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Entries in introspection (194)

Monday
Apr072008

my kinda truthiness

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This is something to own, to make clear: the day we went to Ross Farm I took 300 pictures in two hours.

I’m a ruthless deleter, and proud of it—the final tally was 60 barely acceptable shots, 12 flickrable.

Early on the learning curve my goal was to improve my shooting ratio—to be happy with one in five shots instead of one in twenty (or thirty, or forty). Admirable, sure.

But then I had kids.

And then there were the mid-frame tackles and the naked streaking and the radioactive snot (we won a Boogitzer for the above, and now we're rich) and the blur, the constant, unintentional, tasmanian-devil blur.

So now I must fess up to worshipping the continuous shutter, to being in the market for extra storage, to being shamelessly, unapologetically devoted to the Why Take One Frame When You Can Take Fifteen?  school of photographic thought. To be creatively fulfilled (and not demoralized) simply by bettering my odds.

That’s my truth. What’s yours?

What's exploded in your life that’s flipped your philosophy, changed how you take pictures?

Wednesday
Apr022008

keeping it real

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I started shooting professionally when I was twenty. Besides being young, I was a girl woman in an industry which was dominated by men in high-water khaki pants, incessantly comparing their lens sizes. Our way of dealing with it, was to exclude ourselves. We never joined the organizations, or cared about awards and accolades. In our mind, it was reward enough not to be around people who were patronizing us. Like the time, I literally got patted on the head by a balding competitor. He said, "Don't worry, you'll get there". And I thought, "If 'there' is where you are, I'm fine where I am". Fast forward thirteen years to a different world. I don't know what happened, but today's most successful photographers are inclusive and real. And it totally shows up in their work. It's as if the pretentiousness of the eighties and early nineties tired people out, and created a whole new breed of photographers who just wanted to document real moments. It seriously rocks!

So I thought it would just be nice to raise a virtual internet glass to all the photogs out there who are keeping it real. Here are a few of my personal favorites...(besides all the Shutter Sisters of course)

Nate and Jaclyn Kaiser

Nick Onken

Jesh DeRox

Anna Kuperberg

Kate Mefford

Tara Whitney

Davina Fear

Amelia Lyon

The Whitebox Girls

Melissa Jill

Millie Holloman

Oh, there are so many, many more. What about you? Who are your favorite peeps?

Friday
Mar282008

Following Our Dreams All the Way Home

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This is my father.
Nicotine stained, work-worn, full of fire, fueled by possibility.

He is a rascal, a maverick, a speculator, a pirate.  
He is hopeful.  He is unchanging.  He is mine.

He takes the long way home, so I can see the sunset across the bridge.  He tells stories about the car, how he bought it for seven hundred and eleven dollars a few months ago.  How they charge him next to nothing for insurance because they don’t expect him to be able to drive a thirty-year old car this fast.  I can barely hear him over the roar of the engine, over the sound of the wind whipping my hair around my face.  

We soar down the road like a rocket.

My whole life I can barely remember him even though I grew up in the house we both call our home.  He is busy.  He is traveling.  He is gone.  My mother pulls her coat over her pregnant belly in the winter and goes out to the patio to chop wood for the fireplace.  I’m sure there is a good reason for this, but I cannot remember it.  Where is my father?  I do not know.

The parts I do remember are like this.  He is calling home.  He is helping some homeless guy he just met. He is bringing home some Austrian backpackers who are shocked that they lock the churches here, and now they have nowhere to sleep.  He is talking to the man who is determined to end his life.  He is driving some guy to the emergency room, because he found him stabbed on the street.   He is collecting wildflowers off the side of the highway, because they are beautiful.  He is bringing home flowers for all of us, because we are his little women.

All this, I understand, with all my heart.

When he doesn’t call it is because he is smoking cigarettes in his office, adding up his dreams in lines of little numbers written in pen on paper napkins.  He is at the airport.  He is with the client at a restaurant.  He is selling something.  He is working harder than any man has ever worked before. He is waiting for this deal to come through.  He is waiting for his ship to come in. No matter what, there is always work and traveling and the sound of the television and the numbers on the napkins.  No matter what.

This I make peace with over years, over time.  I extract all the numbers until dreams form like poems on my napkins.  I learn to follow these dreams (just as he followed his) with all my heart.  

We are almost to the bridge now.  He tells me about the car, and how happy it makes him.  He tells me how beautiful the stars are overhead, when he drives with the top down late at night.  He tells me how they make him think of me.  How much he knows I would enjoy the view.   In this moment, his heart is as expansive as the sky above, and I can’t believe how lucky I am—to experience his love for me in this moment, so perfect, so complete.

He slows down at the top of the bridge, so I can capture the sunset.   I take twenty pictures as fast as I can, but in the end none means as much to me as this.   What more could I need than this love?  This forgiveness?  The memory of his hand at the wheel as we follow our dreams all the way home?

 +++++++++++++++++++++

May you discover the story of your life today, dear sisters, as you look through the lens with love in your eyes and hope in your soul.  Do you have a photo that is dear to you because of the story it tells your heart?   I'd be delighted to see your links in the comments below.

Friday
Mar212008

I just like to take pictures

i just like to take pictures krystyn heide

For years, I've spent entirely too much time thinking about what I want to photograph and how I want to photograph it before I actually get behind the lens. Part of it stems from being an art school student, where I not only had to develop good composition and technical skills for my grade, but also had to attend critique once a month. In a room full of my peers and teachers, I had to discuss what I was trying to achieve in the photograph I chose for the session.

Being under the microscope like that made me start questioning what I was shooting and why. I almost stopped taking pictures all together, because I thought I was incapable of any artistic vision. But I stuck with it, and as I matured a little those college years, I started to realize that a lot of artists need "concepts" and "statements" and "hype" to get them noticed. I'm not that kind of artist. I just like to take pictures.

When I was asked to take part of Shutter Sisters, a part of that insecure girl from art school resurfaced. I asked Tracey if I could just post once a month instead of once a week and blamed it on my workload. In hindsight? I think it was because I was afraid my photos weren't strong enough for an online critique.

Then something Maile wrote really resonated with me, and just last week Sarah-Ji said 'just shoot it'. So I listened. And I captured moments like this. Shots that just... happen. Occurrences and surroundings I see every day and have missed as great photo opportunities. I'm having more fun with my camera then I have in ages.

What about you? What got you interested in photography? And how have your images changed since you first got behind a camera?

Tuesday
Mar182008

Authentic

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This is a shot taken from my first senior portrait shoot of the season. It started out the same way they all do. With me wondering if my clients think my minivan makes me uncreative. And with my clients wondering if I'm going to make them sit on a bail of hay and say "NUT BALLS". Kellye made it clear in an email to me beforehand when she said "I just don't want to look uber-cheesy". It was her way of saying  "make me look good". After fifteen years of shooting, I can't tell you how many times I've heard that. And it's understandable. In all honesty, it's also easy part. Looking good is just about light, and posing and angles. It's about stuff that can be packaged up into a nice formula.

What can't be packaged up, is what my clients are really saying, which is: "Make me look good, and make me look like myself". This is the challenge. Because it's hard to find the real parts of a person when you don't know them. If you're looking for something real, you must be willing to be vulnerable too. Even then, the real parts of a person might still remain illusive. And that's okay. I've gone through many successful photo shoots, positioning people in pretty light, making them "look good". And it's enough. As an observer/photographer/human being, it's a rush when authenticity happens. But as it is in every day living, you never know when it will.

And that's how this shoot went. We started off posing. The light was as beautiful as she was (is). And it was fine. Then she got out her gi and her sword. And the girl who'd been politely smiling and posing, turned into a Force of Nature. Something in her eyes showed up, that was all her own. A Black Belt in Karate, she turned a sword fight into a dance. And I was completely mesmerized by her transformation. I realized that this was her Art. This was what made her feel most like her Self, and I felt privileged to capture it. It also made me think about how we all have that Thing that makes us feel like our Selves. Whether it's baking a cake, or writing stories, organizing drawers, or delivering babies...there is something that makes us feel at home. It's the part of you that that has always been there. The part that you don't question. What is that part for you?