</span><br /><br />There are three things I think photographers should consider <br />when getting into a situation like this.<br /><br />First, have a full and deep understanding of what and why. Look <br />yourself in the mirror and ask yourself if you are doing this <br />coverage for noble reasons. If you are doing it to pad a portfolio <br />or win awards, you suck. If you know that you are doing it to <br />raise awareness and/or interest and have thought about how <br />the images will be used in the end then you can go to number 2.<br /><br />Secondly, put the subject of your story ahead of yourself. It isn’t <br />about you, though the way you see it and the narrative you bring <br />to it will have your voice. So remember to let the story speak <br />through you. Give the subject everything you have in terms of <br />your sensibility and heart.<br /><br />Finally, don’t be afraid to not click the shutter. That is probably <br />the hardest thing to say and I’ll probably hear from a lot of people <br />that you shouldn’t be afraid to take the picture, but I disagree. If <br />you know your subject well and the story well, then you will know <br />exactly what you need to shoot and what to watch for. Sometimes <br />simply watching and being there for the subject is more important <br />to both them and you as you journey in life. It will be those <br />moments that you treasure because it showed your vulnerability<br />and emotional involvement. It is what makes you human.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6068/6100934577_9f68cbd509_o.jpg" width="954" height="637" alt="pop7"><br /><br /><br />+++++<br /><br />Chris is the owner of Re:Act Media, director of Truth With A Camera Workshops and an award-winning documentary photographer, filmmaker and writer with more than 20 years of experience covering assignments on nearly every continent for a variety of publications and agencies. Integrity, perseverance, wit and curiosity have been the building blocks for his success.<br />He graduated with honors from James Madison University with a bachelor’s degree in communication and a minor in anthropology. He earned a master’s degree in visual communication from Ohio University. His photography and editing have been recognized nationally and internationally, earning him numerous awards from esteemed competitions, including Pictures of the Year international, National Press Photographers Association, The Society for News Design, and The Associated Press. Christopher’s photographs have been displayed in exhibitions across the country and are held in several private collections. His work has also been published in many of the nation’s major newspapers and magazines, including Time, Newsweek, and Mother Jones.<br /><br />You can see his work here:<br /><br /><a href="http://www.christyree.com/">http://www.christyree.com/</a><br /><br /><br />+++++<br /><br /><br /><br />Next week we'll feature this surprising and intimate image by Leah Nash:<br /><br /><br /><img src="http://farm7.static.flickr.com/6078/6131148560_6449a1b524_o.jpg" width="600" height="399" alt="clockpromo"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross_taylor@hotmail.com<br />logan@scott-free.com<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-33800382302266905892011-08-21T18:44:00.000-07:002011-09-03T07:34:06.937-07:00Spotlight on Melissa Golden<span style="font-weight:bold;">TID:</span>
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<br />Thank you Melissa for taking the time to speak
<br />with us. Can you tell us about the image's context
<br />and the assignment that led up to it?
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<br /><img src="http://farm7.static.flickr.com/6078/6099704449_4c44f8eb28_o.jpg" width="950" height="634" alt="Rangelmain">
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<br /><span style="font-weight:bold;">MELISSA:</span>
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<br />In July of 2009, I got my first assignment from Time Magazine.
<br />They wanted me to photograph the legendary, scandal-plagued
<br />Congressman Charles Rangel. The idea was to shoot a combination
<br />of portraits and reportage. Getting to follow up a portrait session
<br />with a day-in-the-life shoot is an absolute treat for me, and I really
<br />like being able to do it in that order. The idea being that the subject
<br />becomes inured to you by the end of the portrait session, freeing
<br />them up for genuine moments the rest of the day. Of course, Charlie
<br />Rangel is a public figure, and as such he had no problem forgetting
<br />I was there once it came time for me to become a fly on the wall.
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<br /><img src="http://farm7.static.flickr.com/6080/6099574903_c2ce202cc7_o.jpg" alt="2" height="626" width="950" />
<br /><span style="font-style:italic;">MELISSA: Another moment, shot in natural light. </span>
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<br />I arrived early. Very early. The timestamp on my first pictures says
<br />8:24 a.m. and my first shot of the congressman is at 11:32 a.m. Yes,
<br />he was running a little bit behind, but that gave me the luxury of
<br />shooting the hell out of his office and getting to know the space
<br />intimately before he even showed up. I, along with my assistant for
<br />the day, fellow photographer Brendan Hoffman, spent 3 hours scouting
<br />and doing test shots. I had seven setups prepared before the congressman
<br />showed up and I hit all seven in the generous 35 minutes he gave me.
<br />I like to give my editors options and since this was a new and very
<br />exciting client, I wanted to cover all my bases and nail the portraits.
<br />I shot verticals and horizontals, strobed light and ambient light,
<br />posed and candid. I also try to let the space and mood dictate
<br />the feel of images as well. I try not to enter with too many preconceived
<br />notions and I try to work with what I’m given and make it sing.
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<br /><img src="http://farm7.static.flickr.com/6202/6099564239_4f5f93e477_o.jpg" alt="RangelBW01" height="950" width="633" />
<br /><span style="font-style:italic;">MELISSA: This is the image that my assigning editor wanted to run.</span>
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<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Ok, onto the image - can you describe what was going on in
<br />your mind as the image took shape? Please also tell us what you
<br />were thinking when you made the image.
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<br /><span style="font-weight:bold;">MELISSA:</span>
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<br />We were 30 minutes into the shoot when I asked the congressman
<br />to relocate yet again. He stood and I pointed to his couch by the
<br />window. He walked across the room, sat down there and then he
<br />took a moment. He broke character. This is not to say that he was
<br />acting before that point, but public figures tend to have public
<br />personas. We all do, to a certain extent. Most folks want to show
<br />their best face to the camera, especially when one is being photographed
<br />for a national magazine and is under the microscope for one’s actions
<br />as Rangel was. I actually found him quite genuine and he gave up a
<br />lot of “moments” that some other individuals with more tightly controlled
<br />personas may not have. That didn’t change the fact that for the
<br />majority of the shoot, he, like most of the people I’ve ever photographed
<br />for a portrait, played to the camera.
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<br /><img src="http://farm7.static.flickr.com/6190/6100126632_0865c4c34c_o.jpg" alt="3" height="633" width="950" />
<br /><span style="font-style:italic;">MELISSA: I'm a fan of the body language in this shot. His legs say "relaxed" but I think his hands say "tense."</span>
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<br />If I had been looking at the back of my camera or doing anything
<br />else, I would have missed the moment of weariness - it could have
<br />been the weariness of a long life, a tough career, a difficult road
<br />ahead or a poor night’s sleep. I don’t know which it was. It didn’t
<br />matter. He showed it, I photographed it and that was it.
<br />
<br />A note about this: I definitely chimp when I move to a new setup -
<br />I like to make sure the light and settings are right, but I was too
<br />engaged by this shoot to be bothered to look.
<br />
<br />I remember gasping a little to myself when I saw what I had. I
<br />didn’t care about the rest of the pictures that day- I knew I had
<br />the shoot in the bag from a client-pleasing perspective. That
<br />one frame was “it” for me. It was my genuine story-telling image.
<br />This is a picture of a tired man. Why is he tired? Let me count
<br />the ways.
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<br /><img src="http://farm7.static.flickr.com/6085/6100134154_bb9eb973a4_o.jpg" alt="4" height="635" width="950" />
<br /><span style="font-style:italic;">MELISSA: This is the image that actually ran with the article. I got some flack over the light reflected in the mirror, as though it was a mistake. I deliberately shot it that way after noticing in the first few frames that it was showing up. I even adjusted my aperture to give it more of a starburst effect. I admit it's a little cheesy, but I think it looks like his conscience. </span>
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<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What were some problems or challenges you encountered
<br />during the coverage of this event, and how did you handle them?
<br />
<br /><span style="font-weight:bold;">MELISSA:</span>
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<br />The congressman’s lateness proved to be beneficial, he gave me
<br />a great deal of time to make his portrait and he did not limit my
<br />access the rest of the day. It was actually a dream shoot by
<br />Capitol Hill standards. Later in the day as I was shadowing him,
<br />he met with then governor David Patterson behind closed doors.
<br />I snuck into the room to get a few shots of them speaking
<br />together alone and the congressman didn’t say anything. After
<br />a minute or two, the governor, who is blind, must have heard me.
<br />He cocked his head and gave the congressman a quizzical look as
<br />if to say “am I really hearing a camera shutter right now?” Rangel
<br />didn’t miss a beat and said to the governor, “That’s Melissa from
<br />Time. Don’t worry, she’s deaf.”
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<br /><img src="http://farm7.static.flickr.com/6068/6099599049_a5650168ed_o.jpg" alt="2ndtolast" height="633" width="950" />
<br /><span style="font-style:italic;">MELISSA: The private meeting between Rangel and Patterson churned out a couple of real nice moments.</span>
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<br />It’s a funny story, but it illustrates the level of trust we operate on
<br />in DC. Yes, I’m a journalist and no, nothing was technically off the
<br />record, but for me to be in that room shooting that meeting, I
<br />closed my ears. I can tell you that they were talking some serious
<br />inside baseball about players I didn’t even know and the language
<br />wasn’t entirely political, but that’s the extent of my reveal. As a
<br />visual journalist, to gain trust and access to powerful figures, it helps
<br />to observe a basic protocol of “deafness.” While this may sound
<br />strange to those of you with journalism school degrees- I assure
<br />you that I’m only ever half deaf, but my eyes are always open. I
<br />observe and I try to use my other senses to inform what I see, but
<br />it’s not my job to report on the details of secret meetings. My job
<br />is to sometimes shoot them. It’s a privilege to be given that degree
<br />of trust.
<br />
<br />When I photographed Secretary of State Clinton at the State Department,
<br />I was sitting in on meetings that I didn’t have any sort of clearance for.
<br />We’re talking top-level discussions on foreign relations and intelligence.
<br />Was any of it earth-shattering, revealing material? No, not really. If I
<br />ever hear anything that could change the course of history, I’ll be sure
<br />to tweet about it. Until then, I’m half deaf.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6083/6067521885_e70e60938a_o.jpg" alt="Rangel_69" height="623" width="950" />
<br /><span style="font-style:italic;">MELISSA: Rangel's body language here says "I rule this room." Love it.</span>
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Could you talk about the process of photographing in DC, or with
<br />politicians in general? Anything from logistics of getting gear through
<br />security to dealing with handlers, setting up situations and having very
<br />small amount of time, etc. Something that could give insight to students
<br />or someone who has never worked in those situations.
<br />
<br /><span style="font-weight:bold;">MELISSA:</span>
<br />
<br />Working as a photographer in DC and on Capitol Hill in particular is
<br />a little different from working most other places. In order to easily
<br />get in and out of the Capitol complex, I have to have press credentials
<br />issued by the Senate Press Photographers Gallery. I have to put all
<br />my gear on a conveyer belt and walk through security when I first
<br />enter a congressional office building or the Capitol itself, but once
<br />I’m in, I can navigate through a warren of underground tunnels to
<br />get to any other building in the complex. It’s great for rainy/snowy
<br />days.
<br />
<br />Congressman Rangel’s office (which is easily the best-decorated
<br />office in DC that I’ve been to) is in the Rayburn House Office
<br />Building. I get lost in the House and Senate office buildings all
<br />the time. I also get lost in the basement of the Capitol. It’s
<br />embarrassing to admit, but it’s true. Beyond the fact that I’m
<br />directionally challenged and that you have to put all your gear
<br />through security, shooting on the hill is pretty easy.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6210/6099680955_124effaf21_o.jpg" alt="RangelBW06" height="610" width="950" />
<br /><span style="font-style:italic;">MELISSA: Moving through the Capitol complex, it's always important to stay a few steps ahead. You get real good at walking backwards. This can get dangerous in crowded halls or on escalators.</span>
<br />
<br />
<br />
<br />Photographers must observe some basic protocol (no taking
<br />pictures in the cafeterias and no shooting into the House or
<br />Senate galleries) and while there’s no formal dress code, I try
<br />to dress appropriately. No jeans. I live in jeans so this one
<br />is hard for me, but I feel the need to respect the history and
<br />gravity of the institution. Jeans are generally not appreciated
<br />in DC. I remember my first time at the White House- I wore a
<br />suit and got to go into the Oval Office, but some videographers
<br />in jeans were not permitted access. It might seem uptight, but
<br />that’s how we roll around these parts. As uptight as things can
<br />be in DC, the access to politicians is remarkably good. I’ve
<br />dealt with a few celebrity handlers in my time and they can make
<br />any shoot an exercise in rage control. The handlers here (who
<br />I’ve worked with) are shockingly laid back. It’s a little surprising,
<br />but then again the politicians are not only public figures but
<br />also public officials and they must remain accessible to the
<br />public and the press to a greater degree than your
<br />run-of-the-mill celeb.
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What are your ideas/philosophy about capturing "moments" in
<br />set-up or portrait situations?
<br />
<br />
<br /><span style="font-weight:bold;">MELISSA:</span>
<br />
<br />I got my start in newspapers, where “portrait” was kind of a
<br />dirty word. If you had to make a portrait of someone, it meant
<br />you couldn’t manage to get them in action, and there were
<br />no real acceptable excuses. In newspapers, I got the strong
<br />impression early on that portraits were the last resort of the
<br />lazy/incompetent photographer. There are exceptions, like a
<br />pre-conceived portrait series, but I tried to never shoot a
<br />portrait for an assignment when an action shot was within
<br />the remote realm of possibility.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6210/6099593387_7d5a532b3d_o.jpg" alt="last" height="633" width="950" />
<br /><span style="font-style:italic;">MELISSA: He had to take some calls during the portrait session, so I kept shooting. This is what I mean when I talk about the spontaneous moment within the setup. </span>
<br />
<br />
<br />
<br />
<br />Nowadays, I shoot primarily for magazines and at least 80% of
<br />my assignment work is portraiture. It was extremely counterintuitive
<br />at first - I didn’t feel comfortable directing. It felt downright
<br />unethical to tell a subject where to stand or how to look.
<br />Slowly, I began to realize that the very nature of portraits
<br />allows me to control elements that had previously been out
<br />of my hands as a news photographer. I was no longer limited
<br />to the confines of attempting to capture what was unfolding
<br />before me. I could directly craft the image to tell the story.
<br />I became increasingly hands-on, but never felt truly comfortable
<br />with the images I took that were purely direction. I felt they
<br />said more about me than my subject.
<br />
<br />Over time, I learned that there is an exquisite middle ground -
<br />the spontaneous moment within the setup. That is what I aim
<br />for in every single one of my portrait sessions. I approach each
<br />subject differently to achieve this. Sometimes I’ll bark orders.
<br />Other times, I’ll have a friendly conversation and find common
<br />ground to create a connection. Sometimes, I don’t say a word,
<br />I just shoot and let the silence get awkward and uncomfortable
<br />until the subject can’t stand it. It really is different with
<br />everyone and I try to feel out my approach within the first
<br />minute of meeting the subject. With Rangel, I put him through
<br />the paces and just kept shooting. No one can smile for 5
<br />minutes straight - the muscles start to give out after a while.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Was there anything that you learned or put to use in
<br />later assignments that come about from this experience?
<br />
<br />
<br /><span style="font-weight:bold;">MELISSA:</span>
<br />
<br />
<br />When preparing for a big shoot like this, photographers have a
<br />lot on their minds. They have to figure out gear and logistics
<br />and be prepared for anything, and when you’re busy worrying
<br />about that it can be easy to forget one of the easier things you
<br />can do to ensure a good shoot. Research your subjects when
<br />possible! There are a number of advantages to this. It can help
<br />you make more informed images, but it also tends to put you on
<br />a more level playing field when dealing with powerful people.
<br />Knowing way more about them than they know about you shifts
<br />the power dynamic instantly. You can use what you know about
<br />them to either put them at ease or put them on edge, depending
<br />on what the situation calls for.
<br />
<br />I’d read up on the congressman before my shoot, but my
<br />three hours in Rangel’s office before the shoot
<br />allowed me to study him further. By the time he showed
<br />up, I knew what I wanted to incorporate into the
<br />images and why. To make him more comfortable, we could
<br />have discussed African art, Harlem and Korean War history.
<br />To put him on edge, I could have brought up any aspect of his
<br />scandal with which I was intimately familiar thanks to some
<br />reading in the days before the shoot.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6199/6101012146_fda972b3f8_o.jpg" width="950" height="633" alt="Rangel_bw_76"></a>
<br /><span style="font-style:italic;">MELISSA: While waiting in the congressman's office, I made sure to shoot some of his decor which consisted of medals, awards and a lot of art - most of it African. I thought this lion was a particularly nice detail because Rangel is known as the Lion of Harlem. He is also a war hero who fought in the Korean conflict. This made him electable early on, but in the context of his modern troubles I wanted to show that there is a depth and complexity to the man beyond your typical scandalous politician.</span>
<br />
<br />
<br />
<br />My extra long setup on this shoot clued me in to the notion that
<br />it’s a lovely thing to have plenty of lead-time. I generally like to
<br />jump into situations, guns blazing, but it’s nice when you can
<br />provide yourself the luxury of a slower, more thoughtful shoot.
<br />
<br />Additionally, there were many, many hours of post work on this
<br />shoot. I toned up almost 100 selects to magazine print standards
<br />because I wanted to make a good impression. When I worked in
<br />newspapers, if I turned in more than ten images from an assignment,
<br />I’d be chided. When I worked in wires, any more than twenty
<br />pictures and I’d get in trouble. When I made the switch to
<br />magazines, it was very strange to hear, “What else do you have
<br />from this?” I thought I had gotten pretty good at picking a handful
<br />of my very best selects and now I was being asked to submit entire
<br />takes. My typical submission of selects for my magazine clients
<br />ranges from 40-60 images. I’ve since learned that I can do a quick-
<br />tone on the low-resolution files (which still takes me an hour or
<br />two in Lightroom) and then I do the extra work on the requested
<br />hi-resolution images when that order comes in. Getting my workflow
<br />down for magazines has really helped me to be more efficient with
<br />my time. I wasn’t kidding when I said it took me many hours of
<br />post on the Rangel shoot. I watched six or seven movies while I
<br />did it.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6078/6099704449_4c44f8eb28_o.jpg" width="950" height="634" alt="Rangelmain">
<br />
<br />
<br />
<br />
<br />I’ve learned most of these kinds of lessons through trial and error.
<br />There really isn’t room for error as a freelancer because if you
<br />screw up with a client, you don’t get hired again. My errors have
<br />thankfully been mostly of the variety I could fix before the client
<br />was affected. I subscribe to PDN and a lot of photography blogs to
<br />make sure I’m up on the latest tools that can help me get my job
<br />done faster/better/easier. I’m always self-educating. When I find
<br />myself admiring a photographer’s output, I don’t sit back and
<br />wonder how they did it. I buy ‘em a meal and a drink and start
<br />asking questions. The Image Deconstructed blog is a valuable
<br />resource that I wish had been around when I was first getting
<br />started. That’s not to say I don’t learn anything from reading it
<br />now, but I envy the kids in photo school today who have instant
<br />access to incredible amounts of focused information on every
<br />aspect of photography imaginable.
<br />
<br />
<br />
<br />++++
<br />
<br />Melissa Golden is an editorial photographer based in the DC metro area, but she isn’t really from anywhere in particular. Her nomadic childhood, courtesy of the United States military, has led to a life marked by continuous change, renewal and wanderlust. Her work is influenced by all the places she’s called home at some point- the brazen oddity and beauty of Southern California, the tradition of the Deep South, the storm light of rural Florida, the heady intrigue of the Middle East and the stiff formality of the District of Columbia. She may not know where she’s going next, but her pictures help her to keep track of where she’s been.
<br />
<br /><a href="http://www.melissagolden.com/">http://www.melissagolden.com/</a>
<br />
<br /><a href="http://www.goldenhourblog.com/">http://www.goldenhourblog.com/</a>
<br />
<br />
<br />+++++
<br />
<br />
<br />
<br />Next week we'll feature this wonderful image by Chris Tyree:
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6076/6100644641_b985716a8d_o.jpg" width="600" height="400" alt="tyreepromo">
<br />
<br />
<br />As always, if you have a suggestion of someone, or an image you
<br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:
<br />
<br />ross_taylor@hotmail.com
<br />logan@scott-free.com
<br />
<br />For FAQ about the blog see here:
<br />
<br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/
<br /></a>
<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-24102920476505590092011-08-16T20:22:00.001-07:002011-09-19T18:14:54.277-07:00Spotlight on Bryan Derballa<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEgUtytpvslKn50T_jAJ5tflR5DiszBRZzT20SGXrBSNaIvRo1nRB0SMYK5sBo_LJ0-2OVdVHTyYCJe2_M8CpoqXIylwUDCkyHMtMsjCotXpNGJHCgSM8urxsVPZdo3YF0N52CHxIIxA/s800/6045744741_c6b2c61243_o.jpeg" style="display:none" alt="FEATURED"/><br /><span style="font-weight:bold;">TID</span>:<br /><br />Bryan, thanks for your time. Please tell us some of the <br />background of the image.<br /><br /><br /><img src="http://farm7.static.flickr.com/6191/6045744741_c6b2c61243_o.jpg" width="954" height="637" alt="tid_bryanderballa07"><br /><br /><br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />Abandoned. Summer. Camp. I don't know what emotions <br />those three words stir up for the readers out there. But <br />for me, there is hardly anything in the world that sounds <br />as exciting. I grew up in the mountains of North Carolina <br />and swimming holes have long been essential to my <br />existence. So when a friend was organizing a trip to this <br />secret spot north of New York City, I knew I had to be there. <br /><br />I'd been shooting assignments six or seven days a week all <br />year, taking everything that came my way because you never <br />know when it might dry up. But this was the perfect reason <br />to take off. So I piled into a car full of friends listening to <br />Canned Heat and John Cougar Mellancamp, leaving the city and <br />assignment work behind. Of course I brought a camera but <br />photography was really an afterthought. I was more concerned <br />with being around friends, being in water, and being a part of <br />this imminent adventure. <br /><br /><br /><img src="http://farm7.static.flickr.com/6190/6046294132_b19c0e2ee5_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I mentioned this in an earlier email to you - that this image <br />reminds me of years ago, when I used to go swimming late <br />at night with friends. There was so much freedom in that <br />experience, and in our youth. I remember feeling like it would <br />never end. Those were some of the most wonderful days, and <br />it's a sentiment I'm sure many can relate to. <br /><br />How do you approach making images from your own life, and <br />what do you learn from these experiences?<br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />In an episode of "This American Life" about Prom, Ira Glass <br />describes it as "fraught with possibility." I didn't go to my <br />prom but it's a idea that I can relate to over and over. <br />Some of the strongest feelings of my youth come from the <br />idea of the unknown, that anything could happen. Then <br />when the experiences exceed the expectations, it's pure <br />magic. <br /><br />Those are the moments I'll remember forever. <br /><br /><br /><img src="http://farm7.static.flickr.com/6080/6046294050_34c709471a_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br />As we get older and fall into routines and learn more of the <br />world and how it works, we're often left with less opportunities <br />that feel "fraught with possibility." One of the reasons I am <br />a photojournalist is because each assignment has the potential <br />to border on such an opportunity. But it still doesn't whirl up <br />the same feelings as my first time skinny dipping, or <br />house party in high school, first road trip with friends <br />or first visit to Europe. When I am confronted with those times <br />in my personal life, that's probably when I'm most inspired to shoot. <br />It's an emotional compulsion. Then looking back at those photos,<br />it reminds me of what I value.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Lets talk about the main image. Tell us what led up to it, <br />as well describe what was going on in the moment. <br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br /><br />All these photos are from a 24-hour period. We made it to <br />the abandoned summer camp in the late afternoon when the <br />sun was blazing and we immediately started jumping and <br />diving off everything in sight. We were probably there for an <br />hour before a park ranger materialized out of the woods. He <br />ran our IDs and told us we were trespassing and had to leave. <br />Demoralized, we hiked back to the car just as another group of <br />friends was rolling in. They missed the ranger so they took off <br />for the lake to set up camp. <br /><br />We drove around looking for a place to stash the car so the <br />ranger wouldn't know that we went right back to trespassing. <br />As we were trying to hide the car off a dirt road we got caught <br />a second time by the same guy! It was so embarrassing. I felt <br />far too old to get in trouble for this kind of shit. He just told us <br />to keep moving. But still determined, we hid the car on the <br />other side of the lake and hiked in under the cover of night. Our <br />other friends already had a fire going and were partying. We <br />joined in and all the anxieties of getting caught by the ranger <br />slipped away. <br /><br />Finally at about 2am, everyone was feeling adventurous enough <br />to skinny dip. Ten of us were diving and floating in all our glory. <br />Although there was no moon or available light and I never really <br />carry a flash, I still felt compelled to take pictures. It was exactly <br />one of those experiences that you never want to end. I did what I <br />could to just get it in the camera -- to put that memory away for <br />safe keeping. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6083/6046294380_648937d6bb_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6077/6045744581_63f6fc41f5_o.jpg" width="954" height="637" alt="tid_bryanderballa05"><br /><br /><br /><br /><br />I started out by setting my camera on the railing of the dock and <br />just leaving it with long exposures. But it felt too static, like I was <br />waiting and not interacting. Instead, I turned up my ISO higher <br />than I ever had before and handheld my camera for two or three <br />seconds at a time, hoping something would come out. Standing <br />there naked on the dock, I did whatever I could to capture that <br />feeling without interrupting it. So when my friends were swimming <br />the floating dock out to the middle of the lake, one of the pictures <br />happened to come out. When I felt like I'd done enough, I set my <br />camera on the dock and jumped in to meet them. <br /><br /><br /><img src="http://farm7.static.flickr.com/6071/6045744929_ce02bb74dc_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><br />After swimming the rain started so we climbed through the window <br />of one of the abandoned cabins. Some of us swept the dust while the <br />others gathered dry wood to start a fire in the fireplace. We all piled <br />in, sleeping shoulder to shoulder across the floor. Someone brought <br />a little set of speakers and I deejayed sing-a-longs late into the <br />night. At some point no one was left and I faded out with Sigur Ros. <br />It was probably around 4am. At 7 am we woke up and the lake was <br />entirely fogged over. We had to go for one last swim before leaving. <br />With the fog and lack of sleep it felt like diving in to a dream. It was <br />totally surreal. <br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />In an earlier conversation you said that you thought it was <br />representative of how you see yourself. What do you mean?<br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />This trip was a pretty big departure from my everyday life in <br />New York. But it represents how I like to view myself -- free, <br />uninhibited, adventurous. The sincerity of the night and <br />seeking something beyond the normal routine of life; those <br />are things that are really important to me. And all the emotions <br />wrapped up in the night, in the interactions, in our heads, in <br />the pictures. I'm always looking for some kind of strong emotional <br />response, whether it's from music or movies or photos or real-<br />life events. It could be sad, ecstatic, nostalgic, or loving, just so <br />long as I'm feeling something. <br /><br /><br /><img src="http://farm7.static.flickr.com/6189/6045744783_8609b8a5cb_o.jpg" width="954" height="637" alt="tid_bryanderballa06"><br /><br /><br />So that's what I care about and that's what moves me. But it's <br />not necessarily how I always live my life. It's the battle between <br />the ideal self and actual self. My actual self is probably pretty <br />neurotic and often preoccupied with unimportant things. But <br />that freedom, sincerity and emotional drive still exists in me. <br />It's just that I probably extrapolate from those attributes and <br />leave the more boring ones on the cutting room floor when <br />constructing an idea of who I am.<br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />You also said that it was a break from your <br />usual style. Why was that important to note?<br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />This kind of relates to my answer in the last question. I tend to <br />shoot two different ways. Often I keep everything in good visual <br />order with clean lines and each element has its own place. My <br />desk is the same way. Everything is at right angles and evenly <br />spaced. That's the neurotic part. I don't necessarily like it, but <br />it's been useful. That's how I shoot when my actual self is in control. <br /><br />Then other times, when I'm really emotionally invested in what I'm <br />shooting, things get a lot looser. Photos become more like poems <br />than architecture. My pictures get messy, dark, and blurry. But <br />usually it's a much better representation of what I'm feeling. My <br />emotions are never neat and orderly. I could have just as easily <br />set up a couple strobes and a tripod and shot my friends on the <br />dock that night to look like a magazine spread but it wouldn't have <br />felt the same. Instead I immersed myself in the experience and I <br />shot uninhibited from the heart. I think because of that the pictures <br />are as true to the events as I could make them.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6191/6045744741_c6b2c61243_o.jpg" width="954" height="637" alt="tid_bryanderballa07"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What surprised you during the making of these images?<br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />I wasn't even paying attention to the screen on my camera. I was <br />just snapping and hoping something would come out. I was much <br />more surprised when editing a couple days later. A few photos <br />have a double exposure feel. I guess I moved pretty significantly <br />during the long exposure and made two exposures on the same <br />frame. I wish I could say it was intentional because it looked <br />good. Overall, I was most surprised that the photos looked like <br />how that night felt.<br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What did you learn from the experience that you previously<br />didn't know?<br /><br /><br /><img src="http://farm7.static.flickr.com/6068/6045744515_3e94c2c1d1_o.jpg" width="954" height="637" alt="FEATURED" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />I don't think I learned anything new. It just reinforced the <br />idea that I need to keep pushing myself. The first time I <br />ever met John Francis Peters (www.jfpetersphoto.com), he <br />told me that he thought photography was in its infancy. <br />That's really stuck with me. Compared with another medium <br />like painting, photography has just started. There's so much <br />more we can do. That's also one of the reasons I embrace <br />digital. With film, it's really difficult to do something visually <br />unique that wasn't done 25 years ago. But with digital, <br />I'm making color photos at 6400 ISO in pitch black night <br />without a tripod. I don't think everyone has seen that. <br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />I really admire the intimacy in your work, it seems that <br />the people you photograph feel very comfortable in your <br />presence. How do you think you accomplish this?<br /><br /><br /><img src="http://farm7.static.flickr.com/6184/6045744867_0f549e8345_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />I wish that was true. I photograph uncomfortable people all <br />the time. I just try to share a part of myself in hopes that folks <br />will do the same. It's the same way I try to connect with people <br />at the dinner table. Talk about shared interests. I also like to <br />help people understand what I'm trying to do. To tell them that I am <br />looking for intimacy and reality in the my photos. Most folks <br />respect that. <br /><br />On the night of these pictures, there were a few people that <br />I'd never even met. We got to know each other around the fire, <br />but not much. It probably helped that I was the first person <br />naked. If I'm swimming in a lake at night, it's gotta be naked. <br />And I was naked when I was shooting the photos of them <br />naked. Also, everyone was a little drunk and it was so dark. <br />If they were aware I was shooting, they probably didn't think <br />anything would come out. I don't drink and never have but I <br />don't like to make a point of it when other people are drinking. <br />I've found that it makes them self-conscious about being drunk. <br />Making someone self-conscious is the last thing I want. <br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />What do you think you learn from documenting your <br />personal life that applies to your professional life?<br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />I'm much more inclined to try new ways of seeing and <br />communicating when shooting my personal life. There's <br />no risk involved and more room for error. I don't have to <br />worry about things being too abstract or obtuse for the <br />newspaper when I'm shooting my own life. Once I refine <br />those methods I can use them while on assignment. As for <br />connecting with people, I try to do that the same regardless <br />of whether or not I'm getting paid. <br /><br /><img src="http://farm7.static.flickr.com/6184/6046294090_ff9e459193_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Finally, what do you wish you had done differently that weekend<br />photographically?<br /><br /><br /><span style="font-weight:bold;">BRYAN</span>:<br /><br />The fact that anything came out was such a pleasant surprise, <br />I don't think I could have wished for anything more. Well this <br />is pretty nerdy, but I do wish I had my Canon wireless transmitter. <br />It goes on top of the camera and is supposed to trigger strobes, <br />but it also sends out an infrared beam to get the focus in the <br />dark. I don't want the strobes but the focus would have been <br />nice. I don't know if any of the pictures would have been less <br />blurry but it I probably could have been more free without <br />trying to find the focus in the dark.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6210/6045744459_410ca220d7_o.jpg" width="954" height="637" alt="Summer Camp | Bryan Derballa"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID</span>:<br /><br />Thanks so much, Bryan. <br /><br />BIO<br /><br />Bryan Derballa is a documentary photographer living in Brooklyn, NY. He works regularly for The Wall Street Journal, The FADER, The Daily, The Financial Times, Wired.com, Huck, and Juxtapoz. And he's not beyond doing commercial work for the likes of Nike, Adidas, and Palladium Boots either. Photographically, he's really interested in capturing feelings. Whatever that means.<br /><br />You can view more of his work here:<br /><br /><br /><a href="http://www.lovebryan.com/">http://www.lovebryan.com</a> <br /><br /><a href="http://www.bryanderballa.com/">http://www.bryanderballa.com</a> <br /><br /><br /><br />+++++<br /><br /><br /><br />Next week we'll feature this surprising image of U.S. <br />Representative Charles Rangel, made by Melissa Golden:<br /><br /><br /><img src="http://farm7.static.flickr.com/6088/6056745407_0f0697c046_o.jpg" width="600" height="399" alt="1"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross_taylor@hotmail.com<br />logan@scott-free.com<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-51651833189863533332011-08-16T19:09:00.000-07:002011-09-19T13:19:38.001-07:00Spotlight on Gerry McCarthy<span style="font-weight:bold;">TID:</span><br /><br />Gerry, thank you for taking the time for this interview. Could <br />you tell us about the image's context and the assignment?<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6191/6051724194_f19f627d47_b.jpg" width="950" height="625" alt="NS_4hswixoncol01gm"><br /><br /><br /><br /><span style="font-weight:bold;">GERRY:</span> <br /><br />The gig was to spend an afternoon at football practice with <br />Steele Downing, a local athlete who'd had his leg amputated <br />at an early age.<br /><br />Downing, a 16 year-old lineman for the Lovejoy (Texas) <br />Leopards, had his left leg amputated below the knee after <br />suffering from a bone disease since childbirth. The disease <br />-- a pseudoarthrosis of the lower tibia and fibula -- <br />created holes in the bones of Downing's lower left leg that<br />led to several breaks before he and his parents opted to <br />amputate the lower portion of the leg when Downing was <br />9 years-old. Not to be deterred, Downing has played football <br />since the seventh grade and recently, picked up soccer.<br /><br />It was one of those things where I wish I'd heard about <br />the kid beforehand -- would have made a great story. The <br />columnist writing about him, Matt Wixon, always finds these <br />great subjects in our area and is awesome to work with. <br />This assignment just fell in my lap.<br /><br />As far as the image itself goes, it was made in the locker <br />room before practice started. I figured there was a photo <br />to be made in the locker room (there always is, if <br />you have the access.) So I asked the coach, as well as Downing, <br />if it would be cool to follow him getting ready. Fine with both. <br /><br />One thing I believe strongly in is complete and total honesty <br />with my subjects about what I’d like from a shoot: access, <br />the kinds of images I’d like to make, etc. I don’t like the <br />“sneak” photos. In addition to the fact my parents raised <br />me better, I believe “sneaking” leads to disingenuousness <br />in the image that may not be apparent to the viewer. <br />It’s like this: I could cheat and never get caught, but I’d <br />always know, and that would be the most damning thing. <br /><br />So openness is important. I called the coach beforehand to <br />see how willing Downing would be with me being there. It’s one <br />thing to agree to be photographed, but another thing entirely <br />when the media arrives and starts following folks around. To <br />make the kind of images I want, I need permission to really <br />get in there when necessary. Again, everything is about trust <br />to me.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6194/6051724274_04a37f38f1_b.jpg" width="950" height="633" alt="_2GM9595.JPG"><br /><br /><br /><br /><span style="font-weight:bold;"><br />TID:</span> <br /><br />Now onto the image. Can you describe what was going <br />on in your mind as the image took shape, as well as what <br />you were thinking when you hit the shutter?<br /><br /><br /><span style="font-weight:bold;">GERRY:</span><br /><br />Like many shooters, I do a ton of pre-visualizing before a <br />gig -- usually to a fault. It's pretty common that whatever idea <br />I had in my head is nothing close to what's in front of me.<br /><br />When I went into the locker room I was expecting Downing to <br />be engaging his teammates -- joking around, roughhousing, <br />the usual stuff that goes on in that environment. Instead, he <br />simply got into his uniform (and athletic prosthetic) quietly, <br />by himself.<br /><br />I wasn't really disappointed by that, and instead chose to show <br />him quietly going about his business in the hustle and bustle <br />of the locker room.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6209/6051171025_6aea1f99dc_o.jpg" width="950" height="633" alt="FEATURED" alt="_2GM9628.JPG"><br /><br /><br /><br /><br />I worked the room a bit before backing off enough to see the <br />shoe. I wasn't even sure it was his… just hoped. At that point <br />it was pretty much just Downing and me in the locker room, the rest <br />of the kids dressed and off to practice.<br /><br />I waited -- just stood there with my back against wall, and watched<br />to see what he'd do. After about a minute, he reached out for <br />the shoe. The whole thing took a matter of seconds. It's funny, <br />after I fired off the frames, he looked up at me and said, "You <br />were waiting for that, huh?" We both chuckled.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6192/6051725052_2531909026_b.jpg" width="1024" height="505" alt="GMC_008_amputee"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What were some problems or challenges you encountered <br />during the coverage of this event, and how did you handle them?<br /><br /><br /><span style="font-weight:bold;">GERRY:</span><br /><br />I really didn't have any, actually. I think I went into it worrying <br />that the experience would be awkward for Downing. Obviously <br />he lives with the disability, but to have someone there solely <br />because of it might be weird. <br /><br />I mean, he could be the greatest football player ever, but the <br />fact that he's missing an appendage is what makes him unique <br />enough for us to show up. I have a tremendous amount of <br />empathy and respect for my subjects, and I'd hate to make <br />them feel differently. <br /><br />And the thing about that is, it’s a pretty tricky thing to judge. <br />Everyone has a totally different level of emotional speedbumps. <br />Some people (like me) are sensitive and can’t put up with <br />much. Others are up for anything and can really push boundaries.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6193/6051724510_75bf65c520_b.jpg" width="950" height="648" alt="NS_4hswixoncol02gm"><br /><br /><br /><br /><br /><br />I sort of went into this earlier, but that was the main reason <br />I called the coach before I arrived at the school. I actually <br />call most of my subjects before a shoot (professional courtesy, <br />in my opinion.) But whenever a shoot is going to have a chance <br />for hyper emotion, I like to just get the dialogue rolling early.<br /><br />Otherwise, it’s totally a judgment call. Will this person understand<br />that I’m not there to objectify them? Exploit them via my camera? All <br />I can do is hope and keep my “gut” on high alert.<br /><br />But Downing was great about everything. Very nice, a little quiet, <br />but unguarded with his access. For an assignment like this, I <br />seriously could not have asked for a better subject.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6084/6051171391_0020968d96_b.jpg" width="950" height="631" alt="NS_4hswixoncol05gm"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;"><br />TID:</span><br /><br />You mentioned the tension with pre-visualizing ideas - how <br />this can be a catalyst to momentum and excitement as opposed <br />to being a stumbling block when expectations aren't real (by both <br />you and editors). Can you discuss that a bit more?<br /><br /><span style="font-weight:bold;"><br />GERRY:</span><br /><br />I'm trained to work as a night photo editor here at the DMN and <br />do so about a dozen times a year. Back when I was taught in 2009, <br />I did several weeks in a row. It gave (and continues to give) me an <br />interesting perspective as to why photo editors get "ideas" in their <br />heads about shoots. <br /><br />We've all been there -- you get back from your gig and the editor <br />clearly thought you'd deliver whatever their expectation was. But, <br />you were the one in the field; it's always a difficult dance.<br /><br />Anyway, I noticed that my pre-visualizing about gigs got <br />WAY worse after I was trained on the desk. It's like I was trying to <br />be editor and shooter at once, which in my mind is a fool's errand.<br /><br />It's taken some time and a lot of self-reflection (therapy <br />helps, too) but I've started to learn to deal with what's in front of <br />me, no matter what was expected beforehand. I'm a negative person <br />by nature, but have a dollop of perseverance (bordering on bull-<br />headed doggedness.) So when things don't go my way photographically <br />(or otherwise), I try to regroup and form a new attack. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6071/6051171273_60c61cbe37_b.jpg" width="950" height="644" alt="NS_4hswixoncol03gm"><br /><br /><br /><br /><br /><br />Regrouping is sort of a Zen thing, too. Any time I talk photography <br />I feel like I’m some sort of Buddhist. For me, it’s about completely <br />clearing my head. I step back, take a couple of deep breaths and <br />just start over. I think of it like rebooting a computer. Unless it’s a <br />force quit (spinning wheel of death, anyone?) you don’t lose any <br />of the old information – you just start anew with what you learned <br />and proceed in a new direction.<br /><br />At this assignment, I was expecting the classic tale -- a kid who <br />rose to the occasion and was the hero of his peers. They'd carry <br />him off on their shoulders in razor sharp light as triumphant music <br />blared. Silly. For one, this was practice, not a game. And what's <br />more, this ain't Hollywood.<br /><br />So when I was presented with a pretty subtle, quiet scene, I went <br />with it. Turned out to work.<br /><br /><span style="font-weight:bold;"><br />TID:</span><br /><br />It seems like one strong aspect of your style is a use of subtly. <br />There is still a "moment" but it is almost a supporting player to <br />color and composition. Is that fair? Can you give us some insight <br />into how you make images?<br /><br /><br /><span style="font-weight:bold;">GERRY:</span><br /><br />It's funny. After this came up in our conversation, and reading <br />the question again here I got to thinking that, yeah, it's a very fair <br />statement. And I realized I've always been that way.<br /><br />Whether it was my old music theory/comp days, or the art, <br />cinema or prose I like, I've always gone for the more low-key, <br />subtle stuff. Photojournalism is no exception.<br /><br />I do like the overt -- the big and bold -- as much as the next guy, <br />but there's something about simple and quiet in the craft I really <br />enjoy. I like things that require effort, and maybe almost operate <br />on a subliminal level -- processing information you didn't know <br />was there.<br /><br />With this picture, in my head there's a lot going on, but it's all <br />sort of quiet like -- whirring in the background behind the moment.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6191/6051724194_f19f627d47_b.jpg" width="950" height="625" alt="NS_4hswixoncol01gm"><br /><br /><br /><br /><br /><br />There's the body language -- his fingers outstretched, just <br />out of reach. The tiptoe of his prosthetic leg balanced on the <br />floor. There's color play, and a little added depth with the <br />photos along the lockers.<br /><br />And then there's my favorite thing -- the shoe itself. His left shoe, <br />same as the leg he's missing.<br /><br />I don't know that any viewer would notice these things, and I <br />don't know if they'd care. But I did, in both regards, and I guess <br />that's enough for me.<br /><br /><span style="font-weight:bold;"><br />TID:</span><br /><br />Was there anything that you learned or put to use in later <br />assignments that come about from this experience?<br /><br /><br /><span style="font-weight:bold;">GERRY:</span><br /><br />Not to be a let down, but not really. That is to say, nothing <br />specific came from this gig that I hadn't already figured out <br />over the years. And they're all super cliché sounding, but still, <br />they guide me: Expect the unexpected. Have an idea of what <br />you want, but don't let it dictate the shoot. Let the subject <br />guide you. And most importantly, be present, be honest.<br /><br />That last one sounds pretty obvious, but it took me a long <br />time to get there. Through friends and mentors over the <br />years I realized I was way over-thinking my shoots. Forcing <br />compositions and moments that didn't need to be there. <br /><br />At some point, I came to terms that the most important <br />thing for me at an assignment was to be open to the <br />experience. It may make me sound like some sort of hippie, <br />new age guy, but when I'm at my most successful, I'm <br />little more than a ready and willing vessel -- present and <br />eager to go wherever it is we go. Along the way, maybe I'll <br />make a nice picture. That’s the hope, anyway.<br /><br />++++<br /><br />Call me Gerry. I'm a 32 year-old staff photojournalist with The Dallas<br />Morning News. I shoot it all, via stills or video; film when they let<br />me. Before Dallas, I worked at papers in Missouri and northeast Texas<br />after receiving my journalism degree from the University of Texas in<br />late 2002. I was in college for almost six years, changed majors and<br />schools three times, and all I got was a lousy BJ (that sounds wrong,<br />huh?).<br /><br />I'm a south Texas native. No, not Houston -- think further south. I<br />come from the land of brutally hot summers, amazing citrus and the<br />occasional cartel shootout.<br /><br />I am married to the most amazing woman in the world, and together we<br />have a 10 month-old son who is magical. In my spare time, I'm a hack<br />musician, lousy handyman, and rabid consumer of coffee, Topo Chico,<br />stand up comedy, Chicago Blues and old school horror movies. I also<br />like cheese.<br /><br />Through the power of habit I have come to view an insignificant sperm<br />and egg as myself.<br /><br />SITE: <a href="http://www.gjmccarthyphoto.com/">http://gjmccarthyphoto.com/</a><br /><br />BLOG: <a href="http://www.gjmccarthyphoto.com/blog/">http://gjmccarthyphoto.com/blog/</a><br /><br />WORK: <a href="http://www.dallasnews.com/photos/">http://www.dallasnews.com/photos/</a><br /><br /><br />+++++<br /><br /><br /><br />Next week we'll feature this lovely image by Bryan Derballa:<br /><br /><br /><img src="http://farm7.static.flickr.com/6207/6054121053_a04be25bc7_o.jpg" width="600" height="401" alt="tease"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:<br /><br />ross_taylor@hotmail.com<br />logan@scott-free.com<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-52959869476152981592011-07-30T12:39:00.000-07:002011-08-15T20:07:15.276-07:00Spotlight on Erika Schultz(please note - all images in this interview are
<br />under the copyright of The Seattle Times)
<br />
<br /><span style="font-weight:bold;">TID: </span>
<br />
<br />Erika, thanks for taking the time to speak with us. Please
<br />tell us a little bit about the background of this week's
<br />featured image:
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6138/5998491058_4c7a630811_o.jpg" width="954" height="637" alt="movingday001">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA: </span>
<br />
<br />Ross, thanks so much for creating The Image, Deconstructed.
<br />It’s an inspiring and valuable resource for the photojournalism
<br />community.
<br />
<br />Kim moved her two sons— including Jack, 9— from Chicago
<br />to Seattle in April 2010 after looking for work for about a year.
<br />Kim had heard there were good job opportunities in the
<br />Northwest. But the housing vouchers she had been counting
<br />on never materialized. They soon moved into a tent city called
<br />Nickelsville, and tried to establish their lives in a new city with
<br />very little.
<br />
<br />This photograph of Jack was taken as he moved from the tent
<br />city into the room his family was renting in the University District.
<br />After weeks of living without running water or electricity, Jack and
<br />Kim finally had a room of their own, and a kitchen and bathroom
<br />to share with other residents on their floor.
<br />
<br />The photo essay about Kim and Jack’s journey published in The
<br />Seattle Times in August 2010 as part of the final installment in a
<br />three-day, multiplatform series called “Invisible Families.”
<br />
<br />You can see the gallery: http://bit.ly/mPtrV9
<br />The Invisible Families project page: http://bit.ly/affjhJ
<br />
<br />After meeting Kim and Jack at Nickelsville tent city, I soon
<br />realized they had a strong relationship. They constantly joked
<br />with one another and were very affectionate. Kim was warm,
<br />open and funny. Jack was curious, imaginative and gregarious.
<br />During their time at Nickelsville, she worried about providing
<br />Jack a normal childhood through this difficult transition.
<br />
<br />They spent the majority of their money moving across the
<br />country. Some evenings, dinner was made over a campfire.
<br />Taking a shower sometimes meant walking a couple miles
<br />to a community center.
<br />
<br /><img src="http://farm7.static.flickr.com/6137/5997939883_fab3a16fd3_o.jpg" width="954" height="637" alt="nonmovingday010">
<br />
<br />(Jack and Kim share a moment while living in the tent city. Kim read
<br />online that jobs would open up in Seattle at the end of the recession.
<br />Without lining up a job, she moved to Seattle hoping to find secretarial
<br />work and a fresh start.)
<br />
<br />I wanted to try to share a realistic and personal glimpse into a
<br />family that was trying to maintain a sense of normalcy while
<br />homeless. I also wanted to show their relationship and humor as well
<br />as their quirks — like Jack’s love for the paranormal and his ability
<br />to enlist other tent city residents to look for worms.
<br />
<br />TID: Since this image is part of a larger story, please talk about
<br />that story, and how this image fits in within the story.
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />Reporter Lornet Turnbull and I started working on the project in the
<br />spring of 2010 and it published at the end of that summer. Journalists
<br />from within our community, including The Seattle Times, produced
<br />stories about family homelessness as part of a fellowship
<br />administered through Seattle University and funded by the Bill &
<br />Melinda Gates Foundation.
<br />
<br />The foundation said it sponsored the fellowship to focus attention
<br />on homeless families, which are the fastest-growing, yet least visible
<br />segment of the homeless population, both in Washington state and
<br />nationally. It did not stipulate how fellows should pursue their work,
<br />nor did it review what the fellows produced. Each fellow was granted
<br />a $15,000 stipend. The Times used its stipend in part to enable a
<br />staff member to serve as project manager of contributions from the
<br />paper's online news partners. Our director of photography approached
<br />me to work on the project after The Times received the fellowship.
<br />
<br />While working on the project, Lornet and I talked to dozens of
<br />organizations, caseworkers and families, both gathering information
<br />together and separately. For weeks, we returned to shelters and
<br />social-service organizations in search families who could share their stories.
<br />
<br />I kept coming back to Nickelsville because I heard it was the only
<br />tent city in the area that accepted families.
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6009/5998490878_a2f30561df_o.jpg" width="954" height="616" alt="nonmovingday007">
<br />
<br />(Kim kisses Jack inside their tent during bedtime at Nickelsville.
<br />"Our nighttime ritual is goodnight, I love you," she said. She made
<br />their sleeping area out of a feather bed, couch cushions and more
<br />than a dozen moving quilts.)
<br />
<br />
<br />I met Kim and Jack while they were working at the tent city’s security
<br />desk. Kim told me a little of their story, and I let them know about our
<br />project and some the parameters it would include. After parting ways,
<br />I was both hopeful and nervous. I thought they had a good story, and
<br />hoped they would be open to sharing it.
<br />
<br />Soon after our conversation, Kim agreed to be a part the project. We
<br />discussed the importance of capturing candid images that could
<br />communicate both big and small moments in their lives.
<br />Kim really embraced it. She let me know when they were
<br />taking showers at the community center, doing laundry at The Urban
<br />Rest Stop and later when they were looking for apartments. I still find
<br />it amazing how well she kept in touch, despite all of their stress and
<br />hardship.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6024/5997940057_80b3b17132_o.jpg" width="954" height="637" alt="nonmovingday009">
<br />
<br />(With his flashlight and family dog close by, Jack plays with his toy
<br />plane before falling asleep in his tent at Nickelsville. He wears
<br />“Transformers” and “Star Wars” pajamas.)
<br />
<br />
<br />After we first met, they stayed in Nickeleville for about two weeks before
<br />Kim found several agencies to help them secure a deposit and first
<br />month’s rent for a room in the University District.
<br />
<br />When the big day came for them to move, I knew when it was happening
<br />and that I was invited to be there. Because we had developed trust and
<br />understanding, I knew I could focus on the moments of the day through
<br />photographs.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6137/5997939599_135fcb9c31_o.jpg" width="954" height="637" alt="movingday004">
<br />
<br />(The day of the move, Jack marches through Nickelsville with a
<br />bamboo stick given to him by a fellow resident.)
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Ok, now onto the image itself. Tell us what led up to the moment
<br />at hand, and also what was going on while you made the image.
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />This image of Jack was taken while they were moving from Nickelsville
<br />in South Seattle to their rented room in the University District.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6018/5991696582_57e781bbc6_o.jpg" width="954" height="546" alt="screenshots003">
<br />
<br />
<br />Once their bed was brought up a long staircase and into their room,
<br />Jack immediately jumped on the bed. He wriggled around for a bit,
<br />stretched out for a few moments (This is when I took the photograph)
<br />and then reached for a soda. We talked about how he was feeling in
<br />the new place. He played with a bamboo stick and his dog, Gracie.
<br />Then he returned to moving.
<br />
<br />Early on, while working with Jack, I realized that sometimes I could be
<br />a fly on the wall. But other times, he wanted to talk and interact. Did
<br />you see that spider? Guess what my brother is doing? Can I play with
<br />your camera? Do you know there are werewolves hiding in the bushes?
<br />
<br />I sometimes photographed Jack during these conversations. I'm not
<br />a fly on the wall when I photograph people. I want to listen to Jack's
<br />frustrations and achievements. Have lunch with him. Tag along when he
<br />looks for worms and bugs. Photograph him as his mom tucks him in for the night.
<br />
<br />I feel the more time you spend with people the better. It helps develop
<br />a better understanding of who they are, and more times than not,
<br />it can lead to a photograph.
<br />
<br /><img src="http://farm7.static.flickr.com/6140/5991696442_58a0a2ba21_o.jpg" width="954" height="558" alt="screenshots002">
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Was there any point of conflict during the making of this picture, or
<br />during the story, and if so, how did you manage it?
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />Homelessness and poverty are complex topics. I think one of the
<br />challenges our reporter, editors and some of the multimedia storytellers
<br />faced with the project was to how to share multiple perspectives of
<br />homelessness.
<br />
<br /><img src="http://farm7.static.flickr.com/6133/5997940123_a3a6c30a7d_o.jpg" width="954" height="637" alt="movingday002">
<br />
<br />(Most of their goods were stored in bags when moving. Kim, Jack, their friends
<br />and Jack’s older brother Tom — who was around for only part of the time
<br />during the story — took turns hauling up clothes and other items.)
<br />
<br />Through a variety of mediums we tried to touch on issues involving a
<br />lack of affordable housing in our region, the plight of refugee families,
<br />single fathers, the working poor, programs in schools and workings of
<br />the homeless support system. Even though we covered a lot of ground,
<br />I think it’s challenging to concisely package the causes and solutions of
<br />family homelessness in a three-day series. I think it takes continued
<br />coverage.
<br />
<br />While working with other families in the series (not with Kim and Jack)
<br />I learned that homeless parents sometimes grapple with a variety of
<br />issues. They can be stressed, scared, depressed and have drama in their
<br />lives. Sometimes they don’t take opportunities to help themselves.
<br />Sometimes they may not know all of the resources available.
<br />
<br />And not all of their decisions make sense to someone outside their
<br />situation. At times, I wondered if one family was telling the truth. It was
<br />difficult to keep track of another. Other families had histories of substance
<br />abuse. At points, I received phone calls and texts during all hours of the
<br />day and night. So, I often leaned on my colleagues and editors to help
<br />me to navigate these interactions. My purpose is to be with families as
<br />a journalist, not a social worker. So during parts of the project I struggled
<br />with guilt and frustration because I hadn’t been in some of these situations
<br />before.
<br />
<br />
<br />There were a lot of considerations while working on Kim and Jack’s story,
<br />as well as other families' featured in the series.
<br />
<br />We realized that caseworkers are sometimes protective of their clients,
<br />because the families may be stressed or dealing with trauma. They may
<br />want to refer you to a family who was previously homeless, versus a family
<br />who is currently homeless.
<br />
<br />Some parents feel fine discussing their struggles. But if their child or
<br />one of the siblings does not want their friends to know at school, we
<br />then knew they shouldn’t be involved in the project.
<br />
<br />Other families may not want to be labeled as homeless. One of our
<br />families in the series had second thoughts because they were nervous
<br />about being the public face of homelessness. They were embarrassed
<br />about their situation. They saw it as only temporary.
<br />
<br />How much help we could provide to families while reporting
<br />was also another important consideration.
<br />
<br />Is it okay to purchase a meal for a family? Should we tell a family
<br />about service providers that could help them in their area? Would
<br />it alter the course of a family’s path by sharing certain resources?
<br />Can we intervene in a story if a family is looking for a safe place to
<br />spend the night? Can we help them after the story publishes?
<br />
<br /><img src="http://farm7.static.flickr.com/6004/5997940005_b77c13d585_o.jpg" width="954" height="637" alt="movingday003">
<br />
<br />(One of the first things Jack finds at their University District
<br />apartment is a spider. Jack is seen through a small window
<br />next to the front door. "They [the bugs] are amazing," Jack said.)
<br />
<br />
<br /><span style="font-weight:bold;">TID: </span>
<br />
<br />Was there any concern about you taking this picture at the
<br />time, and if so, how did you handle it? (You mentioned the concept
<br />of photographing children.)
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />While working on this project, we realized that kids would
<br />likely be placed in the most sensitive position during our coverage.
<br />
<br />With some of the families, we discussed scenarios that could occur
<br />after the story published. We listened to their concerns, and tried to
<br />address those issues the best we could before starting to work with them.
<br />
<br /><img src="http://farm7.static.flickr.com/6012/5998490806_60581a0226_o.jpg" width="954" height="637" alt="movingday005">
<br />(Kim takes a break while moving into her new apartment with her dog Gracie.)
<br />
<br />There were a handful of families who decided they didn’t want to
<br />be a part of the project after learning more about it. We acknowledged
<br />that school aged children could be teased by their peers after the
<br />story published.
<br />
<br />But we also discussed possible positive outcomes of sharing
<br />their stories. Media coverage can increase the public’s awareness
<br />of family homelessness, encourage community dialog and possibly
<br />help others in a similar situation.
<br />
<br />After the project published, I learned one of the families wished to have
<br />their last names removed from the online stories. Overall, they had a good
<br />experience with the project. But they didn't want the names to always
<br />be linked to story and to the fact they were homelessness during one point in their life.
<br />
<br />One of the effects of online reporting is that subjects with sensitive stories
<br />may be linked to these articles for perpetuity.
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What lessons did you learn from making this image?
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6138/5998491058_4c7a630811_o.jpg" width="954" height="637" alt="movingday001">
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />I think this photo was created more by relationships than by
<br />mechanics. Over a period of a couple weeks, Kim, Jack and I
<br />had spent a lot of time together. By moving day, they both
<br />seemed to be unguarded and open to my presence in their
<br />lives. But I think our relationship worked twofold. Because
<br />we developed trust, I felt like I could work without any major
<br />insecurities or doubts. I felt like I had permission, a purpose
<br />and an understanding of who they were.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What lessons did you learn from the overall story, and with this,
<br />how did you change during this experience?
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />As of last year, I worked at The Seattle Times for about four
<br />years, which isn’t all that long as a professional journalist.
<br />Through this project, I learned to have more trust in my voice
<br />and ideas as a storyteller, but also to rely on the support and
<br />experience of my editors and colleagues. I believe that because
<br />we worked together, and told stories through a wide variety of
<br />mediums in print and online, we were able to give depth and
<br />multiple perspectives to a very complex problem. I think there
<br />is a lot of power in collaboration.
<br />
<br />I also think my love for community journalism, and my belief in
<br />the power of it, grew after this project.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />In conclusion, what advice (think mentally) do you have for
<br />photographers to gain access to these type of situations?
<br />
<br />
<br /><span style="font-weight:bold;">ERIKA:</span>
<br />
<br />It’s important for photographers to be active in the reporting
<br />and researching process. Photographers should initiate meetings
<br />with sources and compile their own research while working with
<br />a reporter. By being proactive as a visual storyteller, you can
<br />put yourself on the path to telling more informed and visual stories.
<br />
<br />Through this process, I’ve learned stories will inevitably fall through
<br />and hit snags. It happened frequently during the series. But it’s
<br />important to try to keep positive and realize that better stories and
<br />situations will come if you keep searching.
<br />
<br />Often the most difficult work wasn’t taking the photographs, but
<br />putting myself in the physical or mental space to make them. I learned
<br />it’s important to trust my instincts about people. Try to set boundaries.
<br />And, in hindsight, I realized it’s good to take mental breaks from the
<br />project.
<br />
<br />Also, I think it’s important to have a conversation with the subjects
<br />in your stories about what it would be like for them to take part in a
<br />documentary project. I think it’s helpful to let them know the purpose
<br />of the story, how much time you’d like spend time with them, when
<br />you’d like to spend time with them, where you’d like to see the photos
<br />published (web or in print) and the possible outcomes/reactions to the
<br />story.
<br />
<br />And I think it’s super valuable to bounce off ideas and share images
<br />with an editor and peers you trust while working on a project. During
<br />difficult days, I often got strength and rejuvenation from my colleagues,
<br />which I am extremely grateful for.
<br />
<br />A year later, Kim and Jack are doing really well. Kim found full-time
<br />work and Jack’s elementary school is helping him both academically
<br />and emotionally. They found permanent housing.
<br />
<br />+++++
<br />
<br />
<br />You can view the multimedia project, edited by Danny Gawlowski:
<br />
<br />http://bcove.me/j8mdn64h
<br />
<br />
<br />
<br />BIO
<br />
<br />Erika Schultz was born and raised in central Wyoming. She attended college at Northern Arizona University, and works as a Seattle Times staff photographer. She loves the American West, Spanglish, well told tales and to travel.
<br />
<br />Her work has been recognized by the Casey Medals for Meritorious Journalism, National Edward R. Murrow Awards, The Alexia Foundation for World Peace, Society of Professional Journalists and was a finalist for the 2010 ASNE Community Service Photojournalism award. She also was part of The Seattle Times’ 2010 Pulitzer Prize winning team for Breaking News Reporting.
<br />
<br />Invisible Families:
<br />
<br /><a href="http://seattletimes.nwsource.com/flatpages/local/invisiblefamilies.html">http://seattletimes.nwsource.com/flatpages/local/invisiblefamilies.html</a>
<br />
<br />
<br />
<br />You can view more of her work here:
<br />
<br /><a href="http://www.erikajschultz.com/blog/">http://www.erikajschultz.com/blog/</a>
<br />
<br />
<br />
<br />+++++
<br />
<br />
<br />
<br />Next week we'll feature this surprising image by Gerry McCarthy:
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6078/6029899052_47ed1cae24_o.jpg" width="600" height="395" alt="NS_4hswixoncol01gm">
<br />
<br />
<br />As always, if you have a suggestion of someone, or an image you
<br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:
<br />
<br />ross_taylor@hotmail.com
<br />logan@scott-free.com
<br />
<br />For FAQ about the blog see here:
<br />
<br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/
<br /></a>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-90066248550869826972011-07-27T16:55:00.001-07:002011-08-10T13:50:46.105-07:00Spotlight on Andrew Craft<span style="font-weight:bold;">TID:</span>
<br />
<br />Andrew, thanks for your time. What a striking image.
<br />Please tell us a little about it.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6127/5982611275_035b6864ff_o.jpg" width="954" height="584" alt="foxhunt_main_image">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />Thanks for having me. It is an honor to be featured here.
<br />This photo is from the Moore County Hounds Fox Hunt
<br />in Southern Pines, N.C. They hold the event every year on
<br />Thanksgiving Day morning.
<br />
<br />It starts with a parade of hounds down the street, followed
<br />by the blessing of the hounds in a field, and lastly, the hunt.
<br />They no longer hunt live foxes during the hunt. Instead, a
<br />lead horse pulls a fox-scented drag.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What was the origin of the assignment?
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />The newspaper covers the yearly event every other year or
<br />so. That year they wanted it for the cover story of the Sunday
<br />Life section, which gets good play - usually about 7 or 8
<br />photos. I've always wanted to cover it, but I was usually off
<br />on Thanksgiving.
<br />
<br />That year I requested the assignment.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Now onto the image itself. Tell us what led up to the
<br />image, and what was going on in the moment.
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />As I was driving out that morning there was a beautiful
<br />amount of fog on the ground. I prayed to the photo gods
<br />that the fog would stick around for the shoot. Luckily, when
<br />I rolled up to the field it was still there. The fog really helped
<br />make the photograph - if it had been bright and sunny, I
<br />don't think it would have worked as well. It gave the photograph
<br />a timeless feel.
<br />
<br />Since we have covered this event many times in the past,
<br />I was able to go through the archives at work and see what
<br />other photographers had gotten from the event. I did this to
<br />make sure I photographed something the readers hadn't seen
<br />before. The standard photo from the event is usually a shot
<br />of the riders and hounds parading down the street adjacent
<br />to the field where the hunt is held.
<br />
<br />I intended to shoot this too, to see of I could make a better
<br />image of it, but I actually missed it since I was busy shooting
<br />a few of the riders who arrived early and were already in the field.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6125/5983172970_71b504c68f_o.jpg" width="954" height="637" alt="craftfoxhunt.086">
<br />
<br />
<br />
<br />
<br />When I realized I missed the parade of hounds, I raced down to
<br />where they were entering the field and tried to get shots of the
<br />stragglers. Just as I got there, I decided to do a Hail Mary of the
<br />riders entering the field.
<br />
<br />(Editors note: a Hail Mary is when a photographer holds the camera
<br />above his/her head and makes a hopeful guess at composition.)
<br />
<br />I did this on my very first shot, and it scared the shit out of one
<br />the horses. The horse ran towards a crowd of spectators and away
<br />from me. The rider almost fell off the horse and had to fight to
<br />regain control. Once he did, I had a number of spectators yelling
<br />at me, which is always fun. This really put me off my game, and
<br />I was worried about scaring the horses.
<br />
<br />After that I nixed doing any high angles.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6130/5982611301_2652a2c59b_o.jpg" width="954" height="589" alt="craftfoxhunt.167">
<br />
<br />
<br />
<br />
<br />One of the biggest challenges was the spectators. Once all the
<br />riders and the hounds are on the field, the spectators are supposed
<br />to stay behind a roped off area, and only the photographers covering
<br />the event for publication were allowed to be out with the riders. This
<br />didn't last long. Soon enough, the rope came down and every spectator
<br />that had a camera roamed around the field, trying to get a shot -
<br />they kept getting in the way.
<br />
<br />You wouldn't know this by looking at my take.
<br />
<br />I made a conscious effort to not get any of the spectators in my shot.
<br />I felt that it would diminish the strength of my photographs if you
<br />could see some random person with a camera in the frame with the
<br />riders and hounds. Most of the time I would either photograph a scene
<br />that didn't have spectators, or I would use a horse to block the view
<br />of the them.
<br />
<br />
<br />Soon after, the hounds start gathering around the lead huntsman
<br />for the Blessing of the Hounds, before the hunt begins. At first, I
<br />really tried to get a low angle with dogs in the foreground and the
<br />riders in the back. But it just wasn't working, the hounds never fell
<br />into place properly. Also, when I knelt on the ground the hounds
<br />would just come up to me. I wasn't able to get much of anything.
<br />
<br />The other problem with the low angle was that I lost the feeling
<br />of the fog - it ended up looking like an overcast day, and at
<br />that angle the sun was right behind them, so that bluish fog
<br />would turn a very unappealing pure white.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6004/5983173022_743896200e_o.jpg" width="954" height="593" alt="craftfoxhunt.188">
<br />
<br />
<br />
<br />As I knelt to pet one of the dogs, I notice two more riders
<br />come up behind the lead rider at a interesting angle. I stood
<br />up and started shooting from eye level. The scene was perfect,
<br />but I was at the mercy of the hounds falling into place. Also,
<br />the riders in the background were obscured by the lead horse.
<br />I was afraid that it just wasn't going to come together, because
<br />the riders really don't stay in one place for very long, and the
<br />hounds are a random element. It was mostly luck that the dogs
<br />fell into a semi-circle around the riders.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />Was there any points of conflict or struggle during the
<br />making of this picture, and if so, how did you handle it?
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />
<br />The biggest struggle was with the spectators breaking across
<br />the line. I really didn't want them in any of my frames. I think
<br />subconsciously I didn't want them in the shots because I got
<br />yelled at by a few them a bit earlier when I scared one of the
<br />horses. I say subconsciously because when I looked through
<br />my take I noticed I had shots of the spectators right up until
<br />I got yelled at, after that I don't have one in the frame.
<br />
<br />
<br />
<br />To not get any of the spectators in the shots took a lot of
<br />patience. I think one of the best assets a photographer can
<br />have is patience, which truthfully I don't usually have. If you
<br />wait and watch for a moment to come together it usually
<br />will and you will have a much better photograph because
<br />of it. Also when you are patient you have a tendency to
<br />really see the scene and make the best possible photo from
<br />it. I think the spectators yelling at me earlier put me in a
<br />slower, more thoughtful mindset, which helped create this picture.
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6125/5982611337_f872154eaa_o.jpg" width="954" height="636" alt="craft.foxhunt.213">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />It was such a fleeting moment in time, did you know when
<br />you made the frame what kind of picture you had?
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />The scene lasted for about a minute or two. I had an idea
<br />that I made a solid photo but I'm never really sure until I
<br />get it onto the computer screen and look at it. A lot of
<br />times I will look at an image on the back of my camera
<br />and think I nailed an image only to get up on my laptop
<br />and realize it just doesn't work. Looking at it on the camera's
<br />small screen can be quite deceptive. Sometimes you think
<br />you got that lead image and take it easy on the rest of
<br />assignment only to get back and realize that supposed
<br />lead image isn't even worth running as a secondary shot.
<br />
<br />At least that is the case for me on occasion.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6131/5982611235_df283b7e5b_o.jpg" width="950" height="574" alt="craftcontact">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />What surprised you most during this assignment?
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW:</span>
<br />
<br />I'm not sure if anything truly surprised me on the assignment.
<br />The next day after the assignment there was a surprising
<br />statement about it. I was toning my pics from the assignment,
<br />and the other photographers were checking out the pics, when
<br />one who had went to the fox hunt to take pics of it for himself,
<br />said he could have made some decent pictures if it wasn't for
<br />all that damn fog. All the other photographers just started
<br />laughing because they thought he was joking but he wasn't.
<br />
<br />
<br />It is always interesting to hear what another photographer has
<br />to say about an event, and the issues they had with it. For the
<br />most part the fog was an added benefit, until the hunt actually
<br />started. Once it got underway, however, you couldn't see most
<br />of the hunt because of the fog. I realized this was going to be
<br />a problem beforehand, and asked one of the riders where they
<br />would be jumping a fence or any kind of obstacle. So after getting
<br />my Blessing of the Hounds shots, I picked a spot by a fence
<br />where the riders would be jumping. I waited for the hunt to come
<br />my way.
<br />
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6014/5983172802_3d27b0e950_o.jpg" width="954" height="498" alt="n1126acj">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />I think most people think of sports in the traditional sense:
<br />basketball, baseball, football, etc.
<br />
<br />What advice do you have for photographers to get find access
<br />to such stories, and thus, such images?
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW</span>:
<br />
<br />I'm not much of a sports photographer, but I do enjoy
<br />shooting these less covered sports. Probably because
<br />they don't feel like your standard sports assignments
<br />and the access is almost always 100 times better than
<br />a standard sports event. Also, it is not a sport that you
<br />cover dozens a times a year like the traditional sports,
<br />so you don't get bored as easily.
<br />
<br />
<br />
<br />To get access to events like this is relatively easy, it is
<br />just up to the photographer to find the events, which
<br />shouldn't be too hard if you know your community. Also,
<br />most of these things are listed on the internet so it is
<br />just a Google search away.
<br />
<br />
<br /><span style="font-weight:bold;">TID:</span>
<br />
<br />In conclusion, what lessons did you learn from the
<br />making of this image?
<br />
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6127/5982611275_035b6864ff_o.jpg" width="954" height="584" alt="foxhunt_main_image">
<br />
<br />
<br />
<br />
<br /><span style="font-weight:bold;">ANDREW: </span>
<br />
<br />Don't do a Hail Mary on an approaching horse.
<br />
<br />It also taught me to take things a little slower. A lot of
<br />times when I was at a shoot in the past, I would be
<br />thinking and looking around for the next shot when
<br />I hadn't gotten the picture I needed from the moment
<br />happening in front of me. So, I just take it a lot slower
<br />and try to be patient, but it is always a mental battle to
<br />slow down for me.
<br />
<br />
<br />++++
<br />
<br />
<br />Andrew Craft has been staff photographer at the Fayetteville Observer in North Carolina since 2006. His assignments vary from covering the conflicts in Iraq and Afghanistan to your typical building mug. Craft has been named North Carolina Photographer of the Year three years in a row and his work has been recognized by Pictures of the Year International, NPPA's Best of Photojournalism, Atlanta Photojournalism Seminar and the Southern Short Course in News Photography.
<br />
<br />
<br />You can view his work here:
<br />
<br />
<br /><a href="http://www.acraftphoto.com/">http://www.acraftphoto.com/
<br /></a>
<br />
<br />
<br />+++++
<br />
<br />
<br />Next week we'll take a look at this lovely image by Erika Schultz:
<br />
<br />
<br /><img src="http://farm7.static.flickr.com/6023/6014545988_de3f60e921_o.jpg" width="600" height="400" alt="tease">
<br />
<br />
<br />As always, if you have a suggestion of someone, or an image you
<br />want to know more about, contact Ross Taylor or Logan Mock-Bunting:
<br />
<br />ross_taylor@hotmail.com
<br />logan@scott-free.com
<br />
<br />For FAQ about the blog see here:
<br />
<br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/
<br /></a>
<br /> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-24160112855800807912011-07-23T07:52:00.000-07:002011-09-19T18:24:12.624-07:00Ants, Art and Ashtrays<img style="display:none" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAv5tjspVLXGFM94-jWjiucWBnXgMr_gsc9vvDhm9FtwvOW7RZd7lnolloOX5VMp_mbFgiDT2dyt0Fer-h43rC-vFtuETeMpHc06vm4Mwk_qGidJRfm3CKmjuNjBRkuVv_gbpw-5X8x7g/s400/5967334297_64339b557d_o.jpeg" alt="FEATURED"/><br />This week we'll take a look at a photo illustration,<br />and examine its construction from the initial concept,<br />to its production.<br /><br /><br /><img src="http://farm7.static.flickr.com/6125/5967334297_64339b557d_o.jpg" width="950" height="815" alt="mainpicnic"><br /><br /><br />I like to do photo illustrations, but that said, I also <br />like to do a lot of things that I'm terrible at.<br /><br />Some of these include:<br /><br />-the banjo<br /><br />-botany<br /><br />-art<br /> <br />I'm not even going to talk about the banjo - I sound like<br />a street cat trapped in a chain link fence. My plants are <br />begging for hospice, and the only art I've ever pulled off <br />was a clay ashtray in 4th grade art class.<br /><br />The ashtray was a wreck. It was orange and lumpy. Other<br />classmates got blue ribbons for theirs, and all I got was a <br />scratch and sniff sticker that said, "Keep Trying!"<br /><br />Why we were told to make ashtrays, I have no idea, except<br />that my teacher smoked Pall Malls and she coughed a lot.<br /><br />I liked her, though, and I like art in general. That's not the<br />problem - the real problem is I can't draw, I can't paint, <br />and I sure as hell can't sculpt.<br /><br /><br />Let's take a look at my art portfolio:<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6130/5967334629_6efc720595_o.jpg" width="950" height="650" alt="drawing"><br /><br /><br /><br /><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6145/5967890122_22bda0248c_o.jpg" width="950" height="700" alt="drawing3"><br /><br /><br /><br /><br /><br /><br /><br />Just stunning.<br /><br /><br /><br />SO, when I got the assignment to come up with a photo<br />illustration regarding picnic season, you can imagine <br />my panic.<br /><br /><br />Since I can't create anything, I have to rely on either pictures<br />I make, or stock images to create composites. We had a budget<br />of $75 dollars.<br /><br /><br />One of the things I always do is to create mockups with<br />low-res files from stock, then I show them to different people <br />in the office to get their reaction, before buying anything.<br /><br /><br />Here's one of the first images:<br /><br /><br /><img src="http://farm7.static.flickr.com/6138/5967889704_b0c80875a5_o.jpg" width="400" height="444" alt="6"><br /><br /><br />Just terrible. <br /><br />It reminds me of tapioca, wicker chairs and fried chicken<br />steak at Cracker Barrel. <br /><br /><br />Out.<br /><br /><br /><br />I tried working with something goofy next:<br /><br /><br /><img src="http://farm7.static.flickr.com/6013/5967334783_681006fd53_o.jpg" width="754" height="659" alt="face"><br /><br /><br />As if it wasn't already bad enough, I made it worse by trying to <br />make it better:<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6014/5967334731_89967ab1eb_o.jpg" width="750" height="683" alt="frameface"><br /><br /><br /><br />You know there's a problem when someone cringes,<br />and pats you on the shoulder. Sometimes you just <br />have to give up on an idea. My art teacher did the <br />same. I shrugged my shoulders, got some school<br />pizza, and regrouped.<br /><br />While I <span style="font-style:italic;">do</span> love school pizza, that's of no help to<br />us now. <br /><br />When problem solving, it's helpful to include other people. <br />We held a meeting that included the editor of the section,<br />a designer, and one of our photo editors. <br /><br />We kicked around and brainstormed for key words. This is <br />important for me because since I can't draw, if we had a key<br />driving word, perhaps we can use that as the driving force<br />of the visual.<br /><br />The usual ideas came up:<br /><br />hot dogs, hamburgers, wine and of course a picnic basket <br />and a picnic blanket. We all agreed we wanted to stay away <br />from the traditional (expected) picture of a red and white <br />picnic blanket.<br /><br />One of the designers mentioned ants and it clicked. I thought <br />we could make something whimsical with them, so I started <br />making rudimentary compositesusing stock images (I often<br />pull low-res images from stock files when doing mockups).<br /><br /><br /><img src="http://farm7.static.flickr.com/6028/5967334821_04229a4032_o.jpg" width="954" height="407" alt="rossdyptics01"><br /><br /><br />Nobody liked the idea of the ant fighting someone, but we did<br />like the ant. I purchased a stock file of an ant, and started over. <br /><br /><br /><img src="http://farm7.static.flickr.com/6141/5967334885_96068ac62b_o.jpg" width="954" height="378" alt="rossdyptics04"><br /><br />I did a few other mockups to see what might work - neither of <br />which I really liked - but I felt we were tapping into the right <br />spirit at least.<br /><br />I felt we were getting closer, so with the remaining balance of<br />the budget, we purchased a few more stock pictures. I created<br />these mockups, and while not quite right, we were getting closer.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6003/5967334911_ca119cdaa4_o.jpg" width="958" height="347" alt="rossdyptics05"><br /><br /> <br /><br />Finally we came up with this. We duplicated the ant, then<br />dropped in the symbols of the picnic. We used a number <br />of layers and masking, as well as creative construction of <br />the clouds. If you don't know much about layers and masks,<br />I encourage you to try. Knowing these two parameters opens<br />up a new world in Photoshop.<br /><br />A friend of mine asked this, and I think it's worth pointing <br />out that I often use stock images when we don't have a lot<br />of time to shoot the assignment, as in this case. If you have <br />a budget of at least $100, it's usually enough to build a <br />composite. Sometimes it's a mixture of shooting and stock,<br />it just depends on timing usually. <br /><br />In this case, it was the quickest and easiest route to use<br />stock images for this composite.<br /><br /><br /><img src="http://farm7.static.flickr.com/6020/5967890046_a159e4561e_o.jpg" width="954" height="814" alt="picnic"><br /><br /><br /><br />We roughed up the edges a little for a final touch.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6125/5967334297_64339b557d_o.jpg" width="950" height="815" alt="mainpicnic"><br /><br /><br />I'm happy to help anyone who wants to learn more about layering,<br />or anything else I can offer about photo illustrations. I'm not the best<br />at them, but it is fun to try to expand yourself.<br /><br />I found this tutorial awhile back which is great at giving an example<br />on how to grunge edges. It's worth a look.:<br /><br /><br /><br /><a href="http://pshero.com/photoshop-tutorials/photo-effects/grunge-photo-edges/">http://pshero.com/photoshop-tutorials/photo-effects/grunge-photo-edges<br /></a><br /><br /><br />When you have an idea, work to simplify it and play off key words<br />to help you focus. Look at other websites for inspiration. There are <br />many, but here are two illustrators I admire who have newspaper<br />backgrounds:<br /><br /><a href="http://www.andrealevy.com/">http://www.andrealevy.com/<br /></a><br /><br /><a href="http://www.stephaniegracelim.com/">http://www.stephaniegracelim.com/<br /></a><br /><br /><br />Their work is striking and worth studying.<br /><br /><br /><br />+++++<br /><br /><br />Next week we'll take a look at this fantastic image by <br />Andrew Craft:<br /><br /><img src="http://farm7.static.flickr.com/6128/5990226855_821f829653_o.jpg" width="604" height="370" alt="tease"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-22709413207554106062011-07-20T15:32:00.000-07:002011-10-15T10:20:09.129-07:00Spotlight on Jason Arthurs<span style="font-weight:bold;">TID:</span><br /> <br />Jason, thanks for taking part in TID. Please tell us<br />about this image:<br /> <br /><br /><br /><img src="http://farm7.static.flickr.com/6134/5959494328_433aa07002_o.jpg" width="950" height="633" alt="main"><br /><br /><br /> <br /><span style="font-weight:bold;">JASON:</span><br /> <br />This image is of Rachel Reich, it was included in a story that I <br />photographed for the Winston-Salem Journal newspaper in 2006. <br />Her story ran as a daily story for the paper, then a reporter <br />named Paul Garber and I decided to pursue it as a longer term <br />project. Rachel was battling cancer in her mouth and contacted the <br />newspaper because she thought she had a compelling story to share. <br />She had battled and fought cancer several times before, even as a <br />young woman, and each time hadn’t taken chemotherapy or radiation. <br />This time, her doctors said she would have to have a radical surgery <br />to save her life. The surgery would have put her unborn baby at risk <br />and would have left her unable to eat or speak for the rest of her life. <br />These were risks she was not willing to take. She had her baby, but <br />by then it was too late to do the surgery. She was hoping that bringing <br />her story to light would open up opportunities for more non-traditional <br />treatments that would be very expensive.<br /> <br /><br /> <br /><span style="font-weight:bold;">TID:</span><br /> <br />How did you get access to this moment?<br /> <br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />Rachel was an amazing person and a great subject. She allowed <br />me into her home from the first day I met her, and the access that <br />she gave us was one of the reasons we wanted to follow her story. <br />The other reason was because a lot of things were going on in her <br />life. It was a crucial time in her life and there was so much unfolding <br />every day. Her house was close to the newspaper where I worked <br />(15 minutes) and once our initial story ran about Rachel, my photo <br />editor at the paper was very good about allowing me to spend my <br />down time between assignments working on this project.<br /> <br />After our first story about Rachel was published, there was an <br />outpouring of support from people who wanted her to beat this <br />cancer. Rachel was going to go to Houston, TX to seek an <br />experimental cancer treatment from a clinic there. She basically <br />viewed this as her last chance to beat a cancer that doctors said <br />would take her life before the end of the year.<br /> <br />I told her that Paul and I wanted to go with her on the trip, and <br />she agreed almost immediately. Her mom, two kids and best friend <br />were already going on the trip with her so I knew a lot of moments <br />would be happening and I wanted to be there while they unfolded. <br />Throughout the story, which I had been working on for a few <br />months at this point, I had a strong connection with Rachel. In <br />addition to her cancer, she had a lot of family problems. She was <br />being pulled in a lot of directions. She was very sick and trying to <br />take care of a newborn baby, as well as a rebellious teenager who<br />snuck out of the house all the time. I think that she viewed me as <br />some kind of therapist. I would spend hours at a time at her house, <br />watching her take care of the baby or folding clothes, but often <br />times just listening to her and talking. I think she saw time spent <br />with me as some kind of escape from the chaos of her life and saw <br />me as a way to validate some of the very difficult decisions she had <br />made in the recent months. <br /> <br /><br /><img src="http://farm7.static.flickr.com/6002/5959494286_29a0859f8e_o.jpg" width="954" height="637" alt="_C2X3867"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /> <br />Did the newspaper pay for your travel? <br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />Paul and I scheduled a meeting with our editors to pitch the <br />idea that we should travel with her to Texas to document her <br />efforts to get treated. At that point, her story had run on the <br />front page of the newspaper already and we felt our readers <br />would have an interest in following up. I remember the first <br />pitch to the editors, and how excited Paul and I were, and how <br />great of a pitch we made. I also vaguely remember it being well <br />received and walking away thinking it was a ‘go’ all we needed <br />was a sign-off from our managing editor.<br /> <br />Well, that sign-off never came.<br /> <br />So I told Rachel the newspaper wasn’t going to pay for me to go, <br />and she offered to pay for me. Obviously, I wasn’t going to let her <br />do that, but it definitely made me feel like it was something I <br />should follow through with. I struggled with the notion of self-<br />funding the trip. I remember when I found out I could get a <br />plane ticket for under $200, and could get a seat with Rachel <br />and her mom I seriously considered it as an option. The final <br />straw was when I found out my 4 consecutive days off at the <br />paper (during a schedule change) landed when the trip started. <br />I bought my ticket that day, and decided I would spend my <br />days off in Houston with Rachel. From that point on, I always <br />viewed this is more of a personal project and I would be much <br />more protective of the images I made from that point out.<br /> <br /> <br /><br /><img src="http://farm7.static.flickr.com/6017/5958932843_47ceaa4f97_o.jpg" width="954" height="637" alt="_C2X3852"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /> <br />What was going on in your mind in the moments<br />leading up to the image?<br /> <br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />I met Rachel at her house as she was preparing for the trip with <br />her mother. Everything was happening very fast and I remember <br />it was total chaos. Somewhere amid the chaos she told me she <br />was afraid of flying, and had actually looked into other options <br />for getting to Houston. I don’t really remember considering NOT <br />having my camera with me on the plane but I didn’t really have <br />a plan for what, if anything, I would shoot from that one vantage <br />point I would have on the plane ride.<br /> <br /> <br /><br /><img src="http://farm7.static.flickr.com/6122/5958932805_3e8411fa67_o.jpg" width="954" height="637" alt="_C2X3849"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /> <br />Now, onto the picture. Tell us what is going on, and what you were <br />thinking and feeling at the time.<br /> <br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />I remember being concerned that I didn’t know Rachel’s mom <br />very well. She would inevitably end up in photos but she wasn’t <br />as used to me being around. In one image you can actually see <br />that she’s leaning out of the way of the photo, but I wanted her <br />in the frame. It was a few seconds early, before she really noticed <br />I was shooting that I made the frame that ended up being in the <br />final edit.<br /> <br />It was an intense moment for me, Rachel was flooded with <br />emotions right before we took off and she wasn’t feeling well <br />physically either. But unlike some of the other images from the <br />plane where she looked very ill, I wanted an image to capture <br />her hope that she could be healed.<br /> <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /> <br />How do you handle your emotions while documenting not only this image,<br />but the entire story, especially in the more trying moments for her?<br /><br /><br /> <br /><span style="font-weight:bold;">JASON:</span><br /> <br />I tend to connect emotionally with the subject when I’m not <br />actually shooting, and that helps us both feel comfortable <br />sharing close physical space. I remember with a lot of the <br />photos from this story, not really wanting to take the photos, <br />but feeling like I would because that’s what I was there to <br />do. I think that’s how I know I’m making a good storytelling <br />image, when I have to break through some mental block that <br />says ‘maybe don’t shoot right now’. I just shoot a few frames, <br />get what I need for the story, and go back to just being <br />around as fast as possible. I think a good photojournalist has <br />to come to peace with being uncomfortable sometimes.<br /> <br /><br /><br /><img src="http://farm7.static.flickr.com/6136/5959494432_404e840b1d_o.jpg" width="954" height="637" alt="_C2X3839"><br /><br /><br /><br /> <br /><span style="font-weight:bold;">TID:</span><br /> <br />Was there any moments of conflict or reservation during the <br />making of this image? <br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />I remember on one side of me was Rachel’s mom, to my right <br />were more passengers who had no idea what I was doing, and <br />walking up and down the aisle are flight attendants that probably <br />knew nothing about Rachel except that she came in a wheelchair <br />and looked weak.<br /> <br />There’s a ‘rule’ I learned at my first newspaper internship. <br />“Shoot first, ask permission later.” Of course it’s not always <br />the best idea but I think it would have been much more <br />difficult to get official ‘permission’ to shoot photos on the <br />plane. Mentally I justified this because technically I was there <br />on my own dime, with my own camera, so at that moment I <br />was less of a media representative and more of Rachel’s <br />personal documentarian. I was very selective about when I took <br />my camera out and just had one lens with a quieter body (Canon <br />10D, I think) so that I wouldn’t bring much attention to myself. <br />I didn’t show any of the other passengers or ever point my <br />camera anywhere besides Rachel’s direction. I didn't shoot <br />much at all during the actual flight, but mainly just during the <br />takeoff and landing and a few frames when she was sleeping <br />on the plane, which was probably unneeded. And once I made <br />the frame of her with her mom before the takeoff, I was able to <br />check the back of the camera and see I had a frame that would <br />work as a good transition to get her to Texas so I didn't feel <br />like it was worth the risk of disturbing her and possibly the <br />flight to get more images that would probably land on the <br />editing room floor.<br /> <br /><br /><br /><img src="http://farm7.static.flickr.com/6141/5959494598_e1da97edaf_o.jpg" width="637" height="954" alt="_C2X3860"><br /><br /><br /><br /> <br /><span style="font-weight:bold;">TID:</span><br /> <br />What surprised you most while you were with her on the plane?<br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />Rachel was a religious person, but I wouldn’t call her devout. <br />She went to church sometimes, and usually alone. This image <br />shows her saying a prayer to herself, something I had never <br />seen her do. Throughout the process of documenting her story <br />I saw her turn to faith when she felt most alone and most <br />desperate (I also documented her attending a miracle healing <br />service after she returned from Texas).<br /> <br /> <br /><span style="font-weight:bold;">TID:</span><br /> <br />What lessons did you learn from the making of this image, and<br />how does it apply to your future work?<br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />The main lesson was the importance of documenting transition <br />in people’s lives. I remember my newspaper editors talking <br />about sending the reporter and I down for a day or two to check <br />in on her in Texas because of a scheduling conflict with covering <br />shifts at work. And I felt like it would be better to be a part of <br />the trip, and part of the transition to her life there. It’s hard to <br />explain to ‘non-visual’ people why you have to be there to <br />capture those moments. The reason is because usually we don’t <br />actually know what we are going to see. Good photojournalists <br />will put themselves in the situations where they can expect to <br />be surprised. <br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6141/5958932921_66c3e825b9_o.jpg" width="954" height="637" alt="_C2X3857"><br /><br /><br /><br />It's very easy to get frustrated in that situation when you don't <br />see eye-to-eye with the editors. But over the course of time, if <br />you can repeatedly bring back images that stand out, the editors <br />will begin to trust your judgment.<br /><br /><br /> <br /><span style="font-weight:bold;">TID:</span><br /> <br />What mental advice would you have for other photographers <br />who want to work in this type of situation?<br /><br /> <br /><span style="font-weight:bold;">JASON:</span><br /> <br />With Rachel, I knew that this story was also a learning opportunity <br />for me. I was up front with her about that, that I was learning from <br />her and learning how to use my camera to tell these complicated <br />aspects of her life. Since this story, I feel much more equipped to <br />tell difficult and complicated stories.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6143/5959494244_8f44357d1a_o.jpg" width="954" height="637" alt="_C2X3836"><br /><br /><br /><br /> <br />As far as advice, I think you should be able to clearly explain to <br />your subject exactly why you want to shoot a moment before the <br />moment happens. It makes your intentions clear, makes them less <br />surprised when you shoot, helps them understand how you are <br />processing what they do and gives them the chance to explain why <br />they may be hesitant to allow you into a certain space. It also does <br />something that I didn’t put much value on until much later in my <br />career. It lets your subject know what you are thinking and gives <br />them a chance to correct you. Giving the subject more of a say in<br />how their story is documented, and giving them a chance to explain <br />their actions gives them more buy-in to the story and in the end <br />makes it more truthful and hopefully more compelling.<br /> <br />I don't remember the exact conversation I had with Rachel about <br />this, but I can imagine how it would go if I were to have it now. <br />Probably something like this "Rachel, I'm very interested and I <br />think our readers will be very interested that you are taking this <br />trip to Texas for treatment. If I were able to travel there with you, <br />I think I could be able to get a very good sense of the emotions <br />that you'll be going through on the trip and help show the effort <br />you are putting in to beat this cancer." Essentially, every ask of <br />a subject should be followed by an explanation of why. <br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6005/5958932713_04b7d5f88b_o.jpg" width="954" height="637" alt="_C2X3823"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /> <br />In the end, what happened to her, and how did her life<br />impact you?<br /><br /><br /><span style="font-weight:bold;">JASON:</span><br /> <br />Rachel lost her battle with cancer a little more than a year after <br />this image was taken. Her last effort at a cure was chemotherapy, <br />but it was too little too late. I remember sitting with her and <br />talking while she was having chemotherapy one day. I couldn’t <br />shoot in the area they were giving it because there were too <br />many other patients around. Rachel asked me if I would come <br />help her set up her video camera to record a message for her <br />youngest child who probably wouldn’t remember her. I did, and <br />that was the last time I remember talking with Rachel.<br /> <br />I moved away from Winston-Salem and started a new job. A few <br />months into my new job, after Rachel passed away, I got a phone <br />call and “Rachel Cell” came up on my caller ID. I scrambled to <br />answer it only to hear the voice of her husband on the other <br />end of the phone.<br /> <br />He was the breadwinner of the family, and not around much. <br />He didn’t much like my camera, but he liked me. He said he <br />was going through some of Rachel’s stuff, and found her phone, <br />and saw my number and just wanted to call and chat. I don’t <br />remember exactly what he said but I remember his gruff voice <br />saying something like, “I just wanted you to know, Rachel <br />always liked having you around and thought of you as a good friend.”<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6134/5959494328_433aa07002_o.jpg" width="950" height="633" alt="main"><br /><br /> <br /> <br />Jason Arthurs is a documentary filmmaker and photographer based in North Carolina. His work has been repeatedly recognized by the National Press Photographers Associated, Pictures of the Year International and he was twice named North Carolina Photographer of the Year. He worked in newspapers for 5 years, and now freelances for editorial publications including the New York Times, Washington Post and TIME magazine. He also produces short documentary films for non-profits, and is currently directing his first feature length documentary film.<br /> <br /><br /><br />You can view more of his work here:<br /><br /><a href="http://www.jasonarthurs.com/">http://www.jasonarthurs.com/</a> <br />(has Rachel’s story and the accompanying video)<br /><br /><a href="http://www.chasingthemadlion.com/">http://www.chasingthemadlion.com/</a> <br />(a full length documentary)<br /><br /><br />+++++<br /><br /><br />Next week, by request, we'll take a look behind this photo illustration. <br />We'll talk about the beginning concept to it's construction:<br /><br /><img src="http://farm7.static.flickr.com/6145/5967077912_ef46b32eb7_o.jpg" width="600" height="515" alt="picnic"><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a><br /> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-634630235862014942011-07-13T15:39:00.000-07:002011-10-30T08:53:51.804-07:00Spotlight on Johnny AndrewsBefore we begin this week's interview, we wanted to let<br />folks now that we now have a website with all of the <br />interviews archived: <br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a><br /><br />Thanks to Sam Saccone who designed the website, and <br />without his volunteer work, this would not have been possible.<br /><br /><br />Now onto this week's interview with Johnny Andrews.<br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Johnny, thanks for taking the time to speak with us. This is quite a<br />compelling image and fashion shoot, and I'm grateful you're taking <br />the time to talk about this image, and the ones that accompany it.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6150/5938462830_2742ca7928_o.jpg" width="954" height="479" alt="johnnyandrews_main"><br /><br /><br /><br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />I really admire what you've created with The Image, Deconstructed and am truly honored that you picked a series of my photographs to profile.<br /><br />This photograph represents the first image of a fashion series published<br />in a special section that our newspaper used to produce called LUXE. The<br />section itself was printed on nice glossy paper, as opposed to regular<br />newsprint, with all of the main images running in color as either a double<br />truck or for the full length of the broadsheet.<br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Can you tell us about the origin of the piece (how it was pitched),<br />and how long you worked on it?<br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />Each year, a staff photographer was selected to work on the concept, planning,<br />logistics, securing props, lighting, location scouting and just about everything<br />else outside of the actual selection of models and clothing for the entire LUXE<br />fashion shoot. Needless to say, I was pretty happy they selected me. The entire<br />planning process lasted about a couple of weeks, in between daily assignments<br />of course.<br /><br />Several concepts were tossed around in meetings between myself and editors<br />from our Features department before we finally settled on a film noir-like<br />theme. Since the photos would be bundled together in the same section, I<br />felt as though a storyline was needed, and thus "The Heist" was formulated.<br />In a nutshell, the premise of our photo shoot was that a handsome yet<br />conniving couple rob a bank, flaunt and spend the money all around town<br />while constantly on the run from a detective, and then get caught and thrown<br />in jail. The finale is when the lady betrays her boyfriend to escape jail time.<br /><br />A key component of pulling off something like this was the input received<br />from so many people involved, including Fashion Editor Debra Bass, Features<br />Picture Editor Lynden Steele and Design Director Tippi Thole as well as staff<br />photographer Chris Lee who doubled as model stand-in and lighting guru.<br /><br />The entire photo shoot lasted about five days, with two images from<br />two different locations made each day, except for the last day which involved<br />studio photography for detail pics. For each of the eight locations, we had<br />multiple wardrobe changes, hair and makeup for the models, and of course<br />we're breaking down and setting up all of our lighting equipment each time<br />while trying to stay on schedule. In between each of the main images created,<br />there were also what I like to call "mini photo shoots," where we took the<br />models to areas near our current location and took impromptu, on-the-street<br />pics. These would be published in black-and-white as surveillance photos taken<br />by the detective in our story.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6147/5936746697_10e3f5850f_o.jpg" width="954" height="637" alt="johnnyandrews07"><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6013/5936746755_566f4e85c6_o.jpg" width="954" height="637" alt="johnnyandrews08"><br /><br /><br /><br />In the end, eight main photos and about a dozen other supplementary images<br />were created for the section over the course of a week.<br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Please tell us about your mental approach to making the main image,<br />and the entire series.<br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />Even though so many facets of the photo shoot were set in stone, from the<br />predetermined, thin horizontal or vertical shape to where the models would<br />look based upon layout considerations, I liked the fact that there was still<br />room for creativity and visual diversity within that framework. And I liked the<br />fact that there was still a storyline holding it all together.<br /><br />This allowed me to focus on two things that, at the time, I had very little<br />experience with: directing multiple models at one time and crafting my light<br />to look more natural than over-blown. I know those both sound like technical<br />details, but I've learned over time that it needs to be more of a mental approach.<br /><br /><br /><img src="http://farm7.static.flickr.com/6009/5936746441_ec6c7b7afe_o.jpg" width="669" height="954" alt="johnnyandrews02"><br /><br /><br />Whether the model is a pro and arrives on set with the best attitude, poses<br />and facial expressions or an amateur who doesn't yet understand the shapes<br />that her body creates with every movement, they all need direction from the<br />person behind the camera. For so many years, I've been the observant<br />photojournalist. I knew how to blend in and make myself somewhat invisible<br />and unobtrusive while trying to capture fleeting moments. Now I was learning<br />how to set the right mood with a dozen people on the same set and craft an<br />overall environment in which a moment would hopefully occur. I guess this<br />isn't too different from shooting a portrait, which we do almost every day as<br />newspaper photojournalists, except for having a professional poser in the<br />model, several hair and makeup people, a couple of photo assistants and a<br />couple of editors watching your every move. In this kind of situation, humor<br />is a must, at least for me. If everyone is having a good time and getting along,<br />they tend to have more faith in you and your vision. You, in turn, can hopefully<br />parlay that into a successful image.<br /><br />In terms of lighting as a mental approach, I can't help but think of a post<br />I read on the Strobist blog awhile back about the "lighting journey" of<br />photographers who have chosen to wander down a path illuminated by<br />off-camera strobes. That blog post was written in 2006 but I didn't see it<br />until sometime last year. In it, David Hobby breaks down this journey into<br />seven steps - available light is best, competent on-camera flash, overdone<br />off-camera flash, experimentation, the bag of tricks, personal and unique<br />lighting style, and finally subject-driven light. I won't go into too much detail<br />because you can check out the blog for yourself but suffice it to say, I could<br />identify with pretty much every step of that process. At the time of this fashion<br />shoot, I was overlighting the heck out of everything. I had White Lightning<br />X1600 strobe units, an octabank softbox, grids, battery packs, etc. and my<br />philosophy was that I could always use one or two more strobe units no matter<br />how many I already had plugged in. At this moment, if you were to visualize<br />Dr. Frankenstein screaming at the sky, "It's aliiiiive!" then that would be me<br />every time I heard the huge popping sound and recycle confirmation beep<br />from my strobes.<br /><br /><br /><a href="http://strobist.blogspot.com/2006/11/lighting-journey-where-are-you.html">http://strobist.blogspot.com/2006/11/lighting-journey-where-are-you.html</a> <br /><br /><br />There's nothing wrong with the aforementioned approach, other than<br />maybe the whole screaming at the sky thing, but this was essentially<br />my first foray into lighting high fashion from a softer perspective. This<br />approach was incredibly influenced by staff photographer Chris Lee, who<br />was invaluable as an assistant and lighting mentor. Our setups wrapped<br />light around the models in a more natural way instead of completely<br />overpowering them. I used to consider this boring light but now I was<br />able to appreciate it as more genuine.<br /><br /><br /><img src="http://farm7.static.flickr.com/6014/5936746499_f620768360_o.jpg" width="669" height="954" alt="johnnyandrews03"><br /><br /><br />I still love to break out my huge lights on occasion (cue the grunting sound<br />of Tim "The Tool Man" Taylor), but I'm much more discerning these days<br />because of the lessons learned from that fashion shoot and other shoots<br />since then. It's crucial that every photographer experiment and push their<br />own boundaries, but, in the words of the amazing photographer Dan<br />Winters, it's also important to have a reverence for your subject matter.<br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Ok, now onto the image itself. Tell us what led up to the image, and what<br />was going on in the moment.<br /><br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />This image set the tone for the rest of the series. It paints the characters<br />of our fashion shoot as suave, sophisticated, well-dressed criminals. When<br />we talked in meetings about the robbery scene, the first location that<br />immediately popped into my head was the bank vault at City Museum,<br />less than seven blocks away from the newspaper. City Museum is a former<br />ten-story shoe factory in downtown St. Louis that was turned into an<br />amazing museum / playground / obstacle course / wonderland / you<br />name it. One of the hundreds of visual attractions is an actual bank vault<br />room, complete with safe deposit drawers. Once permission was secured<br />with the museum, it was just a matter of pre-visualizing the image.<br /><br />I took scouting pictures of the vault door area and brought them to the<br />planning meetings where we talked about how a double truck image could<br />be created. We knew that the page gutter would split the image right down<br />the middle so we definitely wanted to put one person on either side of the<br />image, each looking back at each other for visual continuity.<br /><br /><br /><img src="http://farm7.static.flickr.com/6150/5938462830_2742ca7928_o.jpg" width="954" height="479" alt="johnnyandrews_main"><br /><br /><br />On the day of the shoot, there were only a few details that needed to be<br />worked out. Due to spacing between the camera and our female model, we<br />had her crouch down a bit to fit within the frame of the background, but<br />this worked out well because it just looked like she was creeping away from<br />the vault. We also spent time directing the male model on the angle of his<br />arm and legs so that the light hit him correctly and so that he separated<br />nicely from the background. We also increased the exposure on our strobe<br />units slightly to compensate for the dark clothing on both models.<br /><br />Every ten minutes or so, we would pull the card from the camera and pull<br />up images on the laptop screen to make sure they fit into the pre-determined<br />shape of the layout.<br /><br />Thanks to scouting and pre-planning, everything went as well as it could<br />have on the day of the shoot.<br /><br /><br /><img src="http://farm7.static.flickr.com/6142/5936746539_4d8f3a8b5e_o.jpg" width="954" height="455" alt="johnnyandrews04"><br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Were there any points of conflict or struggle during the making of these<br />pictures, and how did you handle it?<br /><br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />One of the best things about a photo shoot that is deemed this important<br />in terms of time and resource allocation is that you've got more than one<br />set of eyes on location. I'm behind the camera, I've got an amazing<br />assistant/staff photographer helping to set up lights, another staff<br />photographer who was on set as a background model and lighting<br />assistant for two days of the shoot, the fashion editor is not only<br />helping coordinate what the models are wearing but how it looks on<br />them, and the design editor is on location to proof the sizing of each<br />photo for layout purposes. There are also hair and makeup stylists<br />and the models themselves peeking over our shoulders when we look<br />at the images on my laptop while previewing the photos.<br /><br />While this was great in terms of building a consensus, the more people<br />you have on the set of a photo shoot, the more potential there is for<br />conflict when there is a difference of opinion. Sometimes these<br />differences involved poses or facial expressions and sometimes they<br />involved our lighting setup or actual location and camera angle. The<br />most important thing to realize is that it's not personal, which can be<br />hard to recognize at the moment. I was totally invested in the project<br />and, at first, felt as though a non-photographer questioning a technical<br />aspect of the shoot was out of line when in reality it turned out to be a<br />valid concern. For this reason I think it's also important to at least take<br />all ideas into consideration, without giving up your overall vision.<br /><br /><br /><img src="http://farm7.static.flickr.com/6028/5937304440_971767261a_o.jpg" width="954" height="455" alt="johnnyandrews05"><br /><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />Can you tell us some of the technical aspects of the shoot?<br /><br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />In terms of lighting, the photo was built up in layers.<br /><br />The vault room itself is huge and regularly used by City Museum for<br />wedding receptions. A long row of loft-style windows line the wall<br />on the right side of the room and behind me, letting in lots of soft,<br />reflected light. This actually creates a perfect softbox effect if soft<br />light is the goal, but we wanted something more dramatic for this<br />particular shot. To this end, I underexposed the entire scene by<br />several stops to create a dark foundation layer. From there, assistants<br />Chris Lee, Emily Rasinski and I built up the scene, one strobe unit at a time.<br /><br />We put the strobe unit in a large softbox at camera left,<br />aimed back towards the model. This created a soft shadow line on her<br />face and lit up half of her body. We then added another strobe unit to<br />camera right with a gridspot to create a hard edge light and separate<br />her from the background.<br /><br />Also at camera right was a strobe on a short light stand with a tight<br />gridspot on it aimed directly at the vault door to create a reflective<br />punch of color from the brass. We kept moving that light farther back<br />while changing the angle and intensity of the exposure so that it<br />would still create a hot spot without being overwhelming.<br /><br />Another strobe unit was placed in the vault with only a reflector to<br />create a bright light that would fill the darkness of the floor and the<br />backside of our male model. A bonus with this light was that it was<br />bright enough to also create a nice highlight on the gun.<br /><br />The final strobe unit was a softbox placed to the left of the model<br />to light up the opposite side of his body. The nice surprise we got<br />from this was that the softbox from that strobe unit was at just the<br />right angle to be reflected in the wall behind him, creating a light<br />halo that further separated him from the wall.<br /><br />All of the lights were triggered with Pocket Wizards or the built-in<br />slave cells on the back of the strobes.<br /><br /><br />For the outdoor black-and-white photos, we were moving quickly <br />so we needed a portable, battery-powered strobe unit that would <br />overpower the bright sun. We ended up having either assistant, <br />Chris Lee or Emily Rasinski, put on a backpack that had a Vagabond <br />II battery pack stuffed inside. A White Lightning X1600 or an Alien <br />Bees Ringflash was then attached to The Vagabond II (which weighs <br />about eighteen pounds, so they got a workout they didn't expect.)<br /><br /><br /><img src="http://farm7.static.flickr.com/6136/5936746643_b5faf2a19f_o.jpg" width="954" height="455" alt="johnnyandrews06"><br /><br /><font style="font-weight:bold;">TID:</font><br /><br />What did you learn from this assignment?<br /><br /><font style="font-weight:bold;">JOHNNY:</font><br /><br />I think one of the most important things I learned from this assignment<br />was to be patient and to be open to change if either you or other editors<br />on the set are not quite feeling what is coming out of your camera.<br /><br />I tend to fully pre-visualize assignments like these where I'm dealing<br />with a fully controlled environment, much more so than I do for daily<br />news or feature work. I even have a notebook where I sketch out posing<br />scenarios and lighting setups the night before. Even though I anticipated<br />problems, because of course things don't always go according to the<br />best laid plans, I couldn't anticipate how I would react in the moment.<br /><br />There were times when I was so sure that I had already gotten THE picture.<br />In my own mind, I had nailed it. We all gathered around my laptop to<br />preview the images moments after I shot them and I was quiet, waiting<br />for what I hoped were smiling faces and nods of approval. Maybe even<br />a high-five or two. They never came. Instead there were quizzical looks<br />and a lot of noises that sounded like "hmmmm" and "what if we try<br />something different?"<br /><br /><br /><img src="http://farm7.static.flickr.com/6028/5937304668_5e77f6abbc_o.jpg" width="954" height="479" alt="johnnyandrews11"><br /><br /><br />In the moment, you feel kind of hurt and start to question your own vision.<br />Maybe I don't have the best idea for this photo shoot? Maybe I'm not<br />directing the models as well as I could? Maybe my whole plan is flawed?<br />Maybe I should have stayed at Holiday Inn Express last night? But I digress…<br /><br />All of the above could be true, or maybe some of it. I had to learn to stand<br />my ground on what I truly believed while taking nuggets of advice from<br />others on set and implementing it all into a final picture that would put a <br />smile on just about everyone's face. Easier said than done when you've got<br />six sets of eyes on a photo and a clock that's ticking. I also had to do it<br />diplomatically, because no one likes a dictator. Do you know how hard<br />this is for an only child? I'm just sayin'.<br /><br /><span style="font-weight:bold;">TID:</span><br /><br />In conclusion, what advice do you have for photographers while <br />working on a more complex lighting situation like this (think in terms<br />of the mental strategy)?<br /><br /><br /><span style="font-weight:bold;">JOHNNY:</span><br /><br />The first thing you have to ask yourself is why are you lighting this? <br />What are you hoping to achieve? Are you aiming to produce something <br />more dramatic, more natural, more surreal? Before you start unpacking <br />lights, step back and visualize the entire scene. Where do you want to <br />locate your light and what is the purpose of each light? Is it going to be <br />soft or hard light? Will it need to be a narrow beam of light, requiring a <br />gridspot or do you want that light to illuminate more than just a <br />particular area of the photo? Are you going for the super, over-the-top, <br />ESPN the magazine, NFL football superstar lighting or are you trying to <br />simulate a lighting pattern that would normally be in that environment? <br />Ultimately, you get to determine the entire mood of the photo based <br />upon these decisions. No pressure.<br /><br />There are no wrong answers to any of those questions depending, of <br />course, on the needs of your client. You should always shoot for <br />yourself and experiment as much as possible, but you also have to <br />keep in mind where this picture will be published and find common <br />ground between what you like and what's needed. It's not too <br />different from newspaper daily assignments in this respect. Shoot the <br />safe stuff that they expect to see, then start playing around with angles, <br />exposure, moments and lighting that push you, and maybe even your <br />subject, out of the comfort zone. At best, your editor goes with the <br />experimental images you made while playing around. At worst, you <br />have a bunch of pics that you wouldn't show your own grandma, but <br />you still learned something in the process.<br /><br /><br /><img src="http://farm7.static.flickr.com/6142/5937304634_9e7e15c0de_o.jpg" width="954" height="479" alt="johnnyandrews10"><br /><br /><br />Get there really early, if possible, and set up your lights to test and <br />troubleshoot before the models show up. If you don't have an assistant, <br />get used to bringing a tripod and use yourself as the stand-in model. <br />Don't have a tripod? Then try to grab someone nearby - a public relations <br />person, a secretary, a janitor, anybody. Offer them candy, an emailed <br />picture of themselves standing in your super hero lighting setup, a trip <br />to Cancun. Ok, that last one might not be in the client's budget. For a <br />heavily involved lighting setup with more than one person, the old, "I'll <br />just hold the camera at arm's length and point it back at myself to see <br />how the lighting looks" technique might work in a pinch, but you'll be <br />better off shooting your test pics at the same angle and focal length that <br />you will use when the actual model shows up.<br /><br />I could easily say that you shouldn't over think it, but then I would be <br />lying to you because I over think the heck out of situations like this. <br />That's just how my mind works but each photographer has to find their <br />own methodology. I like to pre-visualize various scenarios, from poses <br />to lighting and then run my ideas by other photographers for more input. <br />By the time I pick up the camera, I already have a few ideas but then I <br />hope that in the process something will happen that I didn't expect and <br />make it even better. Sometimes you hit the jackpot and sometimes you <br />go home with the losing lottery ticket and a sad trombone sound following <br />you out the door, but don't let it be for lack of preparation.<br /><br />And speaking of preparation, studying goes a long way. Study the work <br />of photographers you admire, the ones you personally know and the ones <br />whose blogs and websites you find yourself stalking every week. There is <br />an old photo axiom that goes something like, "It's all been done before, <br />but not by you." If you do enough research, you'll find that most of the <br />pictures you want to make have probably been made before, but they <br />haven't been made by you and creatively stamped with whatever <br />personal and unique vision that you bring to the picture...yet.<br /><br /><br />+++++<br /><br />Johnny Andrews is a photographer based in St. Louis, Missouri. He has spent the last fourteen years making pictures of everything from community festivals and Super Bowls to spot news and high fashion. After realizing that business accounting just wasn't in his future, he switched to photojournalism and film at the University of North Carolina at Chapel Hill and has only looked back on occasion just to remind himself that he definitely made the right choice. He has worked as a staff photographer for The Florida Times-Union, The (Raleigh) News & Observer, The South Florida Sun-Sentinel and is currently on staff at the St. Louis Post-Dispatch.<br /><br />His work has been recognized by the Atlanta Photojournalism Seminar, the Southern Short Course in News Photography, the Society of Newspaper Design and with a Racial Justice Fellowship through the University of Southern California's Annenberg Institute for Justice and Journalism among others.<br /><br />You can view more of his work here:<br /><br /><a href="http://www.johnnyandrewsphoto.com/">http://www.johnnyandrewsphoto.com/</a> <br /><a href="http://www.johnnyandrewsphoto.com/blog/">http://www.johnnyandrewsphoto.com/blog/</a> <br /><br /><br />+++++<br /><br /><br />Next week on TID, we'll take a look behind this image from Jason Arthurs,<br />who will talk about documenting a sensitive subject from one spot, and <br />what it took to achieve this access:<br /><br /><br /><img src="http://farm7.static.flickr.com/6124/5937615762_1af61cc76a_o.jpg" width="600" height="401" alt="jasontease"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://www.imagedeconstructed.com/">http://www.imagedeconstructed.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-74444874337472881002011-07-09T09:26:00.000-07:002011-07-09T10:15:39.395-07:00Editor's NoteWe're pleased to pass the six-month mark on The Image, Deconstructed.<br /><br />Dozens of people have volunteered to make this happen. I'm grateful for <br />those who have given your time, including Sam Saccone, who designed <br />the blog.<br /><br />Several people have asked how they can help, and I'm open for a variety of<br />ways, from doing guest interviews, to helping TID made connections with <br />people you would like interviewed, to basic copy editing. We also hope to have <br />an archive established soon, so people can search for previous interviews.<br /><br />Any thoughts are welcome as we move forward, and thanks again to everyone<br />who has been involved. <br /><br />We also hope to make an announcement in the coming weeks of TID's first grant<br />offer. We're working out the details now, but I'm excited about this potential. <br />Thanks again everyone, and here's to the exploration of the Psychology of <br />Photojournalism.<br /><br />Now, we'll take a look at the second of a two-part series, regarding the mentality <br />behind documenting a topic. Here co-editor Logan Mock-Bunting speaks to the <br />mental challenges of coverage of wildfires.<br /><br />We'll return to the deconstruction of one image and the interview format next <br />week with Johnny Andrews, of The St. Louis Post-Dispatch.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-74564873633639863132011-07-02T08:24:00.000-07:002011-10-29T08:53:11.777-07:00On Wildfires (and what NOT to do)The wildfire season is here, and there are reports that officials are <br />already concerned about the severity of 2011 fire season. Some of the <br />photographers we've <a href="http://imagedeconstructed.blogspot.com/2011/03/spotlight-on-greg-kahn_19.html">featured in the past</a> here on TID are in full swing <br />of coverage.<br /><br />The first time I covered a wildfire was a very frantic experience, <br />one in which I made several mistakes, yet learned an immense <br />amount from. <br /><br />In 2009, I learned that there were out-of-control wildfires in <br />Myrtle Beach, SC. I went down to Myrtle Beach and was denied <br />at every turn. The authorities had blockaded roads and corralled <br />media into one main station at the House of Blues, which was doubling<br />as a Red Cross shelter.<br /><br />I am a big proponent of going until someone says no – it's often better <br />as a photojournalist to beg forgiveness, than ask permission for access. <br />So when the police wouldn’t allow cars to drive into the major subdivision <br />being affected, I parked my car and began to walk in. I walked about a <br />half-mile to the main staging area for fire and rescue, where I asked <br />folks if I could ride along with them. They all referred me to an administrator,<br />who, unsurprisingly, said he wouldn’t allow media to go out into the field. <br />So I began walking back roads, past blockades toward the neighborhoods <br />closest to the fires.<br /><br />I had never covered wildfires before. Hurricanes, tornadoes, floods, <br />riots – yes. But wildfires - no. I had read up from resources like <a href="http://www.sportsshooter.com/message_display.html?tid=31015">sportshooter.com</a> <br />on how fast, dangerous and hectic fires moved, and I knew I was lacking the<br />proper gear (I was wearing hiking boots and khakis). From covering many <br />hurricanes I know some of the subtle (and not so subtle) aspects of storm <br />chasing – the patterns, the situations, the warnings to watch for – and <br />understand that kind of knowledge only comes from experience. I have shaken <br />my head, muttering “Dumbass” under my breath as I watched naive, ignorant or <br />just plan cocky journalists wander off into dangerous situations after others <br />warned them not to.<br /><br />I was not looking to be “That Guy.”<br /><br />Nonetheless, I felt I had a job to do. I wanted to tell the story. I wanted to <br />make something. So I kept walking toward the huge plumes of smoke in the <br />sky. There are no words for both how dumb this was, and I lucky I was not to <br />get injured.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5030/5673503112_96a781935e_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Packing up to evacuate.<br /><br /><br /><br />It was very eerie – straight out of <a href="http://en.wikipedia.org/wiki/The_Omega_Man">The Omega Man</a> –<br />completely empty neighborhoods; some houses with doors still open, or <br />sprinklers running – trash cans on the curb, awaiting pickup. A low, thin smoke <br />hung over everything, like a bad Hollywood special-effect of a sinister fog. After <br />three empty neighborhoods in the subdivision, I came across a bundle of three <br />houses that had people still in them. I was met by a very friendly man named <br />Carl King, his wife Georgiana, and his mother Barbara. They were amazing. I <br />explained what I was doing and he immediately invited me in, gave me full <br />access to their hectic attempts at packing everything they could salvage into <br />a small car. They would not stop trying to feed me. <br /><br />Here these people, perhaps about to lose everything, were taking time and <br />effort to make me more comfortable. They were amazing, and I am very grateful <br />to them for their kindness (and their water).<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5069/5672935869_d75703e795_b.jpg" width="1024" height="683" alt="Window Peek"><br />(They kept looking out of the blinds, watching the smoke and fire come closer)<br /><br /><br /><br /><br />After about an hour, I felt a bit less stressed – I had some decent images of <br />people reacting. The safe shots of fire trucks and smoke in the distance were <br />fine, but I had wanted to get something more. With the self-imposed pressure <br />lessened, I wasn’t in such a pressured mode – now I was thinking about <br />making images that shared the human element of the story.<br /><br />I started the 3-mile walk back to my car, and was lucky enough to flag down <br />a police car relatively quickly to shorten the journey. It was like a scene from <br />“The Stand” as we zoomed through deserted, hazy suburbs at well over 80 mph.<br /><br />Once I had transmitted the subdivision images, I started trying to get dramatic <br />fire shots. Again I was blocked at every turn. Police were not letting anyone within <br />miles of the active fire zones, and Public Affairs officers with the various fire and <br />relief agencies called in for the emergency were not allowing press to ride along. <br />After hours of driving around, trying to get access, I decided to take a completely <br />different angle: instead of chasing the fire and reacting to it, I would try to get <br />into a position where IT would come close to ME. I went to an overpass that <br />was blocked, walked up and scanned the sky for smoke. I noticed the wind <br />direction, got in my car and took back roads towards the towers of smoke, ahead <br />of where I thought the wind would drive the flames.<br /><br />After about 45 minutes of this, I was on a dead-end dirt road with a very defined<br />tree-line. Huge walls of smoke were rising far in the background. Another journalist, <br />a TV guy with the same idea, pulled up and we chatted for a minute, sharing our <br />frustration over being denied by authorities. I remember he said “They are keeping <br />us so far away – all I have is smoke. If I could just get some footage of actual flames, <br />that’s really all I need.”<br /><br />People in the neighborhood had come out of their homes – mostly trailers this far <br />back – and were watching the smoke, making videos of it, taking pictures. Children <br />were playing, trying to catch the falling, drifting black ash, which somehow struck <br />me as the opposite of snow.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5265/5892102702_5cc08ec96f_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Timestamp from my camera - 12:00:07<br /><br /><br /><br /><br />I asked some adults if they had a way to leave. They said they did. I asked if<br />they had enough room in their vehicles for everyone. They said probably. I asked <br />if they were thinking of leaving soon. Most shrugged. I began mentally figuring <br />out how many kids I could grab and squeeze into my car. A fire truck slowly <br />motored down the dirt road. I decided it was time move my car – 1) I didn’t want <br />to be in the way, and 2) I wanted to be able to get out fast, without having to <br />do a three-point-turn, reverse, or anything else. I left the keys in the ignition. <br />I wanted to be able to just jump in and go.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5063/5891536279_6254b04e08_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Time- 12:35:05<br /><br /><br /><br /><br />The smoke was getting closer. Bigger. And it was quickly changing color.<br /><br />Finally, one woman began to evacuate. Once she left, several other families <br />took the hint and began to leave. It was obvious the fire was coming this way. <br />And it was very big. Two men with garden hoses began to spray down their <br />homes and the areas around them.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5268/5891536411_53270480ed_z.jpg" width="427" height="640" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Time- 12:38:04<br /><br /><br /><br /><br />The three firemen with the fire truck started to unravel two hoses. My pulse <br />began to really quicken. We got our first glimpse of the flames – they were <br />as high as the 60-70 foot pine trees around us, with massive tongues licking <br />even higher. People started yelling, running into their homes, grabbing clothes, <br />photos - anything they could carry, throwing thing into cars and trucks. I <br />stood there and took photos. I was sweating. Smoke and ash stung my eyes.<br /><br />Finally two more firemen showed up – without a truck. They leapt into action <br />and began helping those trying to evacuate last-minute. And I realized I was <br />being a leech. I had been just thinking about composition and moment. But <br />those people, they were not just foreground and background elements of an <br />image. They are PEOPLE. Yes, I had a job to do, but these people were <br />undermanned and they needed help. Now. I felt very ashamed that I had slipped <br />into such a state, so I dropped my camera hanging on my neck and began <br />running into the homes of strangers, taking whatever they threw at me and <br />running – throwing clothes and keepsakes into the back of vehicles.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5111/5891536787_8b9f5ebde0_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br /><br /><br /><br />In a matter of minutes everyone who planned on leaving was gone. I picked <br />up my camera again. I was with three men who lived nearby and one fireman. <br />We were on the western side of the road; I knew there were three or four <br />firemen on the east.<br /><br />Suddenly, the light changed – the mid-day, harsh, bright light turned darker, <br />softer and a warm hue settled over everything. The smoke was pluming <br />above us, filtering the sun. The difference was very obvious and fairly quick – <br />looking at the timestamps on my images, a marked difference occurs in just <br />over a minute.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6028/5891536943_465134b2cb_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Time- 12:49:10<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5232/5891537101_a833485e48_b.jpg" width="1024" height="683" alt="FEATURED" alt="86183416LM001_wildfire"><br />Time- 12:50:20<br /><br /><br /><br />Then there was an amazing sound and I felt the air change – the wind <br />that had been blowing the fire toward us rapidly shifted the opposite <br />direction. The noise sounded like a combination of a giant vacuum and <br />a lion’s roar. Leaves and debris started blowing by me in little whirlpools <br />of air. I felt a chill as I realized the sound was the fire feeding; literally <br />inhaling the oxygen all around in order to grow. And then it was there,<br />right in front of us.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5120/5892111020_9871271792_z.jpg" width="427" height="640" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Time- 12:52:44<br /><br /><br /><br />Again, I knew the change happened quickly, but with my adrenaline <br />pumping I didn’t know how quickly it really was. Timestamps show how <br />far the fire traveled in less than three minutes.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6041/5891544285_2eed2e3b38_z.jpg" width="427" height="640" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br />Side note - it wasn’t until I got home that I realized I do not have a <br />photo that shows the top of the flames - that’s how tall they were.<br /><br /><br /><br />At once the air turned orange and thick – smoke and ash surrounding, <br />smothering us. The men started yelling. The flames were here, they <br />needed water. There were not enough firemen, so the local neighbors <br />manned the hose, taking directions for the firemen working the water <br />supply at the truck: ”Don’t start too soon! Spray low!” “Lower! You’re <br />wasting the water!” “It’s breaking through to your right – 3 o’clock!” <br />“Move, move – we need more hose!”<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5076/5892106282_f5810d45ec_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6054/5892106408_1888ed24d9_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br /><br /><br /><br /><br />Again, it got to a point where I truly felt I had to put down the camera. <br />After making some images, I got on a hose, helping move it. I got on <br />my knees, straining to get it around stumps and other obstacles. I ran <br />between the two teams trying to help communicate directions. The heat <br />was amazing – it felt like it was radiating from everything.<br /><br />The wind switched again. Suddenly, the fire wasn’t just in front of us – <br />it was now on both sides as well. We started moving back towards the <br />truck, and when I looked back at the flames, I saw rabbits running out <br />of the trees and undergrowth - at us, with us, past us. I was now very <br />scared and remember ridiculously thinking, “Wow. This just got really real.”<br /><br />This image is when the fellow next to me realized the fire had moved to <br />three sides around us:<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5235/5891539855_7b73745054_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br /><br /><br /><br /><br />We got to a safer place and the water from hoses started to stall the <br />flames. I calmed down a bit, and stood looking at the towering fire. I had <br />to consciously tell myself not to cry. It wasn’t the fear. The only feeling I <br />can compare it to is when I was present as a friend gave birth. It was a <br />feeling that was completely overwhelming. I would call it supernatural, <br />but it was the exact opposite of that – it was a reaction to seeing something <br />so purely natural, so primal and powerful, the emotional response for me <br />was something immense. I’ve been through some scary situations- had a <br />gun pulled on me in the aftermath of Katrina, been in street brawls, tear <br />gassed, nearly drowned. This was different.<br /><br />I would love to know how the other men felt. It would be interesting to see <br />if they were in a similar state, or if I was just being a drama queen – a novice <br />who was bowled over by his inability to grasp how huge and quick and powerful <br />this wildfire-beast was. But I didn’t have time to ask, as the fire had changed <br />direction again, and started toward the home of a family who had not evacuated.<br /><br />This was a different experience, as women in the family started crying and <br />screaming. Family members began uselessly pulling at limp hoses that had <br />no water supply, and couldn’t reach as far as was needed anyway. There was <br />a bustle of activity as the firemen struggled to get the truck into a better <br />position. Again, I looked around at the young children wandering around and <br />wondered if I should start scooping them up and running with them to my car. <br />A fireman took control and began to order and physically move everyone out of <br />the area. I followed the families, terrified at the near certainty that they were <br />going to lose their homes, when a helicopter appeared, dumping water from a basket.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5315/5892242368_d892aba422_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br /><br /><br /><br />It was an insane symphony – the sounds of the flames crackling, the winds <br />howling, people crying, the helo’s rotor blades whipping overhead, men <br />shouting – all mixed with the sound of rushing water from the hoses and <br />the basket-drops.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5267/5891675535_fdb5995728_b.jpg" width="1024" height="683" alt="Fast-Moving Wildfire Threatens Coastal Tourist Towns In South Carolina"><br /><br /><br /><br /><br />I felt that if I stayed I would be more than a burden – I would be actively in <br />the way and a distraction to the emergency officials who were working at full <br />capacity. I followed a family to their car, made sure they could fit everyone <br />in, took some photos of the exodus, and then got the hell out of there. I <br />needed to mentally regroup, eat my first real meal of the day, and transmit. <br />I also wanted to call my dad and tell him I loved him.<br /><br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6041/5892242228_b7dcf1b3c8_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br />Families evacuating.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5301/5891675957_41327e3eed_b.jpg" width="1024" height="683" alt="86183416LM001_wildfire"><br /><br /><br /><br /><br />The rest of the day I very much played by the rules spelled out by authorities. <br />I headed back to Myrtle Beach and stayed close by the shelter, taking the safe <br />and contained media opportunities offered by the Public Information offices. <br />By around 7 pm I got the message that the neighborhoods hit hardest by the <br />fires would most likely be open to the families around 9 am the next morning. <br />Just to try, I attempted to drive back into one of the areas I knew was hit hard. <br />More officials denied my entry, and I decided not to push my luck anymore<br />that day – I would start again the next, with my new knowledge and experience <br />a cornerstone of planning.<br /><br />To summarize few of the lessons I learned from this experience:<br /><br />1) Fires move insanely quickly and erratically. Rabbits, deer and cars cannot<br />outrun fire. A person doesn't have a chance. You cannot move faster than a <br />fire, you can only avoid it. If you do not know or understand how a fire moves, <br />do as much research as possible and travel with someone who does have <br />firsthand knowledge of what to look for in its movement and patterns.<br /><br />Most bystanders do NOT understand how fast a fire can move. If you feel <br />uncomfortable in a situation, don't let others' staying hold you back. Get <br />out when (if not before!) you feel the need to get out. <br /><br />2) DO NOT try to cover something like this on your own or without expert <br />guidance. Many of my decisions that day were reckless and stupid, and I <br />was very lucky. Read up, ask questions, work alongside and with those who <br />have experience. Another pair of eyes to watch your back and give advice on <br />developments can be invaluable.<br /><br />3) Covering fires can be a very strenuous activity. Make sure you are eating, <br />staying hydrated, and at a decent energy level. If you need a break, get out <br />and recoup. Transmit, check out other images on the wire, look at maps, <br />etc. There is a LOT that can be done while you physically recharge. <br /><br />4) Little things can make a big difference. Like my example with the car - <br />leave keys in the ignition when you get out of your vehicle. Not only do you <br />want to be able to jump in and go, but you also do not want to block others. <br /><br />5) Know where you are (i.e. roads and routes), and multiple ways to leave. You <br />don't want to end up on a dead-end road, stuck behind other vehicles as a fire <br />approaches. Be aware of all vehicles that could be used in a quick exit. <br /><br />6) Be safe, be true in purpose to yourself, viewers and subjects. That is so much <br />more important than an image.<br /><br />PostScript: Since this story was originally written, Sportsshooter.com has <br />featured another great article by <a href="http://www.rafaelagustindelgado.com">Rafael Agustin Delgado</a> called <br />"<a href="http://www.sportsshooter.com/news/2530">Into The Fire</a>" about safety in covering wildfires - A highly recommended read.<br /><br /><br />+++++<br /><br /><br />Logan has photographed in over a dozen countries for a wide variety of <br />editorial and advertising clients. His images have been published in books, <br />magazines and newspapers all over the world, including: TIME, Newsweek, <br />National Geographic Adventure, WORLD Magazine, People Magazine, USA <br />Today, Los Angles Times, The Guardian (London), as well as on the front <br />page of the New York Times, Chicago Tribune, Washington Post and the <br />International Herald Tribune. <br /><br />He's been recognized with several national and international honors and <br />grants, including awards in Pictures of the Year International, NPPA's Best <br />Of Photojournalism, the Alexia Foundation for World Peace, National Hearst <br />Competition, the Public’s Best Picture of the Year Award on MSNBC, and <br />North Carolina Press Photographers Association.<br /><br />You can view his work at:<br /><br /><a href="http://www.loganmb.com/">http://www.loganmb.com/</a> <br /><br /><br /><br />+++++<br /><br /><br />Next week on TID, we'll take a look behind this wonderful image from <br />Johnny Andrews from a fashion shoot:<br /><br /><img src="http://farm7.static.flickr.com/6016/5919080526_e2823f0a8c_z.jpg" width="600" height="295" alt="johnnyandrews"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-85551821040173473352011-07-01T19:28:00.000-07:002011-07-15T15:20:13.358-07:00Spotlight on David Walter Banks<span style="font-weight:bold;">TID:</span><br /><br />Thanks for sharing your thoughts behind this image, David.<br />For the next couple of weeks we'll take a look at one image,<br />and where it fits within a larger set of pictures.<br /><br />A perfect example is this picture, from your series<br />‘The Fourth Wall." <br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3240/5869263099_06bfb449b5_b.jpg" width="954" height="638" alt="The_Fourth_Wall_001"><br /><br /><br /><br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br /><br />I used to put so much stress on myself during project brainstorming <br />that the thought process would become paralyzing. In my mind there <br />was no reason to start on a project unless it was fully formulated, <br />unique, and something that really excited me. The result was a lot <br />of thinking and writing and dwelling on ideas without any substantial <br />conclusions, and subsequently, no new project work.<br /><br />After repeating this cycle for a while, I just picked an idea and started <br />shooting large gatherings of people who shared a common interest. It <br />didn't feel right, but it was better than siting on my hands. This image <br />was born from one of these early shoots at the end of a 'zombie walk' <br />in downtown Atlanta. After the hoard of zombies dispersed, I began <br />the hike back to my car, where I saw these two bloody-faced kids sitting <br />in a 50s-style diner and photographed it quickly in passing.<br /><br />The rest of the images I shot at these various gatherings were all directed <br />strobe and fairly stylized, yet it was this image that continued to resonate <br />with me. At first I didn't know why, and so I kept coming back to the <br />photograph. Finally I realized that it was the human interaction with this <br />altered reality that interested me so much. After a few more revisions of <br />the idea and a lot of talk with my colleagues in LUCEO, my essay entitled <br />'The Fourth Wall' emerged from the ashes of the earlier failed concept.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6015/5892864348_57292b3a3a_b.jpg" width="954" height="638" alt="FEATURED" ><br /><br /><br /><br />(An actor playing Jesus stands with his arms outstretched greeting visitors <br />at the Christian theme park, Holy Land Experience, in Orlando, Florida. The <br />religious tourist attraction serves as a mix between a place for worship, <br />historic study, and a large scale three-dimensional stage for the daily live <br />performances.)<br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Lets talk in greater detail about the fourth wall, what it represents,<br />and how you approach making images for it.<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />‘The Fourth Wall’ is a theatrical term for the invisible barrier that separates <br />the audience from the fictional characters on stage. More often, the phrase <br />is used in reference to breaking that wall down. <br /><br />As children with wild imaginations, we are taught that the world is separated <br />into reality and fantasy, fiction and non-fiction. These early teachings are <br />perhaps what plant the seeds of curiosity in pretending we are in a place or <br />time that we are not. In the 1950s, Walt Disney fueled this fire when he set <br />out to create a fantasy world that was designed and marketed not just to <br />children, but adults as well, paving the way for more like it. The Fourth <br />Wall explores these altered theatrical realities and our interaction and <br />fascination with them.<br /><br />My approach for making these images is actually quite different from how <br />I normally go about making images. In other projects, and most of my daily <br />work, I attempt to put as much of myself as possible into the photographs to <br />the point that every image is almost a self-portrait in a way. I shoot very <br />objectively and work to create an intimate connection with my subjects, <br />whether it's a close friend, complete stranger, or even a place or object. <br /><br />For this project, I'm trying to document these places as more of a sociological <br />study. I want it to feel as though the perspective is that of someone on the <br />outside looking in - almost voyeuristic in a way. However, I'm finding this <br />to be more and more difficult the longer I work on the project, the more <br />I feel connected to these fantasy worlds and that inner need for escape.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5279/5892864470_8808f43a72_b.jpg" width="954" height="638" alt="The_Fourth_Wall_022"><br /><br /><br /><br />(Guests at the Atlantis Resort on Paradise Island in the Bahamas at one of <br />the many lagoon-styled pools on the resort's property. Themed for it's <br />namesake, Atlantis offers a complex with a water-park, aquarium, casino, <br />spa, six hotels, a fitness center, golf, shopping, a speedway, a night club, <br />and a plethora of dining options, all linked with an array of fake lagoons, <br />Atlantis encourages guests to stay on property. In fact, they make it kind of <br />difficult to leave. At Atlantis, you are literally offered complete immersion into <br />this surreal play-land for your entire vacation.)<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />How has the project shifted from the beginning to where it is now?<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />As I said above, the work evolved from a project tentatively titled <br />'Gatherings' in which LUCEO photographer Kendrick Brinson and I <br />were visiting mass gatherings of folks with common interests. This idea <br />eventually fizzled out due to lack of focus and direction. The photograph <br />above, titled unimaginatively as 'Zombie Diner' led me down a new path <br />of thought. That idea's first incarnation was tentatively titled 'False Identity', <br />and I began to visit these fake realities. The idea continued to grow but<br />connotations that came along with the words 'false', and 'fake', seemed so <br />negative and I didn't want to convey a sense of deceit in my viewpoint. <br /><br />After a long talk with the LUCEO photographers at one of our bi-annual <br />meetings in DC, the new title and new direction became clear. It wasn't the <br />places alone that interested me, but the human interaction with these places. <br />From there, my purpose and what I was looking for finally became clear. I <br />say all this to emphasize that our ideas for what, who, and where we shoot <br />don't always need to be clear from the start. Sometimes we may have a <br />specific mission that we can understand and articulate before we ever make <br />the first frame, but other times it needs to be more of a natural evolution. I <br />also believe that we need to make use of our own photographic community <br />to better understand ourselves and our work, which can seem so unclear <br />even when staring us right in the face. It's hard to recognize when we're <br />wearing blinders.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5302/5892296951_fc47b47992_b.jpg" width="954" height="638" alt="The_Fourth_Wall_010"><br /><br /><br /><br /><br />(A trainer inadvertently mimics the behavior of the large cats inside the <br />Lion Habitat inside the MGM Grand Hotel & Casino on the infamous Las <br />Vegas Strip. This was shot during a trip to Vegas shooting exclusively <br />for this project.)<br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />What goes through your mind when you approach making images for<br />the project - talk about the idea of the cracks as we talked about.<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />I'm looking for the sense of fantasy and the interaction of the 'audience' <br />in these altered realities. I'm looking to convey these places as trips to <br />another world, but I also hope to create punctuations throughout the work <br />focusing on the cracks in the facade. <br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5234/5892297045_ab85fcc18a_b.jpg" width="954" height="638" alt="The_Fourth_Wall_012"><br /><br /><br /><br />(Tourists explore The National Wax Museum in Dublin, Ireland where visitors <br />are invited on a tour through Irish History followed by an odd mix of popular <br />culture ranging from fairy tales and music to horror films, all depicted by <br />magnificently crafted wax sculptures.)<br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What have you learned from this working on this project that you didn't<br />know before.<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />Through this project I've found that my real interest in photography is routed <br />in sociological exploration as much as it is the image-making. I've also come <br />to terms with the fact that for me so much of these explorations are to better <br />understand myself. As self-involved as it may sound, the images and the <br />projects become a self portrait. It's not that I don't have a profound respect <br />and interest in my subjects in their own right, because I certainly do. It's more<br />the opposite outcome, as this self-reflection deepens my interest and curiosity <br />with what I shoot. In a strange roundabout way, this project helped lead me to <br />my next piece that will be based on my hometown of Atlanta. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Since this project is self generated, what advice do you have for <br />photographers looking to work on long-term themes where <br />at least initially there was no commissioning publication?<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />You don't need anyone to give you permission to document life and create <br />art on your own terms. <br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5066/5892932860_87e5e95940_b.jpg" width="954" height="638" alt="The_Fourth_Wall_023"><br /><br /><br /><br />(One of the mermaid actresses holds a finger to her mouth to hush the <br />crowd while performing Hans Christian Andersen's 'The Little Mermaid' in <br />the underwater theatre in Weeki Wachee State Park in Spring Hill, Florida.)<br /><br /><br />That's my passionate gut reaction on the subject, but it would be a disservice <br />if I don't also mention the practical side of it all. You can sit around and wait <br />for a great assignment, or commission, to shoot exactly what you want, but it <br />probably won't happen. You have to make it happen, and often times this <br />means to fund and operate on your own at first. From the very beginning, <br />though, we should be pitching these story ideas to editors and art directors, <br />and I think a lot of photographers will be surprised with positive results. <br />There are also a whole plethora of grant and competition funding out there <br />that should be researched to find the right fit for your project.<br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What sort of problems have you run into, and how do you <br />problem solve?<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />I've approached this project from a more street-photography style, and <br />ended up mostly as an observer. I make no claim however that I'm not being <br />completely objective in the story I tell by the direction I point my camera and <br />the instant I shoot the image. This was a moment when one of these fantastical <br />places broke that barrier of the fourth wall and interacted with me. As I go <br />forward, I hope to look for more opportunities to directly interject myself when <br />appropriate.<br /><br />Funding is definitely an ongoing issue for any photographer looking to <br />generate their own stories. In my opinion, there's no magic bullet, and it's <br />more of a cumulative effect of many different efforts. To solve this problem <br />I apply for grants, pitch the stories to publications in smaller bite-sized pieces, <br />and work to resell stock from the project. For each project, there's a different <br />answer and a different means of funding. I also look at assignment work as a <br />direct means of funding personal work, rather than just a paycheck. We <br />created the LUCEO Project Fund in which a percentage of each commission <br />goes into an account that directly pays for project work that lacks funding. <br />This way our clients know that they are helping pay for the work which <br />probably spurred them to hire us in the first place.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5063/5892364995_7d854a7b39_b.jpg" width="954" height="638" alt="The_Fourth_Wall_004"><br /><br /><br /><br />(This photo came from a beautiful wedding I documented at an old <br />plantation in Charleston, South Carolina, in a passing instant in time <br />between two destinations. The moral here being that you never know <br />when a piece of the puzzle will fall into place right in front of you.)<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />I love it when photographers think out of the box, and I think this <br />is an excellent example. What advice do you have for photographers<br />to expand their mind?<br /><br /><span style="font-weight:bold;">DAVID:</span><br /><br />I would suggest to look outside photography, or at least outside their realm <br />of photography. If you're a photojournalist, look at more art photography. <br />If you're a portrait photographer, look at more documentary photography. Or <br />look to film, music, poetry, contemporary and historic painting, or even the <br />social sciences. All this to say that I believe it's important to remind ourselves <br />that the camera is just a tool we use to express ourselves.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5271/5892944284_ac4d046e97_b.jpg" width="954" height="638" alt="The_Fourth_Wall_015"><br /><br /><br /><br /><br />(I had been standing and photographing the statues and surrounding <br />stairs on two separate trips to the same spot in Vegas. Finally this <br />scene materialized right in front of me. I'm starting to look for more <br />specific ideas when I approach these places as I collect a growing pile <br />of images. For Vegas, one of the obvious ideas to look for was sin, <br />and the wild sexual behavior of average people.)<br /><br /><br />I'm looking for a range of different emotions when I approach these <br />shoots. I feel that it's important not to take ourselves as photographers <br />too seriously, and I feel the same way with this project, so I want to find <br />a little quirk. Never in a judgmental or insulting way, but in a lighthearted <br />shared humor. I believe my better half, Kendrick Brinson, has achieved <br />a mastery of the shared wink through her images in Sun City.<br /><br /><br /><br /><img src="http://farm7.static.flickr.com/6018/5892296829_52f68ff919_b.jpg" width="954" height="638" alt="The_Fourth_Wall_003"><br /><br /><br /><br />(This image was shot on my birthday of Kendrick Brinson in front of the 'Walk <br />Through Time in Georgia' exhibit at Fernbank Natural History Museum in <br />Atlanta, Georgia. Yes, I'm that much of a photography nerd that I spend my <br />birthday working on a project.)<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5264/5892371839_19e3dbfc47_b.jpg" width="954" height="638" alt="boy"><br /><br /><br /><br />SA young boy climbs one of the many painted stone statues at the infamous <br />South of the Border compound off of Interstate 95 in Dillon, South Carolina. <br />The massive billboard campaign lures travelers for nearly one hundred miles <br />of Interstate 95 with quirky messaging and a politically-incorrect stereotyped <br />caricature of a bandito. The Mexico-themed roadside attraction began when <br />Alan Schafer started a small beer-stand, conveniently located just across the <br />border from a dry county in North Carolina. <br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5111/5892297133_9984038dd1_b.jpg" width="954" height="638" alt="The_Fourth_Wall_024"><br /><br /><br /><br /><br />(An abandoned parking lot at dusk in downtown Helen, Georgia. The small <br />town presents itself as a re-creation of an alpine village complete with <br />cobblestone alleys, horse-drawn carriages and old-world towers. I try to <br />make images that convey a feeling, and this photograph offers me a quiet <br />exit from this fantasy world.)<br /><br /><br /><br />For me, photography is an intimate and intricate part of my existence, <br />and I try to live what Sam Abell terms as 'The Photographic Life'. So I <br />compulsively document my own life on top of assignment and project work, <br />which oftentimes yields some of my favorite images and blends together. <br /><br /><br />A lot of what we talk about as photographers is not the way an image looks, <br />but how it feels. My ideal world, and what I strive to do, is to convey a <br />mood, as much as a literal fact.<br /><br /><br /><br />+++++<br /><br /><br />David Walter Banks (b. 1982) is an American born photographer living in Atlanta, Georgia. He is a conceptually based documentary and portrait photographer, and a founding member of the photographic cooperative LUCEO Images. His work is aimed at questioning the way in which we view the everyday reality around us. Banks was a finalist for the 2010 Magnum Expression Award, and was a selected artist for the Magenta Foundation Flash Forward 2009 and 2011 Census of Emerging Photographers. His work was exhibited at the 2009 and 2011 LOOK3 Festival of the Photograph, the 2010 LOOKbetween Festival, the Aperture Gallery in New York, the Houston Center for Photography, and most recently at Jennifer Schwartz Gallery in Atlanta and 25CPW in New York City. David’s clients have included The New York Times, Stern Magazine, TIME Magazine, US News & World Report, GQ, Forbes Magazine, The Wall Street Journal, People Magazine, ESPN The Magazine, The FADER Magazine, AARP Bulletin, Golf Digest, Spin Magazine, XXL Magazine, Sporting News, Bloomberg News and Atlanta Magazine among others.<br /><br />+++++<br /><br /><br />Next week on TID, we'll take a look behind this image from TID co-editor,<br />Logan Mock-Bunting, with some valuable words of wisdom on covering<br />wildfires:<br /><br /><br /><img src="http://farm6.static.flickr.com/5156/5893723115_eb0d5c3539_z.jpg" width="604" height="404" alt="1"><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-90023834194201076732011-06-16T10:06:00.000-07:002011-09-19T17:53:32.266-07:00Spotlight on Brandon Tauszik<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHKQwOln0CPsqWh4tKMvMsTMFlda3w2bJoCefUNUcEO6O-J0roCerbRsH4qclWsKjlob-ehtKitnl6o8TmNJ7yz6pw-pWRkOmvUyTjAfGnont6X46Z9ZepOJnXuMMDwnITtId3ACxxp4/s800/5869771984_97a3cf6f7a_o.jpeg" style="display:none" alt="FEATURED"/><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />Brandon, thanks for offering to be a part of TID. <br />Please tell us about the image and the larger project <br />of which it's a part.<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />"On May 21st, 2011 a wave of great earthquakes will occur, <br />like none our planet has ever witnessed. These will begin the <br />process of the rapture; as the chosen elect are taken up from <br />the world to meet the Lord in the air and be forever with God. <br />All who are without salvation will be left behind. Five months <br />later on October 21st, God will destroy the earth and all of <br />the remaining people…"<br /><br />With this message Harold Camping reached millions of people <br />worldwide. Leader of the Oakland-based organization Family <br />Radio, Camping's prediction was backed by a global TV & radio <br />network, thousands of evangelizers, and countless billboards. <br />The featured image is part of my project Pray for Mercy, which <br />follows the organization prior to and directly after the failed <br />May 21st Judgement Day prediction. <br /><br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3152/5869771984_97a3cf6f7a_o.jpg" width="954" height="637" alt="tauszik-TID-6"><br /><br /><br /><br /><br /><br />Family Radio paid for a mass of billboard spots in most major <br />U.S. cities, as well as many other locations globally. Like most <br />people, I did a double take when I first saw one of the billboards <br />in early March. With a setting sun behind a silhouetted figure <br />praying, I was deeply fascinated by the endearing presentation <br />of the message, which boldly proclaimed the eminent destruction <br />of humanity. <br /><br />After reading up on what the media was saying about Harold <br />Camping’s message, I had to do another double take. It was easy <br />for people to dismiss him as “crazy”, talking about vanishing <br />Christians and eternal fiery damnation, but 41% of Americans <br />believe what Camping believes will definitely happen at some <br />point in time. So where was the lunacy? In the fact that he set a <br />date? I feel like a large number of Americans began to privately <br />ask themselves some tough questions, while ridiculing Camping <br />and his followers. <br /><br />All of this both confused and enthralled me. I wanted to take a <br />closer look at the people perpetuating this message and my <br />camera was the excuse to do so.<br /><br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5149/5869214309_57f5e3fe27_o.jpg" width="954" height="637" alt="tauszik-TID-2"><br /><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Where does this image fit in with the larger project?<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />The featured image is of Scott Noble, a member of Camping's <br />congregation, standing in the empty Family Radio sanctuary <br />on Sunday, May 22nd. Approximately 2/3 of the photographs <br />in Pray for Mercy were made before May 21st, and the remaining <br />third made after. This image fits into the latter third of the <br />project and brings the whole story to a rather symbolic end. <br /><br />In the image below, everyone wanted to know what went wrong, <br />(when the world didn't end) and small groups were huddled together <br />discussing dates and numerology while flipping through their Bibles. <br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5104/5869783840_8c556fe23e_o.jpg" width="954" height="637" alt="tauszik-TID-10"><br /><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />How did you manage to gain access to this story?<br /><br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />After a little research, I discovered that Family Radio and Harold <br />Camping himself were based nearby in Oakland. That really was <br />all the prompting I needed. I called up the Family Radio office <br />and was told I could attend the Sunday morning service and make <br />photographs. Camping’s congregation was meeting every Sunday <br />in a rented building, so I showed up for church one morning, <br />camera in hand. I shot during the entire service and then met and <br />spoke with people afterwords. The congregation was pretty <br />ethnically balanced, mostly normal, middle class, and conservative <br />in nature. Everyone was pretty amiable towards me, even when <br />I would get up close for shots. In general, my presence was all <br />but ignored so I kept showing up every week, as well as obtaining <br />permission to shoot inside their broadcast center. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What were some of the difficulties you faced, and how did you <br />handle them?<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />This story (literally) had an expiration date on it the moment I <br />began shooting; There was this certain movement of people <br />preparing for this certain date. I wasn’t shooting for a school <br />project, wire, or publication so during the week it was often tough <br />to draw the line between work and <span style="font-style:italic;">work</span>. There were aspects of <br />the story I wanted to capture as it unfolded, but simply couldn’t <br />make myself available. I would say initiative was the other <br />difficulty. <br /><br />After a long night out, waking up early on Sunday to go <br />hear Harold Camping speak for hours was not the most desirable <br />option. <br /><br />In all seriousness though, I don’t really have a close group <br />of photographer friends, so inspiration and initiative has to come <br />from within during self-assigned projects like this. The images <br />ended up gaining a lot of attention closer to May 21st, but for the <br />majority of the project I was just shooting for personal reasons. <br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5184/5869268327_906840f498_o.jpg" width="954" height="637" alt="tauszik-TID-12"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />Now, onto the image. Tell us what lead up to the image and how <br />you handled gaining access to it, and what was going through your <br />mind at the time.<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />On the morning of Sunday the 22nd, it was pretty clear that the <br />rapture didn’t occur. I decided to pay a visit to Harold Camping’s <br />home before heading to the church building. I was the first journalist <br />to speak with Camping after the failed prediction and managed to <br />snap the image of him rather bewildered outside his home. He told <br />me that his congregation knew not to show up for church that day <br />and that there was no service planned. However after leaving his <br />home, I drove to the church building and found around a dozen <br />congregation members waiting outside. <br /><br />I hung out with them for a while, soaking in the mood. Everyone <br />wanted to know what went wrong, and small groups were huddled <br />together discussing dates and numerology while flipping through <br />their Bibles. One of the congregation members angrily told me to <br />stop making photos and shed some insight on the situation, “what <br />do you think?” I didn’t mention that I’d just spoken with Camping <br />himself and as it became clear that he wasn’t coming to explain <br />himself to his own congregation, I felt some empathy as their moods <br />slowly turned defeated. <br /><br />I noticed one of the congregation members Scott trying to get inside <br />the building. A door was unlocked and I saw him slip in. As much as <br />I knew he wanted to be alone, I followed him in about 10 feet behind. <br />He continued into the empty sanctuary and then stood still near the <br />front. As soon as he stood there, I saw the image in my head. I had no <br />idea how much time I had to capture the moment but I remember <br />wanting to make sure I exposed the image perfectly, instead of just <br />shooting away and hoping for the best. I exposed, focused, and <br />managed to make one shot before he turned around and walked away.<br /><br /><br /><img src="http://farm4.static.flickr.com/3168/5869772070_201cd6b32d_o.jpg" width="954" height="637" alt="tauszik-TID-5"><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Was there any concern about you taking this picture at the time, and <br />if so, how did you handle it?<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />As I mentioned before, people seemed to either accept or dismiss my <br />presence throughout the project. I knew Scott was trying to come to <br />terms with the failed prediction and was having a personal moment <br />inside the sanctuary, but he didn’t seem to acknowledge me as the two <br />of us stood there in silence. Throughout the project, I tried to train <br />myself to have a respectful demeanor, without appearing sheepish. <br />By the time this moment rolled around, I was confident in that approach. <br /><br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3152/5869771984_97a3cf6f7a_o.jpg" width="954" height="637" alt="tauszik-TID-6"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You mentioned in a previous conversation that you learned a great deal <br />from this project. What were the lessons learned professionally, and <br />how did you grow as a person?<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />As one of my first “real” photo stories, I learned a great deal while <br />shooting this project: <br /><br /><br />I learned that access can be easier to obtain than you think. <br /><br />I learned that you must have a great deal of personal initiative <br />when shooting a project independently or on-spec. <br />I learned that captions are almost as crucial as the images, but a<br />powerful image may not need a paragraph of text to explain it. <br /><br />I learned a lot about how to photograph people you don’t know. <br />All photographers I’ve asked about this have told me it’s something <br />you have to learn for yourself and I feel. I have grown significantly <br />in that respect.<br /><br />I learned that publications still love photographs but don’t like <br />paying for them anymore.<br /><br />Importantly, I learned that if you have confidence in the fact that you are <br />the photographer in a given situation, people generally won’t question that.<br />In Camping’s congregation no one gave me that title, but I took it the <br />moment I showed up with a camera slung over my shoulder. <br /><br /><br />I also think you have a certain degree of amnesty in your actions <br />as the photographer. I believe this is why it can sometimes be socially<br />acceptable to make photographs in situations like hospitals, conflict <br />zones, or during peculiar events such as this. When your subjects have <br />nothing to be ashamed of, a photographer is usually not seen as a threat. <br />Therefore I think Camping and his congregation saw no reasonable need <br />to be weary of me, as they were certain in their convictions. <br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />In conclusion, what advice (think mentally) do you have for photographers<br />to gain access to these type of situations?<br /><br /><span style="font-weight:bold;">BRANDON:</span><br /><br />Be persistent while also being respectful. People are busy living their lives, <br />and photographers are often just an accessory (or annoyance) in the context <br />of something larger. Stake your ground, be friendly, and feel it out. Also <br />challenge the perspective you take on the stories you shoot. Really think <br />about what you want to say about a given issue and capture that. Be <br />articulate with your images.<br /><br /><br /><img src="http://farm4.static.flickr.com/3245/5869771910_f7160335fc_o.jpg" width="954" height="637" alt="tauszik-TID-7"><br /><br /><br /><br />+++++<br /><br /><br /><br />Brandon Tauszik was born (1986) in Chicago but raised in England. He spent his late teens and early twenties wandering through the Balkans, learning how to make photos and get into trouble. For two years Brandon then whiled away his hours in the Art & Film department at Invisible Children, a media based non-profit organization. He recently received an Associates in Arts degree, but has no formal education in journalism or documentary photography. Currently Brandon resides in San Francisco where he creates visual media at Sprinkle Lab while assisting Magnum photographer Jim Goldberg.<br /><br /><br />You can view more of his work here:<br /><br /><a href="http://www.brandontauszik.com/">http://www.brandontauszik.com/</a> <br /><br /><br />+++++<br /><br /><br />Next week on TID, we'll take a look behind this image from David Walter Banks,<br />a founding member of Luceo Images from The Fourth Wall series:<br /><br /><br /><img src="http://farm6.static.flickr.com/5265/5869263153_f47256cdeb_o.jpg" width="600" height="401" alt="The_Fourth_Wall_001TEASE"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6817693054093704053.post-89744100269918604212011-06-04T09:59:00.001-07:002011-06-18T08:13:54.622-07:00Spotlight on Lexey Swall<span style="font-weight:bold;">TID:</span><br /><br />Thanks, Lexey, for your time. Can you tell us about the backstory<br />of this image?<br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3047/5797212790_78dd0e9789_b.jpg" width="954" height="637" alt="100617NS-LS-JoeWilliams"><br /><br /><br /><br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />First, let me thank you for asking me to be a part of your blog. I am <br />truly honored.<br /><br />This picture was taken while doing a profile on Rev. Joe Williams. He's <br />a pillar in the black community in Naples. He is the pastor of Triumph, <br />the Church and Kingdom of God in Christ, one of three historically black <br />churches in Naples- it was part of the series I did a year before on the <br />three churches in honor of the 100th anniversary of the NAACP. The <br />reporter, Katy Torralbas, and I decided Joe was worth his own story. He <br />has raised children, grandchildren and, now, his great-grandchildren in <br />the house he bought in River Park community in 1961. River Park is the <br />first area of Naples where the black community was able to buy property. <br /><br />I have covered River Park extensively through various daily and long-term <br />stories during the past eight and a half years that I've worked at the Naples <br />Daily News. I had never thought of putting all of these assignments together <br />in as a cohesive collection, but I realized after doing the story on Joe that a <br />portrait of the community had emerged in my archive. Since this realization, <br />I've created a spot on my website about River Park and when shooting there, <br />I've shifted my thought process to think about the neighborhood as the subject. <br />It's a work in progress at this point. It's not something I devote all of my time <br />to, but over time, I want to reflect all aspects of this community.<br /><br /><br /><br /><br /><a href="http://www.flickr.com/photos/80268288@N00/5796655623/" title="1 by drtfoto, on Flickr"><img src="http://farm4.static.flickr.com/3663/5796655623_3e3372275d_b.jpg" width="954" height="637" alt="1"></a><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />How does this image fit in with the River Park story?<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />Joe is a main character in River Park. He's one of the few elders left <br />in the neighborhood who has been there since the beginning. He's kind <br />of the watchman, the overseer. I think of him as a front porch pastor. <br />As people walk or drive by they always wave to him, or people randomly <br />stop by to ask for advice. One day while sitting in his front yard with <br />him, a group of girls walked by, and turned and stopped to wave him <br />over to ask him a question. <br /><br />One of the girls was pregnant and asked Joe if he thought it was ok for <br />her to have an abortion. He told her no. He said if she didn't want the <br />child, someone else would want to love it. As far as I know, she didn't go <br />through with it. He is a voice of reason in the community and a source of love.<br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />Now, onto the image itself. Tell us how this image was <br />made, and what challenges you faced?<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />This image is of Joe and two of three of his great-grandchildren who <br />live in his home. Joe's granddaughter, Shaniqua, was the boys' mom. She <br />was killed in front of the boys by her friend's ex-boyfriend. The same <br />day, the boys came to live at Joe's home. Shaniqua also grew up there.<br /><br /><br /><br /><a href="http://www.flickr.com/photos/80268288@N00/5797212746/" title="2 by drtfoto, on Flickr"><img src="http://farm3.static.flickr.com/2604/5797212746_5010f6847e_b.jpg" width="954" height="637" alt="2"></a><br /><br /><br /><br /><br />When we decided to do the profile on Joe, I didn't necessarily think <br />through all the scenarios I could photograph of him. It pretty much <br />turned in to days and days of shooting one scenario. Him, sitting out <br />on his porch or in the front yard. That's really the majority of his <br />life. I kept going back to the office telling my editor that I wasn't <br />sure what I was getting because every day is the same. Sometimes with a <br />story, I can plan strategically which days to shoot pictures by finding <br />out when stuff will be going on in the lives of those I'm covering. It <br />was impossible to do that with Joe because he didn't really plan <br />anything but church on Sunday. So, I would just drive by his house when <br />I had time. It felt a whole lot less like I was doing a story, and more <br />like I was just hanging out. I would sit with him for hours. Sometimes <br />in silence. Sometimes talking. I decided that was ok. It was more <br />important to be comfortable in his space and get to know him, than it <br />was to make a photo.<br /><br />That said, when I did shoot pictures, especially on days when he sat on <br />the porch and not in the yard, I felt pretty confined to the area where <br />he was. If I went across the street, or too far in to the yard to <br />shoot, I didn't think the a moment would translate the way I wanted. <br />So, I would sit and hang out on or around the porch and wait for <br />something to happen.<br /><br />That's how it was on the day I shot this photo. Thankfully, with the <br />boys around, it allowed for some spontaneity. I was looking for <br />something that showed Joe's character or said something about his life. <br />Whether it was how gentle he could be with the boys, or something about <br />him being the watcher of the neighborhood. The boys were in and out of <br />the house, playing in the yard and hanging with Joe as they waited for <br />their other brother to come home from school.<br /><br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5273/5797212874_5be271c73e_b.jpg" width="954" height="637" alt="5"><br /><br /><br /><br /><br /><br />This image shows Joe exactly as he is: sitting on his porch, watching the <br />neighborhood with a phone in his hand in case he gets a call, or needs <br />to call the police if trouble starts. Also, it shows the boys watching with <br />him. I love how Eric, at left, is peaking out and Charlie, right, looks like <br />he's so cool, like he owns the place. I felt like this picture showed Joe's <br />influence on the boys.<br /><br />Spending days with Joe reminded me to slow down and just be patient. <br />But, more importantly, I think it reaffirmed the importance of just <br />being with the people you're telling stories about. I know so many <br />things about Joe's life and how he feels about love and family. I'm a <br />better person for it.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />This picture is part of a larger project, can you talk <br />about your approach, in general, to working on this<br />(and with this - long-term projects in general)<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />This picture is part of a larger project now. But, when I shot it, I <br />didn't realize I would be compiling all of my images from River Park to <br />create a larger piece. Since then, I've been trying to figure out how <br />to go back to River Park with an approach that will add to what I <br />already have. I've photographed marches in the streets, funerals, <br />church services, features, arrests and other situations — all for daily <br />assignments or stories over time in River Park — but there are <br />inevitable gaps when I look at the River Park story as a whole. Even <br />something as simple as images from various times of day. When shooting <br />stuff for daily assignments, they are rarely from night time situations. <br />But, if you're going to do a story about a neighborhood, it's an obvious <br />question — what does it look like at night? What events take place at <br />that time? I need to look at the neighborhood as a character, and the <br />people who live there are the distinguishing qualities of that character. <br />This is my challenge now.<br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2751/5796655787_ee72d6c6ed_b.jpg" width="954" height="637" alt="4"><br /><br /><br /><br /><br /><br />Photographers who are working at newspapers should try to view their <br />community or subsections of the community in a longterm way, even if <br />they're just shooting a daily assignment. Sometimes, without perspective <br />it's hard to do this. That is the beautiful thing about spending as much <br />time as I have in Naples. I've been able to gain perspective on the community. <br />When I first started my job at the paper, my mind wasn't open to a possibility <br />of telling an overall longterm story about River Park. Who knows, maybe it <br />wouldn't have worked out if I had known it from the beginning. I have been <br />able to form bonds with people in River Park that maybe that could only have <br />happened over time.<br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />What are some lessons you learned throughout this project,<br />and what has surprised you?<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />Something I've learned is you never know who is going to be the voice <br />who vouches for you later. I did a photo column once on the ice cream <br />man who has been driving through that area for years. I rode in the <br />truck while he was going around the neighborhood and a few years later, <br />when I was doing the story on Joe, one of the girls I had met through <br />the window of the ice cream truck recognized me when she came to see <br />Joe. Because of that chance meeting before, I think she was more at <br />ease with me. The ice cream man has also happened upon me in the <br />neighborhood since that time, and because of our positive interactions <br />and the community's trust of him, it helps them trust me.<br /><br />Every relationship is important and deserves respect.<br /><br />Be patient. This should be the mantra of the photojournalist. I knew I <br />needed patience even before this project, but I'm constantly reminded.<br />I try to leave myself open to any possibility, so I haven't been surprised <br />by too many things.<br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3459/5796655939_f39abdbb84_b.jpg" width="954" height="637" alt="7"><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Have you ever experienced any resistance to working<br />on this project within the community, and if so, how did<br />you handle it?<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />I always got the impression that people in the community accepted that <br />Joe was worth a story. He is an important and a positive force in the <br />neighborhood, so, it was okay that I was there with him. When people <br />asked what I was doing they nodded like they understood when I told <br />them. And they all said, "he's a pillar." So, there was no real <br />resistance with the story about him.<br /><br />That didn't always translate into letting me photograph the people <br />surrounding him in his life. His quasi-former-son-in-law lived with <br />him, as well, at the time. He would play cards or dominoes in the back <br />of the house, and he never really was okay with me taking his photo. <br />Never hostile or upset I was there, but seriously camera shy. I always <br />hoped I could wait him out and eventually, it would be okay. But, that <br />didn't really happen. There were a lot of people like that. That <br />doesn't mean I've stopped trying.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What has surprised you that you didn't realize before by <br />documenting the community?<br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />One time, a girl told me that if she ever saw white people drive <br />through her neighborhood in River Park, she thought they were <br />there to buy drugs. I don't know if what she is saying is true, but <br />that was her perception. It made me wonder what people thought <br />of me every time I drove in to the area.<br /><br />I suppose this answer kind of goes with your last question, as well. <br />I've learned that I need to throw preconceived notions about how <br />people will react to me out the window. I used to think, "man, <br />they're going to wonder why a little white girl like me wants to <br />come in and ask all kinds of questions about their community." <br />I had a preconceived perception about what THEIR perceptions <br />of me would be. Does that make any sense? The point is, people <br />were open with me — more so than I thought they would be. <br />There are people I've talked to in River Park who I never ever <br />thought would give me the time of day based on the fact that <br />I'm a journalist and that I'm trying to cross cultural lines. It <br />sounds silly considering how diverse the country is. But, Naples <br />is economically segregated in a way that cuts a division between <br />races. This division made me think maybe people would be <br />skeptical of me. But they were open and willing to talk. Conversely, <br />I've covered people in other communities who I thought would be <br />completely open with me and would allow access, yet they are <br />seriously paranoid about exposure have been more than happy <br />to tell me to take a hike. <br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2641/5820643287_70ff0c9e89_b.jpg" width="954" height="637" alt="1"><br /><br /><br /><br /><br />One time I was covering a drug bust in the neighborhood and I received <br />a lot of verbal hostility from people as I photographed those who were <br />being arrested. It's understandable, but I just continued doing my job <br />and tried to talk with the people who I recognized. That was years ago, <br />long before this project was even a twinkle in the eye. If I had to <br />cover the same thing now, now that I'm more recognizable in the <br />community, I often wonder how people would react to me.<br /><br />I think the more time I've spent there, the more people are okay with <br />me being around when things aren't going well. I've invested the time <br />during the happy occasions, so I hope many know I'm not just there to <br />exploit their struggle during the bad.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />What did you learn about yourself in this process?<br /><br /><br /><span style="font-weight:bold;">LEXEY:</span><br /><br />I think I learned that I'm pretty shy about shooting. I notice it <br />more when I'm covering people who are from different cultural <br />backgrounds than my own. Not that I am MORE shy with people <br />from different backgrounds, I just NOTICE it more in myself. I <br />realize that there are still times, even after being in this profession <br />as long as I have, that I'm timid about raising the camera. I really <br />hate that about myself. Seriously. But, I've had to really learn to <br />listen to my gut and watch for visual cues of comfort in people <br />I'm photographing. I don't know if this sounds rudimentary, but <br />it's my experience. <br /><br /><br /><img src="http://farm4.static.flickr.com/3047/5797212790_78dd0e9789_b.jpg" width="954" height="637" alt="100617NS-LS-JoeWilliams"><br /><br /><br /><br /><br />+++++<br /><br />Lexey Swall is currently a photojournalist at the Naples (Fla.) Daily <br />News. Prior to that she worked as a photojournalism intern at The Star <br />Tribune in Minneapolis, Minn., The Star-Ledger in Newark, NJ, The Los <br />Angeles Daily News and at her hometown newspaper, The Bakersfield <br />Californian.<br /><br />Swall graduated from San Jose State University in 2002 where she <br />received a Bachelor of Science degree in photojournalism with a minor <br />in women's studies. She also received an Associate of Arts degree in <br />journalism from Bakersfield College.<br /><br />Swall has garnered awards from POYi and BOP, including an honorable <br />mention as Best of Photojournalism 2006 Photographer of the Year (small <br />markets) and several Florida state journalism competitions. She is an <br />alumna of the Eddie Adams Workshop (2001) and was a finalist for the <br />William Randolph Hearst National College Journalism Competition (2001).<br /><br />You can view her work at:<br /><br /><a href="http://www.lexeyswall.com/">http://www.lexeyswall.com/</a> <br /><br /><br /><br />+++++<br /><br /><br />Next week on TID, we'll take a look behind this image from Brandon Tauszik,<br />who documented the last days of Harold Camping's followers who believed<br />the rapture would occur in May:<br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2511/5845479522_219b59e53a_z.jpg" width="600" height="400" alt="1"><br /><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-20892080028901429382011-05-30T16:19:00.001-07:002011-10-15T09:52:31.143-07:00Spotlight on Lisa Krantz<span style="font-weight:bold;">TID:</span><br /><br />Lisa, we're excited to feature an image from your<br />Sam Houston High School project.<br /><br />This was part of a large body of work that was a finalist<br />for POY's Community Awareness Award. Can you tell us<br />about the project and how it got started?<br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3205/5796486013_421b4672e5_b.jpg" width="954" height="632" alt="lisamain"><br /><br /><br /><br /><span style="font-weight:bold;">LISA:</span><br /><br /><br />The proposal for the project was put into motion when Sam<br />Houston High School was placed on the school closure list<br />by the San Antonio Independent School District. Facing the<br />loss of the only high school in San Antonio’s predominantly<br />African-American East Side, the community rose up and<br />loudly opposed the decision. I started the project not knowing<br />if I was documenting the last year at a school with a 58-year<br />history or a year of a school in transition, struggling to turn<br />itself around and lose the stigma of a failing school. The<br />original access was granted by the new principal and arranged<br />by the orginal reporter (who left the paper before we started<br />the project) and my photo editor, Anita Baca, since I was out<br />of town as the meetings took place.<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />How long did you work on this project?<br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3124/5797059988_8e7f5aa2a3_b.jpg" width="954" height="637" alt="1"><br /><br /><br /><br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />After meetings with administrators, the public information<br />officers and school faculty, all access issues were figured out<br />by October 2009, but I wasn’t able to start photographing until<br />mid-October because of previous commitments. Basically I had <br />from mid-October until early June. Graduation was on June 6 <br />and it ran that Sunday and Monday. The picture you chose for <br />TID, I made at the end of my first week of really trying to <br />immerse at the school.<br /><br /><span style="font-weight:bold;">TID: <br /></span><br />Can you talk about how you worked to gain access?<br /><br /><br />I had almost complete access to the school in terms of being <br />able to walk in the door and into any classroom. But the <br />access to the real moments and the students’ lives was what <br />I had to come up with on my own. And of course that was <br />the tough part, especially with teenagers who think you are <br />there to portray their school in a negative light. They really <br />didn’t know why I was there except their school was being <br />scrutinized and possibly shut down. I explained over and <br />over but with 750 students, I was still meeting them and <br />explaining what I was doing through the school year. <br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5036/5797043576_a93880972d_b.jpg" width="954" height="637" alt="lisaoutsidefirst"><br /><br /><br /><br /><br />I started out the project photographing the football team <br />because the coach and the players were very open, and it <br />was an opportunity to get to know them and sit in the stands,<br />meeting students and parents in a less structured setting. <br />Also one of the biggest reasons I followed the football team <br />was I could go after my shift. I work 7-4 Friday and 8-5 <br />Saturday, so I could almost always get on their bus and could <br />always make it to the game and not worry about getting called <br />to go to a last minute assignment or news. The players ignored <br />me and accepted me so it seemed normal for me to photograph <br />them at school too which morphed into the other students being <br />more accepting. Following the football team turned into a section <br />for the online presentation that didn’t have much to do with <br />sports, it was about the coaches serving as surrogate fathers to <br />boys who didn’t have positive male role models in their lives. It’s <br />one of my favorite parts. <br /><br />I always sat down with students, asked them questions, listened to <br />their stories. I talked to them about how to tell their stories. Some <br />understood, some didn’t. It was a ton of following up with them, <br />lots of texting, especially for photographing them outside of school. <br /><br />Access even to the very end was an evolving process. I always felt <br />at risk of losing the access I had. Teenagers are so aware of the <br />camera these days and they were very aware of the negative <br />perception of their school and their neighborhood. They were <br />very protective of how I would portray their school. That made <br />it a challenge to photograph some of the more difficult moments <br />and stories because the students would react to that and tell me, <br />“You are just going to make us look bad,” or “Miss, don’t take a <br />picture of that.” <br /><br />So to counteract that, I went to everything I was invited to. Every <br />band concert, every awards ceremony, everything positive to show <br />I wasn’t there only for the negative, which I hoped would allow me <br />a little more leeway to photograph the “negative.” I thought that <br />tactic would work better than it did, but I do think it was very <br />important to do in the long run. And I got to know, and love, more <br />kids by going to so many of their activities. <br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2304/5796486357_fecc13671e_b.jpg" width="954" height="637" alt="lisaoutside"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You made the bulk of the images in between assignments<br />and on your own time. Can you tell us how you managed to<br />balance the project with your work and your personal life?<br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />Personal life? What’s that? I have to admit I didn’t do much<br />outside of work between daily assignments, other stories that<br />I worked on throughout the 9 months, and Sam. I didn’t even<br />exercise much, which is really important to me but when faced<br />with the decision to photograph after school/after my shift, I<br />couldn’t say exercise was more important. In hindsight, keeping<br />my life more balanced would have cleared my head and helped<br />the project. It’s hard to see that when you are so immersed. I<br />felt like I had such a small amount of time to tell such a big,<br />multi-layered story that had so much potential so I put a lot<br />on hold, including the important relationships in my life. My<br />family and friends were extremely understanding and supportive<br />though.<br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Was there any moments of conflict, or times when people didn't<br />want you to take pictures? If so, how did you handle it?<br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />There were many moments of conflict when people didn’t want<br />me to take pictures. Many students thought I would make them<br />look bad - their perception of media coverage for their school<br />and neighborhood was largely negative. When I would raise my<br />camera to photograph tense moments, the students would ask<br />me not to photograph. Once, a girl starting punching a boy in<br />the head and it had to do with me. They were joking about who<br />I should be photographing and next thing I know she’s punching<br />him. So, do I take the picture of something my presence actually<br />caused? After a moment I decided to take the picture, raised my<br />camera and effectively she stopped. In the process, I upset the<br />other students. That was kind of a constant battle, at least in<br />my head, how far to push in that regard.<br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3228/5797043408_86de677a33_b.jpg" width="954" height="633" alt="lisapremain2"><br /><br /><br /><br /><br />As I’ve described, many a click of the shutter felt like it could <br />turn the students against me. I had to stay focused on why I <br />was there, that I wasn’t a good journalist if I didn’t show every <br />side. I wanted to tell their story as purely as possible, with <br />balance and fairness. <br /><br />I’ve made a habit of being focused on light and color as a <br />storytelling element, but there I couldn’t. Florescent lights, <br />school uniforms of white, orange or green polos and khaki <br />pants. I had to focus on moments, and I’m glad because that <br />was the way I think this story had to be told. I was completely <br />focused on the moments, the interaction, something I feel <br />photojournalism often loses in the quest for “style” and “vision.” <br />I say this because I’ve been lost in that quest myself at times <br />in my career, as we are hopefully constantly evolving in our <br />development as visual storytellers. <br /><br />The project was truly an emotional roller coaster. I wrote about <br />this in the NPPA article - I noticed I didn’t listen to the radio anymore.<br /> I really didn’t care about anything else, all I could think about was <br />their stories, and how to tell their stories. I’m already pretty focused <br />and obsessed when I’m working on a project, so I’m sure I was not <br />too much fun to be around during this process. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Now, to the image. Can you give us some insight?<br /><br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />I had been hanging out with the students on the left since I<br />arrived at the homecoming dance. They were gathered<br />outside and a couple I had recently met were being affectionate<br />so I was trying to capture that. It was also a really diverse<br />group so it was a good opportunity to try to tell that part of the<br />story. I walked into the dance with them and continued to watch<br />them. Honestly, I don’t remember my exact thinking at that<br />moment, except I had been watching them. I somehow noticed<br />the girl dancing near them and anticipated her dancing by. As<br />you can see, they weren’t paying any attention to her at first. I<br />don’t remember if I even saw what her shirt said. I’m<br />embarrassingly inattentive to some details. It was a pretty<br />simple situation.<br /><br /><br /><img src="http://farm3.static.flickr.com/2042/5797043248_71829efaa9_b.jpg" width="954" height="716" alt="lisacontact"><br /><br /><br /><br /><span style="font-weight:bold;">TID: </span><br /><br />In situations like a high school dance, people are often<br />very aware of a photographers presence, and yet you seem <br />to be able to blend in very well. Can you tell us how you achieve <br />this?<br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />I really don’t know how I achieve this. I feel somehow I am easily <br />ignored by most people I photograph. I have no idea why or how. <br />I’m sure this happens with most photojournalists or we wouldn’t be <br />able to do our jobs but I am always amazed at the situations I walk <br />into and start to photograph and nobody pays me any mind. <br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />You've worked on numerous long-term stories. Can you<br />tell us your motivation behind this type of work?<br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3296/5796486141_eaf75d6d7c_b.jpg" width="954" height="628" alt="lisapremain"><br /><br /><br /><br /><span style="font-weight:bold;">LISA: </span><br /><br />The whole reason I want to be a photojournalist is to bring greater <br />understanding to issues and people’s lives, to educate viewers about <br />people, places, things they would otherwise not know about, or might <br />turn a blind eye to. A long term project has so many layers and is <br />always growing. It can bring depth to a story and people in a way <br />rarely found within a daily assignment. To me, a story should be told <br />in layers, with each photograph building upon the next to tell the story <br />in the truest way, with an ebb and flow of emotions and situations. <br /><br />The kind of photographer I am is both a blessing and a curse, because <br />I always think there is a better picture to be made if I just wait long <br />enough for the moment. I think the light, the composition, if I keep trying <br />to make it better, that it will be better. I despise the phrase, “good enough,” <br />because I feel I can and should always do better. So this is especially <br />applicable to a long term story, because you can tell the story in a <br />much more complete way. <br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3205/5796486013_421b4672e5_b.jpg" width="954" height="632" alt="lisamain"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Thanks for all your insight Lisa, one final question. Do you have<br />advice for photographers who want to work on community-type<br />stories that span over long periods of time?<br /><br /><br /><span style="font-weight:bold;">LISA:</span><br /><br />Time is everything, tons of time. The time you put in equals<br />access, comfort level and our ultimate goal, becoming part of<br />the scene so life goes on as if you aren’t there. I think showing<br />the people who’s story you are trying to tell how committed<br />you are goes a long way in their openness to you. Above all<br />you must be committed and self-motivated. You can’t expect<br />anyone else to push you or stay on top of what you are doing.<br />Most newspaper editors are too busy to deal with long-term<br />projects on a regular basis.<br /><br />With a community story, there are many layers and many stories<br />within the bigger story. It takes listening to people a lot and<br />engaging them to find out their stories. Sometimes their stories<br />are the ones you want to tell, sometimes their stories lead to<br />other stories. Within every situation I’m in, I’m looking for the<br />next story, the next situation I want to put myself in where I can<br />make pictures that will tell the story I’m trying to tell.<br /><br />Stay organized (although I am incapable of following this advice).<br />Organize names and phone numbers, and try to use the same<br />notebooks for the story. Stay on top of the editing. Get an editor,<br />mentor, teacher, trusted friend, etc. to give you feedback throughout.<br /><br /><br />+++++<br /><br />Lisa Krantz is a staff photographer at the San Antonio Express-News. She joined the Express-News in 2004 after working at the Naples (FL) Daily News for five years. She received a psychology degree from Florida State University and earned her master’s degree in photography from Syracuse University.<br /><br />At the Express-News she covers everything from hurricanes to the NBA Championship but her true love is finding and telling intimate, untold stories in her community. She is a three-time NPPA Region 8 Photographer of the Year, in 2005, 2009 and 2010, for a diverse array of assignments and long-term projects.<br /><br /> <br />In 2011, Lisa was awarded third place Newspaper Photographer of the Year in POYi. Her project chronicling a year at Sam Houston High School, a troubled school threatened with closure, was also awarded second place Issue Reporting Picture Story and named a finalist for the Community Awareness Award in POYi. The project was part of the portfolio that earned Lisa the 2010 Scripps Howard Foundation National Journalism Award for Photojournalism and was named a finalist for the ASNE Community Photojournalism Award.<br /><br /><br />You can view her work at:<br /><br /><a href="http://www.lisakrantz.com/">http://www.lisakrantz.com/</a> <br /><br />Sam multimedia: <br /><br /><a href="http://www.mysanantonio.com/news/education/item/Sam-Houston-High-School-Video-Container-3633.php /">http://www.mysanantonio.com/news/education/item/Sam-Houston-High-School-Video-Container-3633.php/</a> <br /><br /><br /><br /><br />+++++<br /><br />Next week on TID, we'll take a look behind this image from Lexey Swall:<br /><br /><br /><img src="http://farm6.static.flickr.com/5119/5817164664_6be3c9ec59_z.jpg" width="600" height="401" alt="100617NS-LS-JoeWilliams"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6817693054093704053.post-64940631415079585132011-05-30T15:27:00.000-07:002011-06-04T08:33:56.229-07:00Spotlight on Justin Cook<span style="font-weight:bold;">TID:</span><br /><br />Justin, thanks for being a part of this. I'm very excited to feature<br />this picture. It's remained, in my mind, one of my favorite and<br />surprising images that I've seen over the years.<br /><br />Please tell us about this picture.<br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2288/5796305061_4d0fe56171_b.jpg" width="954" height="637" alt="JC_TID_08"><br /><br /><br /><br /><br /><span style="font-weight:bold;">JUSTIN:<br /></span><br /><br />Thanks Ross, it is an absolute honor to be featured on this<br />blog in the company of so many talented photographers. I<br />read each new entry and always come away feeling more<br />educated.<br /><br />This image is what I consider the peak moment of a drug<br />raid in Durham, North Carolina, an image I made during my<br />senior year at the University of North Carolina - Chapel Hill.<br />In summation, undercover officers purchased drugs from this<br />home on multiple occasions as part of a sting operation. After<br />obtaining a search warrant, they raided the house with the help<br />of a SWAT team. I was only 22 years-old at the time I made this<br />photo and really inexperienced, so it was a rather intense <br />experience leading up to moment of the image.<br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br />Since this image is part of a larger body of work, please talk <br />about the what the story is, and where it fits within it.<br /><br /><br /><span style="font-weight:bold;">JUSTIN:<br /></span><br /><br />The larger story I was working on was about the Durham Police<br />Department's Gang Enforcement Units, or Gang Units for short.<br />Gang-related shootings and homicides were spiking in Durham,<br />and there was a lot of national attention to gang issues and I<br />wanted to do a story that somehow captured that. When I<br />discovered this unit I was fascinated by what they were doing<br />at the street level. I essentially broke the story down into simple<br />themes and wanted to capture them in very defined moments.<br />This photo fit into one of the themes on my list: "an intimate and<br />unexpected moment." I hunted for such a photo for months with<br />no luck, and then it just happened one day, very quickly, when<br />I least expected it.<br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5304/5778454278_41e227947c_b.jpg" width="954" height="637" alt="JC_TID_01"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />It's remarkable to me that you did this at such a young age. How did<br />you manage to gain access to this story?<br /><br /><br /><span style="font-weight:bold;">JUSTIN:<br /></span><br /><br />It’s actually very random. Pat Davison, my professor at UNC,<br />told me that someone from PR at the police department called<br />him and wanted to know if any of his students wanted to come<br />ride along with an officer. The department needed some generic<br />photos of officers doing their jobs for an annual report. The<br />department figured it would be a good way to give students a<br />chance to see the police in action.<br /><br />I went out one afternoon with an officer, and it was really uneventful.<br />At the beginning of the summer I got an email from the PR officer<br />again, and she wanted to know if I would be interested in coming<br />out one night when the department was doing “city-wide operations.”<br />She said it would be a chance for me to see some “really gritty<br />stuff.” I couldn’t turn that down. <br /><br />What happened next changed me forever.<br /><br /><br />I rode along all night with the Durham Police Special Operations<br />Division while they executed search warrants with a SWAT team.<br />To say it was intense was an understatement for someone as<br />green as I was. Back at the station I sat down next to a woman<br />dressed in a t-shirt, combat boots and tactical pants. She started<br />talking to me, and asked me how my time went. I told her it was<br />the craziest night of my life and that I’d love to do it again. We<br />chit-chatted a lot and I told her about the in-depth projects I was<br />doing for my photojournalism major at UNC. Then she introduced<br />herself.<br /><br />Turns out I had been talking to the Major of Uniform Patrol and<br />she was third to the Chief of Police in command. She said if I ever<br />wanted to come ride along with the Gang Units to let her know, and<br />she gave me her card. I asked her “How about tomorrow night?”<br />She obliged. The next night she “embedded” me with Gang Unit 2<br />and my time with them was crazier than the night before. I emailed<br />her when I got home at 2 am, slightly stunned, sent her links to my<br />work from school and asked her if she would be open to me doing<br />a project about the Gang Unit. She arranged it so I could go ride<br />with them any time I wanted to. I had an all access pass. I was in<br />but things hadn’t gotten crazy yet. The real trick was getting along<br />with my subjects.<br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2017/5778454368_6a05513acc_b.jpg" width="954" height="637" alt="JC_TID_03"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />I'm assuming there was some complications. What were they, and how<br />did you overcome them?<br /><br /><br /><span style="font-weight:bold;">JUSTIN:</span><br /><br />I think many of the officers were skeptical of me at first, and that<br />was a huge hurdle. I think it is only natural for the police or anyone<br />that functions as a unit or team to be suspicious of outsiders. I also<br />felt like a third wheel at first since the major was insisting on me<br />riding along. They ran their mouths to me a lot and talked shit to<br />each other all the time. They always joked that if they did anything<br />wrong that I would “run and tell the Major,” like I was some whiney<br />kid sent to spy on their unit. It was how they bonded and how they<br />tested me, to see if I could hang.<br /><br />I tried to earn my keep, and I began to talk junk back to them, and<br />I think they respected me. But I came back basically every night that<br />summer and many times each week during the school year. Soon it<br />was like I was part of the team. We developed an interesting rapport.<br />They were cocky, hilarious and they were good at what they did.<br />Their tactics were wild and unorthodox compared to the popular image<br />of a police officer. I have to say I liked them immediately.<br /><br />When they weren't making fun of me or telling me my photos<br />sucked (they were always "dark and blurry") they were looking out<br />for me on the street. They even tried to goad me into joining them<br />when they worked out together as a team. Eventually they opened<br />up to me and told me all sorts of things, from bitching about the<br />politics of the police department to showing me photos of their kids<br />and how tall they had grown in the past month. Their jobs were not<br />glamorous, rather they were grueling, and they witnessed a lot of<br />hard things day in and day out. They still got the job done on their<br />terms, though. I admired them for their ability to do that, and I realized<br />I could never do what they do. Some days it was like the movie<br />“Super Troopers” and other days it was white knuckle until their shifts<br />ended. They really seemed to trust me, and I’ll never really know why.<br />Maybe they just wanted to be heard. They even gave me a nickname,<br />"Clickit," after the noise my camera made.<br /><br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2279/5777912923_47c1456626_b.jpg" width="637" height="954" alt="JC_TID_04"><br /><br /><br /><br /><br /><br />The gang units worked with the SWAT teams on more dangerous<br />assignments such as the raids on houses, vehicle take-downs, and<br />standoffs with armed suspects, because even with their best intelligence,<br />they never knew what to expect. Some of the on-call SWAT officers<br />worked as gang officers during the day and they began to take<br />notice of me. A lot of them were ex-military, and they were much<br />quieter than the regular gang officers. They seemed curious about<br />me, and I began to build rapport with them. They wanted me to take<br />photos of them and soon enough I was riding in their raid van on the<br />way to the houses, in a stack of urban soldiers who were dressed<br />in full combat gear. It was one hell of a summer, and it was humbling<br />to have the access I had.<br /><br />A big challenge was trying to stay out of the officers’ way. Often I<br />was up front and center in moments of great chaos. Some of the<br />raids were really intense and my senses needed to be sharp.<br />Sensory overload was common - the noises of stun grenades<br />exploding, doors being shot open, the sounds of frightened<br />children and occupants was a commonplace. What I experienced<br />couldn't compare to actual combat (which I have never seen), but it<br />felt like the Wild West.<br /><br />The officers could be squirrely about me shooting photos on private<br />property, but often I would talk to the residents and explain what I<br />was doing, and they wouldn’t mind me being there. In a sense, I<br />think some of them wanted me there because they felt if the police<br />abused their authority, I’d have it on camera. I think on the same<br />coin the police felt that I’d have the events on camera in the case<br />that a suspect made a false claim against them. Eventually it<br />wasn't an issue and I’d began to move very freely in the houses.<br />Sometimes suspects just thought I was a cop. I carried a model<br />release with me just in case.<br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2729/5778454530_c40c27ed80_b.jpg" width="954" height="637" alt="JC_TID_05"><br /><br /><br /><br /><br />Another complication was my own emotions. What I saw in<br />Durham was a sick game: a cycle of poverty and crime that was<br />really frustrating. It was a microcosm of a national trend. There<br />were so many things contributing to that game, things so much<br />bigger than myself, and I felt small and adrift. I frequently<br />glimpsed people’s inhumanity, their desperation and the<br />damage done by community apathy. I felt powerless and an<br />immense sadness which fueled some of my photos. I closed<br />myself off from my friends a lot and bottled my frustrations.<br />That’s why began to relate to many of the officers’ frustrations<br />with their jobs, and sometimes they could be very comforting.<br />An officer from the SWAT team who usually operated the<br />battering ram during raids gave me great advice once: he said<br />that he “focuses on the guy next to him and on knocking down<br />doors together,” and that I should too. That is pretty deep if<br />you think about it in the context of community.<br /><br />I also saw some of the most sincere expressions of love<br />within some dire circumstances, and I realized that people are<br />people no matter how they live - whether they are cops or criminals.<br />Most importantly it made me realize how screwed up things<br />can be in our own country, and how important it was for me<br />to know my own community, including its underbelly. I realized<br />that I didn’t need to go to some war-torn country half-way around<br />the world to photograph poverty or violence. I asked myself,<br />“How can I help people in Africa if I can’t serve people in Durham?”<br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Now, onto the image. Tell us what lead up to the image and how you <br />handled gaining access to it, and what was going through your mind<br />at the time.<br /><br /><span style="font-weight:bold;">JUSTIN:</span><br /><br />The Gang Unit was working with SWAT to serve a search warrant <br />after establishing probable cause that drugs were sold in the home. <br />Officers often never knew what to expect. There could be a huge <br />stash of drugs or guns there, or there could be a tiny bit of pot, it <br />all depended on the timing of the raid. If they showed up too late <br />everything could be sold, distributed to dealers or transferred to <br />some other place for storage. They hit the house hard and had to <br />ram the door open. The explosion of the stun grenade they used <br />was deafening. The first thing I saw was a woman laying on the floor <br />behind the door, a sandwich laying next to her. She was completely <br />startled.<br /><br />The occupants were detained on the front porch as officers<br />searched the home. Officers rushed to the back of the house<br />to intercept some people trying to flee from the back door. The<br />last people out of the house were a mom and her young son.<br />She looked visibly shaken, but her kid seemed unfazed by the<br />chaos, and this grabbed my attention immediately. I began to<br />photograph the scene on the porch.<br /><br /><br /><img src="http://farm4.static.flickr.com/3468/5796304941_3a5fac225a_b.jpg" width="637" height="954" alt="JC_TID_06"><br /><br /><br /><br />Most of the officers have kids and they hate seeing a child caught<br />up in a raid like this. Some guys from the SWAT team brought him<br />a stuffed animal to calm him, but he was calm and the mother<br />needed it more than he did. A SWAT officer whispered in my ear<br />that the kid had experienced a raid before and that was why he was<br />so calm. I was shocked. It was wild to think that this might be a<br />normal experience for this kid. I shifted all my attention to him.<br />During the search, SWAT maintained their formation around the<br />house and the kid began to high-five and hug one of the officers<br />on the porch. He started playing with his flashlight. The mood at<br />the scene really shifted and it was easy to forget I was at a drug<br />raid. Suddenly the child looked up at the officer and said “I gotta<br />potty,” and he was escorted into the bathroom. I rushed in front of<br />them to catch the scene. I fumbled with my camera settings and<br />focus and tried to melt into the background. I only made three frames<br />of the whole thing before the moment ended.<br /><br /><span style="font-weight:bold;">TID:</span><br /><br />Was there any concern about you taking this picture at the time, and<br />if so, how did you handle it?<br /><br /><span style="font-weight:bold;">JUSTIN:</span><br /><br />Their wasn’t much concern. It was in the heat of things, and the<br />officer and the child never even acknowledged me in that moment.<br />Honestly I barely remember taking this photo, but I will never<br />forget that day. I remember a Sergeant walked past me after I took<br />it, and he made some snide joking comment about how I was a<br />pedophile. I fired my own choice words back at him (joking of<br />course since that is how we related). And just like that we were<br />off to raid a house down the street. I didn’t even have time to talk<br />to the kid’s mom. I really want to meet her and see how she is doing today.<br /><br />Concerns developed more after I made the image. A few days<br />later, I brought a print of it to the special operations commander <br />and he loved it. The general feeling amongst the officers was that <br />the moment captured the often complex nature of their job: one <br />that requires brute force and a soft heart. To me it was a slice of <br />humanity wedged between moments of chaos and some larger, <br />unfortunate circumstances. One of the officers who never really had<br />nice things to say to me (not out of spite, but mostly to toughen<br />me up) pulled me aside one day and told me “Clickit, I talk shit<br />to you a lot but I wanted you to know that your photo is great.<br />It’s like a 21st century Norman Rockwell painting.” I thanked him<br />and then he told me I was “still a piece of shit.” I think that is the<br />greatest compliment I will ever receive.<br /><br />Everything got weird a few years later. An online blog got ahold<br />of the photo and decried it as a moment of police brutality, evidence<br />of the over-militarization of our police forces. People even said I was<br />a pedophile and not a journalist and it was really frustrating. It’s funny,<br />the first people to defend me were the officers I worked with, which<br />really blew my mind. I have never been so humbled in my life.<br /><br />A few years ago when I was working for The Roanoke Times I got<br />a call from a US Marshal. He wanted to know if I was Justin Cook,<br />a photographer who went to UNC and used to live in Durham.<br />Confused as to why he was calling, I told him that was correct.<br />After reassuring me I wasn’t in trouble, he asked me about this<br />photo. A long story short: he was part of a federal court case<br />against a polygamist cult in Texas that was broken up and raided<br />by federal argents. The cult’s defense attorneys had stolen this<br />image from a website and entered it as evidence in their federal<br />trial. They claimed that the photo was made during the raid on<br />their compound, and was evidence of police brutality during the<br />“unjust” raid. The US Marshal needed my help in proving that they<br />had entered fake evidence in a federal trial, which was easy for me.<br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2069/5796305005_339ea2e2d4_b.jpg" width="954" height="637" alt="JC_TID_07"><br /><br /><br /><br /><br /><br />I was shocked but also laughing hysterically in disbelief. It was<br />surreal. After he proved to me that he was a real agent, I faxed<br />him documents to prove that the image was mine and even sent<br />him raw photos, including some before and after the moment. He<br />thanked me profusely and told me my help was crucial. The now<br />defunct Court TV even called me about the image too for a story<br />they were doing about the trial. It was really bewildering. I went to<br />bed satisfied knowing a single photo shot in 2005 might help<br />discredit the defense of a potentially dangerous cult halfway<br />across the country four years later.<br /><br />Regardless of what people thought of the photo or of me, I am<br />glad it made people pause and that it sparked varied reaction<br />and debate. I guess that is the point of a photo, to start a dialogue.<br />I felt like I had done my job, for that moment at least. The image is<br />kind of ambiguous but I hope I have cleared up the misconceptions<br />about it.<br /><br /><span style="font-weight:bold;">TID:</span><br /><br />I think many people think you have to be a very seasoned photographer<br />before you start pushing deep into social issues, but you dove right in<br />from the beginning. I encourage people to look through your website to<br />see more examples of your intimacy. That being said, it took me years to<br />feel comfortable in situations you seem to feel comfortable in right away. <br /><br />What goes through your mind, do you think, to make this possible.<br />How do you think you're mental process is different than others?<br /><br /><span style="font-weight:bold;">JUSTIN:</span><br /><br />I don’t think I will ever really feel comfortable in situations like this, <br />but I know that I often thrive in chaos. I really like the challenge of <br />making people feel comfortable and working your way in with your <br />camera. I was mischievous as a child, and sometimes I get that same <br />feeling when I have my camera in a situation where cameras are often <br />not allowed. It feels like I am eating brownie batter out of the bowl <br />when my mom isn’t looking. Coupled with that emotion, I often feel<br />sadness and empathy for the subjects I am photographing. Burning <br />between those two emotions is a special place I go to where the real <br />“sculpting” or “making” of a photograph takes place. I try to spend <br />more time listening to subjects, and when they are done talking I try <br />to share with them something I have experienced in order to relate to <br />their situation. If I can’t really talk to them, I try to make eye contact <br />with subjects and let my body and face speak. Non-verbal cues go a <br />long way.<br /><br />Sometimes it is hard to lift the camera, sometimes it feels like acting <br />when you have to swallow your fear, but it doesn’t have to feel like acting <br />if you are really concerned for people. My good friend and wonderful <br />photographer Jared Soares said it is often like a dance between compositions, <br />emotion and interaction. Some photographers I admire are Joseph Rodriguez <br />and Eugene Richards, and though I will never reach their level I tried to <br />study their interviews and approaches. From them I have learned to balance <br />being unassuming/invisible with being present (be it your proximity or <br />emotional presence). I had some good coaches along the way during my <br />short time doing this: Melissa Lyttle, Steve Jessmore, Pat Davison to name<br />a few.<br /><br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2166/5796305103_ef94510272_b.jpg" width="954" height="637" alt="JC_TID_09"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:</span><br /><br />In conclusion, what advice (think mentally) do you have for photographers<br />to gain access to these type of situations?<br /><br /><span style="font-weight:bold;">JUSTIN:</span><br /><br />The most important lesson I learned was to accept the blurring<br />of the lines of journalism. I had to unlearn some of the holy<br />tenants that I was taught in class about drawing lines between<br />you and your subjects. To maintain the access I had, I needed<br />to relate to the officers. They wanted to know that I was human.<br />I couldn't do that by being a quiet, uptight bump-on-a-log. I had<br />to be involved but I couldn't be too much of a pain in the butt.<br />When they told me to do something, I did it; when they wanted<br />me to help them I helped, and all the while I tried to have a<br />sense of humor.<br /><br />I simply had to be there as much as I could. There is no<br />substitute for having your boots on the ground. Sometimes<br />an officer would call to tell me that their operation that was<br />planned for 6pm was now at 4pm. It would be 3pm and I<br />would be in math class at UNC. I would just quickly pack<br />up and rush to Durham without explaining to my teacher.<br />Why the hell would she believe me anyway? It is good to<br />have your heart broken too. The tough things I saw in<br />Durham broke my heart over and over. I met really amazing<br />people and connected with people suffering in the wake of<br />gun violence. I was suddenly thrust into the middle of<br />everything and in the process I learned a truth: Get close<br />to your subjects.<br /><br />I think people have a fear of being unknown. I like to think<br />that people are inherently relational. Finding ways to relate<br />to anyone and everyone is key to getting access. If people<br />can relate to you they are one step closer to liking you. By<br />nature, people want to be around those they like. I got close<br />to my subjects and I think it served me well in my future<br />projects.<br /><br />My advice is to just be real, be yourself and be dedicated.<br />My subjects were all those things and I tried to be that to them<br />in return. It also never hurts to have a little fun.<br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2288/5796305061_4d0fe56171_b.jpg" width="954" height="637" alt="JC_TID_08"><br /><br /><br /><br /><br /><br />+++++++<br /><br /><br />Justin Cook is an independent documentary photographer who lives in Durham, NC with his two cats. He previously worked as a staff photographer at the New River Valley Bureau of The Roanoke Times in Christiansburg, Va from 2007-2010. His work has been entered in the Pulitzer Prize twice, awarded by College Photographer of the Year, Pictures of the Year International, Virginia Press Association, Society of Professional Journalists and other organizations. Although Cook’s photojournalism is award-winning, he gauges his success not in trophies but in the relationships he establishes with his subjects. Cook likes to get close with his lens but even closer with his heart.<br /><br />Cook’s passion is telling stories about the South and capturing rural and inner city issues. He believes in the power of community and the importance of documentary photography in revealing the tapestry of ordinary peoples’ lives. He has seen that where there is struggle there is triumph, and in the direst of circumstance the most sincere expressions of love. With a little luck he believes the camera can sometimes promote social change.<br /><br />A 2006 graduate of The University of North Carolina at Chapel Hill, Cook interned at The Dallas Morning News in Texas, The St. Petersburg Times in Tampa, Florida and the Flint Journal in Michigan. He has photographed stories from the wilds of the Scottish Highlands to the sanctity of a 1000-year-old Spanish monastery, the freezing cold of Michigan to the heat of the southwest, the chaos of inner cities to the solitude of rural Appalachia. He has been blessed by many friendships he has formed along the way with people from all walks of life.<br /><br />Cook enjoys shooting weddings and is accepting freelance assignments anywhere as long as they don’t conflict with televised UNC basketball games.<br /><br />You can view his work at:<br /><br /><a href="http://www.justincookphoto.com/">http://www.justincookphoto.com/</a> <br /><br />+++++++<br /><br /><br />Next week on TID, we'll take a look behind this image from Lisa <br />Krantz's impressive body of work on Sam Houston High School:<br /><br /><br /><img src="http://farm6.static.flickr.com/5200/5796852536_f50f875696_z.jpg" width="600" height="397" alt="tease"><br /><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6817693054093704053.post-69408833012040416722011-05-20T15:59:00.000-07:002011-05-29T23:12:46.072-07:00Spotlight on Chip Litherland<span style="font-weight:bold;">TID:<br /></span><br /><br />Chip, it's great to have your image featured here. Please tell <br />us about it's context.<br /><br /><br /><img src="http://farm6.static.flickr.com/5065/5768448084_5a641f2534_b.jpg" width="954" height="637" alt="chipmain"><br /><br /><br /><br /><br /><span style="font-weight:bold;">CHIP:<br /></span><br /><br />Thanks for having me, Ross...love The Image, Deconstructed. <br />Great information from some really amazing photographers.<br />I used to carry a scanner in my car way back in the day and <br />was a major spot news hound. I would chase anything and <br />everything. As I learned quickly, spot news is mostly hurry-up, <br />get told no, and then stand around for two hours. Most useful <br />photos are made within the first few minutes of arriving, the <br />rest is spent trying to get a PIO to give you some semblance <br />of information about what you are shooting. <br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2406/5768432740_56cbcdf902_b.jpg" width="954" height="637" alt="2"><br /><br /><br /><br /><br />I was having lunch, when I starting noticing plumes of dark <br />smoke rise along the highway from outside the window of my <br />home-away-from home, Chick-fil-A. Knowing my community <br />and all its back roads came in handy, as I sped out east to see <br />what was going on. A few calls to the newsroom confirmed it <br />wasn't a prescribed burn, which most of the time it is, so I knew <br />there was a big blank rectangle somewhere in the newspaper <br />for a photo. I was there before roadblocks (photo-blocks) were <br />put up, so I was literally able to drive right into the blaze, which <br />was swallowing up trees and brush alongside my car and <br />threatening a subdivision of homes nestled right in the middle <br />of it.<br /><br /><br />I knew I was in the right place when just in front of the wall of <br />smoke and fire, I saw two women in shadow running along the <br />fence line in their backyard - one in bright blue. The other in <br />bright green. The photo gods threw me a bone for leaving my <br />lunch behind.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5068/5767890423_fb48658c8e_b.jpg" width="954" height="637" alt="4"><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />Ok, now onto the image. Can you describe what was going on <br />in your mind as the image took shape, and then also what you <br />were thinking when you made the image.<br /><br /><br /><br /><span style="font-weight:bold;">CHIP:<br /></span><br /><br />I believe it was Melissa Lyttle who told me once that she thought <br />I carried Mennonites in my trunk for when I needed a person in <br />a photo. I didn't have any of them (this time), but I knew there was <br />potential for a photo once I saw the splashes of color against the <br />darkening background. I'm a color addict, so once I see it and <br />want to use it, I tend to just concentrate on that aspect.<br /><br />I had been shooting for at least an hour before this, so I knew I <br />had plenty of your standard flame-on-tree, helicopter-with-bucket, <br />fireman-pointing-at-fire photos. I don't want to reduce a scary event <br />like a fire to a joke, but when you cover so many, they become one <br />in the same. That's true for a lot of gigs at the newspaper. My goal <br />every time I was sent out to make photos was to come back with <br />something that I liked to look at, and perhaps runnable.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5110/5768432782_cb6e28e0f1_b.jpg" width="954" height="637" alt="3"><br /><br /><br /><br /><br /><br />Here's my train of thought for the photo: "Green. Mennonite. Fire.<br />Smoke. Crap. Wait. Maybe if I stand over here and mentally will <br />her over, she'll come. Green. Green. Click. No. Green. No. <br />Click. Click. Click. Click. Click. Ah, that was the one. Wait, no. <br />Cliiiiiiiiiick (that's the motor drive). Whew. I hope she'll give me <br />her name."<br /><br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3357/5767890285_fe85c46740_b.jpg" width="954" height="597" alt="1"><br /><br /><br /><br /><br /><br />Literally that is it. When I am in a situation that I know is unique, <br />I tend to just blank out and concentrate on color, light, and <br />composition. Reducing the photo to these essential elements <br />for me is what works. If a good moment slips in there, then sweet, <br />but moreover I'm more concerned with setting the stage and <br />letting life do what it may.<br /><br />In the end, I just shadowed her for as long as I could, making all <br />sorts of wide frames of Joyce watching the fire swallow up the <br />forest behind her house. After while, the backyard became a very <br />dark, Burton-esque landscape with a splash of green floating in-<br />and-out of my frame. When the wind would gust, her dress would <br />catch it, so I just moved into a spot where no trees would intersect <br />with her body language, letting her breathe a bit. I was standing <br />on a cinder block so I was able to get just high enough to keep <br />the separation there. I'm extremely anal about my compositions: <br />a place for everything and everything in its place.<br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />You mentioned in a previous email about how you thought this image<br />represented for you the thought of "not abandoning your vision, even at <br />spot news." What does this mean for you?<br /><br /><br /><br /><br /><img src="http://farm4.static.flickr.com/3053/5767890459_b3bedbb3a4_b.jpg" width="954" height="637" alt="5"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">CHIP:<br /></span><br /><br />I don't ever want to just purely document. I want to see and destroy. <br />Even at spot news. Nothing good can come of making the same <br />photo every time. I've seen so many accidents, so many fires, so <br />much sadness that I have to zone myself out and make it purely <br />compositional to come up with something different. That just doesn't <br />apply to spot news, but in everything we cover as photojournalists. <br />It's not about winning a contest or the proverbial pat-on-the-back <br />from The Man. It's about making images that satisfy myself visually <br />first and foremost. I don't ever want to shoot like someone else, <br />because I am not. It's the one thing each of us has in this field is <br />an eye. A vision. A way we see things. It's more important than <br />a splashy business card or that random new piece of gear I could <br />care less about. In the end, it is all about the rectangles.<br /><br />The people in the photo matter. They are someone else's loved one. <br />I try to respect that by at least making a photo that make readers <br />want find out more and perhaps help and/or learn from it. The only <br />way to do that is to sucker them into reading eight inches of text <br />with some eye candy.<br /><br />Most spot news contest winners tend to be really awfully composed. <br />They are great moments, but composed as if my toddler shot it. It <br />is getting worse with the iPhone stuff out there (no, not Hipstamatic - <br />relax). I'm talking about "user generated content." Everyone has <br />a camera with them. Everyone. Newspapers will run it. They'll <br />take it, not pay for it, and run it. What the millions of people have <br />that you don't is reach. What we have that they don't? Eyes. Well, <br />physically most of them have eyes. They don't have vision, they <br />don't have a point-of-view, they don't have that squishy pink thing<br />you have in your skull. That is uniquely yours. Use it. It really is <br />the only way to survive.<br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />What were some problems or challenges you encountered during <br />the coverage of this event, and how did you handle them?<br /><br /><span style="font-weight:bold;">CHIP:<br /></span><br /><br />The only challenge I had was physical. I had to figure out how to <br />trespass in order to get permission to trespass. That's harder than <br />it sounds. When I saw the Sauder sisters, they were a football field <br />away from me. I had to get the courage to bury my head, act like <br />I belonged where I was, and head straight into their backyard to <br />see if I could hang with them as the fire approached their house. <br /><br /><br /><br /><br /><br /><img src="http://farm3.static.flickr.com/2589/5767890517_1742651982_b.jpg" width="954" height="637" alt="6"><br /><br /><br /><br /><br /><br />Luckily, they were fine and were as transfixed by the Sleepy Hallow-<br />ness of the scene as I was. They were taking photos themselves <br />even as the fire ripped through their backyard, so I knew they <br />understood why I materialized there. I still asked. Always ask.<br /><br />In general, most people shoot first and beg for forgiveness if they <br />do something wrong. I usually just try to be a human, know where <br />the limits of what I can/can't do and work around them. In this <br />instance, I had to break a rule in order to make a photo. Worth it? <br />I don't know, but it looked sweet on A1, and I didn't have to be a <br />jerk in order to make it.<br /><br />I came back a few days later and dropped off a print - she came <br />out in a another dress. It was grey. We joked about how the <br />green dress worked better.<br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5227/5768432984_09bba39b37_b.jpg" width="954" height="637" alt="7"><br /><br /><br /><br /><br /><br /><span style="font-weight:bold;">TID:<br /></span><br /><br />I'd like to hear your thoughts also about how you approach <br />much of your work. I have always been impressed by your <br />use of color and composition. With that, can you lend us <br />some insight into how you make images?<br /><br /><br /><br /><span style="font-weight:bold;">CHIP:<br /></span><br /><br />I approach my work as if I don't have anyone hiring me to do <br />it. I didn't always work that way, but I am now. I don't want <br />to even press the shutter if it doesn't fit what I've developed <br />as my vision. Sometimes I have to, and it's sickening. I break <br />down a scene before I even start shooting. I look around and <br />find that one element that will make or break a photo. It might <br />be some random person's red shirt or a tiny patch of window <br />light hitting someone. I try to find that key element (i.e. green <br />dress) and abuse it. I'll bypass what could be really wonderful <br />moments at some point to get to a wall or pocket of light where <br />something may or may not happen. If I'm wandering for a <br />feature or street shooting, I scribble down intersections, times <br />of day, etc., so I know when to come back and stalk.<br /><br /><br /><br /><br /><br /><img src="http://farm6.static.flickr.com/5065/5768448084_5a641f2534_b.jpg" width="954" height="637" alt="chipmain"><br /><br /><br /><br /><br /><br />Color is king over anything else in my work. Following closely <br />by composition. Then light. Then moment. This is just me, but <br />a moment is worthless if its surrounded by sloppy composition <br />and light.<br /><br />The advice I have for anyone out there struggling to find <br />themselves and develop that vision they can call their own is <br />to really stop and think before shooting. It doesn't matter if you <br />are at breaking news event, sports, or even a meeting at city hall. <br />Seriously, just stop. Then think. In the end, you might make less <br />photos, but it should be about making The Photo. Thinking about <br />everything you are including is way more important that including <br />everything. <br /><br />The world would be a much better place if everything was painted <br />a different primary color. I just wanted to say that.<br /><br /><br />++++++<br /><br />Chip Litherland is a self-diagnosed color addict. Pretty much sums it up. He is also an award-winning photographer based in Sarasota, Florida, with over a decade of experience working in photojournalism. He is a contributor to The New York Times, The Wall Street Journal, The New York Times Magazine, St. Petersburg Times, TIME, and ESPN the Magazine. His work has been recognized by Pictures of the Year International, Best of Photojournalism, Atlanta Photojournalism Seminar, Southern Short Course, and the National Press Photographer’s Association. Chip is married to his lovely wife, Elaine, and they have two beautiful daughters together. He is on a 12-step-program to break the cycle of addiction to random gratuitousness, filling rectangles with extremely anal compositions, and sick perversion to oversaturated color. Apparently, he also rants on his blog from time-to-time with a wide range of topics from the evils of Hisptamatic to the death and/or rebirth of photojournalism - depending on the day.<br /><br />You can view his work at:<br /><br /><a href="http://www.chiplitherland.com/">http://www.chiplitherland.com/</a> | portfolio<br /><a href="http://www.chiplitherland.com/blog/">http://www.chiplitherland.com/blog/</a> | blog<br /><a href="http://www.chiplitherland.photoshelter.com/">http://www.chiplitherland.photoshelter.com/</a> | archive<br /><br /><br /><br />+++++++<br /><br /><br />Next week on TID, we'll take a look behind this unusual image by Justin Cook:<br /><br /><br />><img src="http://farm3.static.flickr.com/2354/5768461609_2fa69be63f_z.jpg" width="600" height="400" alt="justintease"><br /><br /><br />As always, if you have a suggestion of someone, or an image you <br />want to know more about, contact Ross Taylor at: ross_taylor@hotmail.com.<br /><br />For FAQ about the blog see here:<br /><br /><a href="http://imagedeconstructedfaq.blogspot.com/">http://imagedeconstructedfaq.blogspot.com/<br /></a>Unknownnoreply@blogger.com2