Watch Your Step

Behind The Scenes / PotD

Watch Your Step

April 21, 2015

Behind The Scenes: Explore Wild Wear (2011). Model: Kathi

We don’t always like to admit that some of our best shots are not the ones we planned, but rather the ones resulting from some error occurring behind the scenes. For all the planning we do, sometimes fate takes over, and fate often comes with a sense of humor.

[one_half padding=”4px 8px 0 2px”]I never intended for Kathi to be inside the dumpster. On it, yes. Hiding behind it, yes. Inside the thing? No. That part was rather unintentional.

We were working on a series of mock ads that used seemingly careless situations to make a point. One had her standing in the middle of an intersection taking a selfie. Another had her walking into a street with a traffic cone on her head. Yet another had her “falling” off a mailbox. These came with tag lines such as, “Following your passion has challenges,” “When protection doesn’t fit, you’re doing it wrong,” and “Some moments are more exciting than others.” Each shot had an element of risk to it that we were able to mitigate through careful planning. At no point was the model in any serious risk of danger.

The shoot took place all over an urban neighborhood, encompassing several hours. This was one of those “you can’t believe what the photographer asked me to do” days and Kathi was a good sport going through multiple wardrobe changes and running from one set to another. We were both quite exhausted by the time we got down to the last concept, one which included a dumpster.

Dumpsters make for tricky props. First, they’re private property and therefore being in or on them technically constitutes trespassing; this is a safety issue to prevent people from sleeping in them and accidentally squished in the back of trash trucks. Second, they move which makes them dangerous and unpredictable. Third, one doesn’t always know what they’re going to find inside. Dumpsters have been known to attract both the disgusting and the bizarre. [/one_half]

[one_half_last padding=”4px 2px 0 8px”]Care had been taken to choose a dumpster that had been emptied earlier that day, served a business that wasn’t likely to be throwing away anything potentially hazardous or especially icky, and was facing the correct direction for waning sunlight. My concept originally had Kathi crouching behind the dumpster. Unfortunately, when we tried it the image lacked the punch I wanted. The dumpster was significantly larger than the crouching model, so the ratios appeared totally skewed.

After talking for a moment, considering the risks, Kathi agreed to try climbing on top of the dumpster. She felt certain that she would be able to balance along the side with no problem, something she was able to do long enough for me to drop five or six frames. Then, as she tried to actually stand on the edge of the dumpster, she lost her balance and chose to jump into the dumpster rather than risk falling. The shot of the jump itself wasn’t especially impressive, but this one, the moment she looked down and saw the rotting flowers on which she was standing, was perfect.

When fate intervenes in a photoshoot it often has a better idea. Kathi was a good sport and we ended up making the best of it as can be seen in the shot below. In fact, had she not jumped into the dumpster, I probably would have dropped this concept from the finished project. So, thanks to fate stepping in and gravity for doing its thing and giving us a shot better than what we had planned.[/one_half_last]

Behind The Scenes / Photography / PotD

Hold Your Horses

April 20, 2015

Behind The Scenes: Sunday Morning Ride (2011). Model: Cynthia Schmidt. Horse wrangler: Jewel Emery. Horse: Duke.

Working with horses is a good reminder of why planning photoshoots well in advance is important and why no detail is too small to let go unattended. With sufficient time and care, though, they can take incredible photographs. The same can be said of people on occasion.

[one_half padding=”4px 8px 0 2px”]I like horses. I still remember my first pony ride as a tot. I still remember struggling to try and carry the saddle by myself. I still remember the thrill of jumping gates. Growing up in rural areas, horses were frequently part of our lives and the love and respect I have for them continues. Horses are bright, intelligent, and noble regardless of age or pedigree. Occasionally ornery, they are often great hams in front of a camera and even show jealousy if one gets more lens time than another. They also tend to be great judges of human character and won’t tolerate someone they don’t like.

Having a horse in a photograph almost always makes for a great image, but those pictures don’t just happen by showing up at a ranch one morning and asking to borrow a horse. Most city-raised people don’t know how to ride, or even how to behave around a horse, which can be a bit dangerous. So, when planning to work with horses we have to take plenty of time, choose our models carefully, and take extra precautions such as giving the horse and the model a little time to get to know each other before taking the pictures that count.

Today’s picture is one such bonding moment between Duke and Cynthia. Duke’s owner can just barely be seen on his right side, adjusting the stirrup for Cynthia’s long legs. It was fairly early on a Sunday morning, Cynthia hadn’t ridden in a while, and I’m not sure Duke was all that crazy about having someone on his back at this particular hour. Everything went quite well except for this one tentative moment when Duke moved a little unexpectedly, catching Cynthia by surprise. Very shortly thereafter, they were riding around, getting to know each other, and having a good time.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]We arrived even earlier the next week and fog hugged the pasture as Cynthia mounted Duke and took off. He pranced and trotted beautifully, responding well to her instructions. One of my favorite shots from the day is where Duke appears to be sticking his tongue out at me as he trots my direction. After playing in the field for a while, Cynthia changed clothes and Duke proceeded to stand beautifully still as she laid across his bare back for a number of images. Something tells me that Duke thought he was the focus on the pictures and the girl was just decoration.

I should probably take a moment to insert a cautionary note here. Not every horse is as cooperative as Duke. In fact, when it comes to editorial style photographs, one is almost always better off with an older horse who is accustomed to being ridden by a number of people. Younger, more high-spirited horses are likely to be a bit temperamental about who is on their back; they need strong, experienced riders who know how to take charge and aren’t intimidated by a horse’s dominant personality. Listen carefully to the advice of a horse’s owner and/or wrangler. I’ve never had anyone hurt while taking pictures around horses, but the danger is definitely there.

Pictures circulating in Las Vegas this week show an intimidating Cynthia in her football uniform, promoting that city’s LFL team; she looks as tough and dominating as she is beautiful. So, this seemed like the perfect time to pull out a picture of the one moment, that split second, where she might have been a wee bit anxious. Obviously, her confidence was back by the time we took the pictures below, but we’ll always remember that one moment and the horse that made it possible.[/one_half_last]

Behind The Scenes / PotD

Give Me A Little Smoke

April 19, 2015

Behind the Scenes: Two Faced (2011). Model: Lisa Petrini. Makeup: Christopher Thompson

What happens behind the scenes of a photoshoot? Everything! More than just doing hair and makeup, off-camera actions tell just how hard we work to capture those great shots and how much fun we have along the way. We look this week at events not intended for public viewing.

[one_half padding=”4px 8px 0 2px”]Over the years, younger photographers have often asked if they could “sit in” and watch what we do during a photoshoot. Every photographer is different, has their own style and approach to taking pictures, so there is some benefit in observing all the different methods that might be applied to the craft. I usually don’t mind having extra people on the set unless space is already severely limited, but this week we’re taking everyone along with us behind the scenes of a wide variety of shoots. Pay attention and you may learn something. Or maybe you’ll just laugh. We’re betting on the latter.

The role of Art Director (AD) on a photoshoot is one that is often dropped when the shoot isn’t being funded by a magazine or commercial concern. Part of the AD’s job is to have a clear vision of exactly how the finished product should look and make sure everything and everyone is available to produce that look. When we’re working on unfunded projects, though, that planning responsibility typically falls to whomever had the original idea. When we run with a less than crystal-clear concept, or the personal doing the planning doesn’t have a lot of experience, we don’t always think of things we might want/need until we’re in the middle of the shoot.

Such is the case of this shot from a special makeup effects project for Chris Thompson’s portfolio. The idea of creating a split-personality look that was nothing short of horrific on one side while glamorous on the other has received various treatment over the years, but Chris had an idea for how to create a unique look that wouldn’t take 12-14 hours to achieve; this one only took about four hours, super fast by industry standards. We were working from Chris’ apartment so he would have ready access to all the little tricks he might need to apply along the way.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]We were working from Chris’ apartment so he would have ready access to all the little tricks he might need to apply along the way, which made sense. What that meant, however, was we would be shooting in his living room with a black cloth draped across a cord for background. He was focused on producing the effect, the result of which was more fantastic than I could have ever imagined. Not until we were shooting did either of us think that the addition of a little smoke or fog to the scene might enhance the appearance.

Oops. No fog machine. Not that we didn’t have access to one, but neither of us had thought about it prior to shooting and the relatively late hour at which we were working made running to fetch one impractical.

So, we tried the only thing we did have available: cigarette smoke. Today’s picture is our attempt at creating the desired atmosphere by blowing a full drag of cigarette smoke into the model’s face. Unfortunately, cigarette smoke is considerably more fine in composition than is the normal stage smoke we would use in such a situation. Despite multiple attempts, we ended up not using the smoke, but going with the image below instead.

Photoshoots are rarely perfect, but in many ways that element of experimentation born out of either necessity or a whim is what makes the job so much fun. We never know what we can do until we try, right?[/one_half_last]

Nature / PotD

Urban Greenspace

April 18, 2015

Concert in the Park (2014). Model: Laura (L Modelz) Makeup: Danelle French Hair: Anthony Perez Styling: Nativa Photography assistance: James Thorpe

City planners have long understood the benefit of having large expanses of urban greenspace scattered throughout an urban population. While how that greenspace is used has changed somewhat over the years, a city’s largest parks and outdoor recreation areas are consistently the places where people gather for fun, relaxation, and sometimes meaning.

[one_half padding=”4px 8px 0 2px”]I still remember the first time I set foot in New York’s famed Central Park. I was there for hours and still barely covered a third of the space the park occupies. Coming from rural Oklahoma, I had braced myself for all the concrete and steel of the metropolis, and it wasn’t like I didn’t know Central Park existed. What caught me by surprise was the reality of just how large it is and all the varied ways New Yorkers take advantage of the greenspace, both for good and, sometimes, not.

Central Park was the first such landscaped space in the United States, having reached its current size by 1863. While acquiring that much land in an already immense and densely populated city wasn’t easy, and fraught with political tension, there was little argument that the park was something the city wanted. The greater argument was over who would control it, the city or the state. By 1870, the city won that fight and from there it has possibly become the most famous park in the world, a shining example followed by other burgeoning cities all across the country.

Environmentally, urban greenspace is like gold to a city. The more people that are gathered putting off carbon dioxide, the more we need trees and vegetation to absorb what we produce and provide us with the necessary oxygen to sustain life. While no park totally makes up for the accumulation of millions of people, even small space with a handful of trees has a huge impact. Parks help with flood control, pollution control, stop soil erosion, and help keep down urban temperatures in addition to providing a balanced home for urban wildlife.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Beyond the ecological benefits, though, urban greenspace provides people with a place to be, a place to relax, to sit under a shade tree and read, to have a picnic with family or friends, to fly a kite, walk a dog, chase a ball, learn to ride a bike, go for a jog, or just enjoy a bit of fresh (more or less) air. While urban living can be exciting and fun, the fact is we miss nature and long deeply to have it around us and to be part of the natural earth. We don’t like being cooped up all day, surrounded by four walls, looking longingly out elevated windows. We need space to get out and roam and explore and stretch.

Many cities have experimented with variations on the greenspace over the years. Some have put in large ponds, streams, or other water attractions. Others have put in playgrounds for children, though most were later removed due to rising insurance costs. Still others provide tennis courts, basketball courts, and little league and softball fields for organized recreation. As soccer has become increasingly popular we’ve seen space reserved for youth and adult league games. Portions of large parks have been converted to major music venues, offering concerts of all varieties in an atmosphere where one doesn’t necessarily need a ticket to listen and enjoy the music.

Benefits of urban greenspace are endless and for photographers especially they provide countless opportunities to capture seasonal natural beauty while also providing a dynamic backdrop for portraits. So, we end this week’s look at the urban outdoors celebrating the great parks around the country. Let’s go now and enjoy![/one_half_last]

Photography / PotD

Concrete, Glass, and Steel

April 17, 2015

Capturing the Night (2008). Model: Sarah

Nature gives us earth, wind, and fire. The urban outdoors responds with concrete, glass, and steel, its own basic elements of which every city is composed. Yet, when photographing a city we must first make the choice of whether our subject is the people or the architecture.

[one_half padding=”4px 8px 0 2px”]I went with another long-exposure night shot for today’s image because it emphasizes, perhaps more than any other image I immediately have available, the choices we must make when shooting in the inner city. Urban architecture and design can make for wonderful photographs. Yet, the heart and soul of any city is its people. Trying to fit both into the same photograph is almost always disappointing, or at best, cliché. Sarah is standing in front of a work of beautiful design, but the landmark wasn’t our subject, she was. To say this is a picture of the landmark would be totally inappropriate.

I am reminded of the time a friend returned from a trip to Paris and arrived back home with boxes of slides under his arm. I realize younger readers may not have ever experienced the mixture of joy and boredom that comes with watching someone else’s vacation pictures projected onto a white sheet in the living room, but this particular experience was especially disappointing at first. I was expecting grand, sweeping images of Parisian landmarks, and upon seeing sleeves marked “Arch de Triomphe” and “Notre Dame” was prepared to be thrilled. Yet, not one such shot existed. No flying buttresses. No stained glass. No arch.

“So, where are the landmarks,” I asked. “I only saw a hint of the Seine and nothing at all of the cathedrals.” I’m sure my disappointment was evident in the tone of my voice.

“I didn’t go to take pictures of tourist attractions,” he responded. “I wanted pictures of Paris, so I took pictures of people who were to be standing around tourist attractions.”

Looking back through the slides, there they were: the painter along the Seine; the street vendor in front of the arch; the woman asking for alms in the shadow of the great cathedral. He had captured the very essence of Paris without a single landscape shot, no hint of Eiffel’s tower, or even the Louvre’s pyramid.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Cities are easily recognized by its architectural landmarks, to the point that even the silhouette of some skylines, such as those of New York, London, Dubai, and Seattle, are enough to identify the location. Architecture and design that varies from one city to the next help give one a sense of place, uniqueness for a given geography. Architecture is to the urban landscape what mountains, rivers, and trees are to nature’s domain. They make for wonderful images, but require one to step back, to look at the city from a distance. One does not capture the glory of Notre Dame standing on its front steps. To capture this view of the city requires distance to achieve the best perspective.

Yet, if one really wants to capture what makes a city tick, one needs to photograph its people, the ones who live and work in and around those gigantic landmarks; the ones who put life and breath into the concrete, glass, and steel. These pictures require getting close, choosing a more intimate perspective, and perhaps exposing the city in a way that isn’t necessarily glamorous, or what might appear on a tourism brochure. Find the people who haven’t given in to the fashion hegemony of the malls and capture them in their natural element.

Each summer I have to stop myself from interfering with tourist trying to fit a large landmark into the same frame as Aunt Sue. Inevitably, one must choose: is it a picture of the architecture, or Aunt Sue’s quirky grin? Neither is wrong, both capture a piece of the city, but they are different pieces. Know which is your focus before you start.[/one_half_last]

Art / PotD

Art On The Urban Wall

April 16, 2015

D on the Square (2013). Model: Diablo

Graffiti that once was considered the bane of urban existence is now a recognized and sometimes highly sought after art form unique to the inner city. All over America, cities are electing to brighten once-blighted neighborhoods with murals and other forms of street art. The biggest challenge? Finding them.

[one_half padding=”4px 8px 0 2px”]We frequently travel across a little stretch of road that is strictly utilitarian in nature. There’s no reason for its existence other than to connect one part of town with another. The asphalt runs adjacent to a railroad track with a hospital at one end and an industrial area at the other, but there is nothing useful in between, simply overly-littered clumps of weeds and dirt the department of public works tries to clean up occasionally. Then, just last year, the city decided that the area needed some sprucing up. So, they commissioned a large mural to be painted under the stretch of Interstate 65 that dissects the area. The mural is very attractive, very bright, and appropriate in its depiction of the people who live in the area. Hooray for public art!

Yet, the rest of the area, even the right-of-way between the mural and the road, remains a blight. Trash still punctuates the aesthetics of the road, soot still gathers on the girders of the overpass, and none of the mural is visible unless one is stuck on that very short piece of otherwise forgettable road. Might this be a case of expecting art to do more than it is capable of doing on its own? Possibly.

Cities have long had a love/hate relationship with outdoor urban art. While graffiti has been around almost as long as men have been building walls, only recently have we as a society started looking at it as a legitimate art form. Artists with names such as Banksy, Mr. Brainwash, and Retna, Shepard Fairey, and David Choe have become both celebrities and millionaires spraypainting their works on the side of buildings such as Facebook’s headquarters. What once would have gotten a person arrested for vandalism is now welcomed by many urban building owners and often comes with a very hefty price tag.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]For all that popularity, we’re still not always sure what to do with urban wall art. Today’s picture is shot in front of a very large and attractive piece of work in Fountain Square. Yet, you won’t see it as you take a casual drive through the area. The graffiti art is on a wall tucked back in an alley next to a gravel parking lot used primarily by employees of adjacent businesses. If one doesn’t know the work is there and seek it out, it goes completely unnoticed. Sticking Diablo, at the time one of Fountain Square’s better-known residents, in front of the wall might have brought it some attention had we included a map of how to find it. We like urban wall art, but we’re not always sure we want everyone to see it.

One also has to consider the fact that a lot of street art is intentionally temporary. Traditional graffiti artists never expect their work, welcome or not, to be permanent. Even under the best of circumstances, sunlight fades the colors and changing weather eventually chips away at the paint. Many walls where graffiti is welcome get completely repainted two or three times a year. If one visits an area infrequently or is unaware of an art wall’s rotation, one might easily miss a real masterpiece of urban painting.

Wall art is an exciting part of the contemporary urban landscape and photography helps preserve this all-too-temporary art form. Perhaps one day we’ll no longer relegate such creative work to back alleys and the underside of Interstate bridges. Until then, the search-and-discovery process of finding these exciting pieces is an adventure that defines the uniqueness of the urban outdoors. Get out your camera and start looking; they could be anywhere![/one_half_last]

Photography / PotD

Experience The Night

April 15, 2015

In The Garden (2010). Model: Samantha. Body art: Jennifer Baxter

Cities become very different places at night, some good, some bad. A quiet shopping area suddenly becomes alive with club activity. A busy business district takes on a ghostly creepiness. Shooting in the urban outdoors can be dangerous but rewarding.

[one_half padding=”4px 8px 0 2px”]We knew we were taking some risks the night we shot today’s photo. The location was a very popular club area, which meant it would be heavily populated with a lot of lights and activity in the background. All that traffic would give us a certain amount of anonymity for a little while, but not long. Once bystanders, most of whom had already consumed a fair share of alcohol, figured out we essentially had a topless girl standing on the sidewalk, we wouldn’t have long before the scene might potentially grow out of control.

Working in the urban outdoors at night is an experience unlike any other. One never is quite sure whether they are alone, who might be watching or what might be hiding in the shadows. At the same time, the colors and lighting of the urban landscape at night are wholly unique, dramatically different from the long exposure shots taken in more rural areas. Here, there is a beauty and an intrigue that is very different from other forms of photography, but there is also an element of danger.

Over the years, we’ve often taken to the streets at night with tripod in hand, ready to see what the camera might capture that the naked eye didn’t see. Some nights we might only get interesting light flares. Other nights we’ve had rocks thrown at us from unseen sources, frightened those in the act of committing a crime, stumbled across hidden lovers, and possibly crossed paths with a ghost or two if one believes in such things. We’ve attracted the attention of police, but, fortunately, have never needed their services. Armed escorts are a necessary precaution, but we’ve never needed them to draw their weapon.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]This particular night we relied on sheer numbers and our ability to dissolve into a darkened neighborhood as our security method. While the model and I quickly snapped the handful of frames necessary to ensure we’d gotten a good shot, three others, including the body artist, stood nearby looking casual but on alert. By the time someone shouted across the street, “Hey, is that girl naked?” we were done and slipped quietly away from any potential danger.

For shots such as this one, planning and knowledge of the area are critical. We knew we wouldn’t have much time, so we carefully chose our location and discussed posing before we arrived. I also made a solo trip to the area on a previous night so that I wouldn’t need to waste time getting light meter readings. I was very familiar with the street and had a sense of what to expect. None of that quelled my excitement or anxiety as we walked through the shadows of an adjoining neighborhood on our way to the location. We dropped ten frames and were done.

Long exposure night photography is interesting and fun no matter where it is done, but shooting at night in the urban outdoors can be an experience in excitement unlike any other and results in some of the most unique images one is likely to take. While the inherent dangers are not something to be dismissed, a little planning and caution delivers results one can’t achieve anywhere else. Go ahead, experience the night; a whole different world of imagery awaits.[/one_half_last]

Photography / PotD

Urban Seasons

April 14, 2015

On the Fountain (2010) Model: Danelle French

As with nature, urban landscapes go through seasons of their own, just not as quickly or on as precise a schedule. Changes to the urban environment, both subtle and dramatic, keep us going back to the same locations time and time again, always with different results.

[one_half padding=”4px 8px 0 2px”]Today’s photo is almost five years old, which is difficult to believe in some regards. I still remember with rather surprising clarity the morning of this shoot, Danelle trying to balance on the rocks, the looks of curious drivers on their morning commute wondering what we might be doing. If I were to take her back to Fountain Square this morning, though, the picture would be dramatically different. The entire landscape behind her has changed rather dramatically. This particular area of town has changed seasons, going from a sleepy Spring of quiet, modest change, to a Summer of tremendous growth with some rather dramatic additions to the landscape.

Any time we shoot outdoors, nature’s seasons factor into what we’re doing; the four seasons offer distinctly different looks, but sometimes those changes are not as obvious in an urban environment. If there are no trees on a street, we don’t see whether leaves have fallen or are beginning to bud. Snow is a rather obvious clue, but a sunny day with no people on the street to give us a hint might just as easily be July as December. Seasons take on a different feel when one is in the city.

Cities also go through seasons of their own, from growth to stability to decay and rebirth. Typically, we see those changes at the neighborhood level though occasionally, such as with Detroit, whole city transformations can be obvious. No city wants to be labeled as boring and just the natural wear and tear of use, not to mention the coming and going of business as economies fluctuate, factor into visible changes in the urban environment. While those changes rarely happen within a three-month cycle, thank goodness, they do happen with enough frequency to give photographers different and often unique settings that can be fun to capture.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Granted, capturing urban changes requires paying a little more attention than is necessary with nature, which operates on a slightly more predictable basis. If one is not “plugged in” to a community, particularly at the neighborhood level, one can be caught by surprise. In unique little places such as Fountain Square, the coming and going of mom-and-pop, single proprietor shops has a dramatic impact on the visual impact of an area. Full window displays communicate a totally different season than does empty space or, worse yet, boarded windows. The addition of a coffee shop where a bicycle repair business once stood also gives a street a very different feel. Even things such as repairs to the sidewalk make a significant difference from a visual perspective.

Unfortunately, not every seasonal change to an area is planned or positive. When fire takes out a dominant building the entire neighborhood feels the pain and the results are surprisingly visual. Should crime overtake an area, or should a geographically specific economic program end, a once-thriving community may see itself thrust into an unwanted period of winter. New construction might be seen as the “spring planting” season in the urban environment, but street-level disruption might cause traffic congestion and noise that present a challenge.

This week marks ten years since I first moved to and began exploring Indianapolis. Visual changes in the city are dramatic to the point that pictures I took then are practically obsolete, taking on a strange “vintage” feel to them. Every year I look around and find reasons to re-visit places that I’ve photographed before, knowing that I’ll get very different results. Urban seasons are one of the things that make photographing the inner-city outdoors fun and exciting. Look around you and be amazed at the changes. [/one_half_last]

Fashion / PotD

Runways From Sidewalks

April 13, 2015

Runway on the Canal (2011), Model: Destany Harte. Dress by Beth Bennett

Creative catwalks are big business within the world’s fashion capitols of New York, London, Milan, and Paris, but for smaller markets getting fashion shows noticed by the public is more challenging. Sometimes the best solution is to stage a show right where it can’t be missed.

[one_half padding=”4px 8px 0 2px”]There have been some creative sets for fashion shows over the years. Tommy Hilfiger always creates a set that echos the general theme of his clothes for the season. Marc Jacobs once had models coming up and down on escalators and elevators simultaneously. Sets for Karl Lagerfeld’s Chanel shows are elaborate productions costing millions of dollars. Some say the over-the-top sets help set those brands apart. Others say the sets distract from what are otherwise boring collections lacking in originality and creativity. When one remembers the setting for a show more than the clothes shown in it, one has to wonder if the latter isn’t more correct.

Today’s photo is taken from the 2011 Indy Fashion Time presentation on the canal in downtown Indianapolis. Unlike Hilfiger, Jacobs, or Lagerfeld, this presentation showcasing multiple designers wasn’t looking to overshadow the designers, but rather answer the challenge of making sure people notice them. As the Internet has allowed smaller designers to set up shows without having to move to New York or Paris, smaller cities such as Indianapolis have started having fashion weeks and other fashion related events of their own. The challenge: getting anyone to notice without the huge million-dollar budgets of the big cities.

Indy Fashion Time (IFT) founder Dlang Ferguson, a respectable designer in her own right, hit upon a creative solution to the exposure problem when in 2011 she orchestrated a summer-time runway presentation right out where no one could miss it: Indianapolis’ downtown canal. The downtown canal is a leftover from the pre-railroad days in Indiana that has become a popular destination for both tourists and locals, its broad sidewalks, artistic elements, and gondoliers making it attractive to a wide range of people. Drop a fashion show in the middle of that on a warm summer’s evening and people are bound to take notice![/one_half]

[one_half_last padding=”4px 2px 0 8px”]Not that such expositions are easily achieved. Ms. Ferguson worked tirelessly with the various government officials months in advance for the necessary permits and permissions to stage the show. Presenting the show outside creates a plethora of logistical challenges, ranging from security to model prep areas to how to provide music without violating noise ordinances. Dlang understood that to put a show in such a public place meant that it had to be a bit extravagant, impossible to miss, and come off without a hitch. No small detail could be overlooked.

Added to all the logistical challenges was the ever-looming spectre of rain. When one has to start planning so very many months in advance, there is no way of predicting at that juncture what the weather might be. Summer in the Midwest, as in much of the United States, is often quite erratic, going from suffocatingly hot and humid one day to pouring down rain and threatening thunderstorms the next with little warning or forecasting to allow one to change plans. Dlang says she had an internal confidence that the weather was going to cooperate, though, and sure enough it couldn’t have been a more pleasant evening.

A couple of seasons ago, Karl Lagerfeld created his own urban street setting indoors because actually using the streets of Paris would have been too dangerous and too expensive. Smaller cities trump the big ones in that regard, giving designers and events such as IFT the chance to bring fashion directly to the people, right smack in the middle of town. While the task is never easy, the urban outdoors is a dynamic fashion set unlike any other. [/one_half_last]

Photography / PotD

Walking The Dog

April 12, 2015

Walking the Dog (2010) Model: Cynthia Schmidt

While being outdoors in nature is a wonderful experience and great place to photograph, the urban outdoors is a far more common and often more complex experience. This week we explore photos that enjoy being outside but in town.

[one_half padding=”4px 8px 0 2px”]It was early on a Sunday morning when we shot today’s picture. Cynthia had contacted me because she had rescued a pup that had been in absolutely horrible condition and now that he was all clean and healthy she wanted pictures with him. Animal pictures aren’t exactly high on my list of things to shoot, though. As cute as they are, they tend to not follow directions too terribly well and shots of them just sitting are rather boring after the second snap.

Looking to put some excitement into the picture, I asked her to take the pictures in her underwear. Granted, that’s not a request I would make of too many people. Only someone with a lot of self-confidence, poise, and the ability to drop anyone who might make an inappropriate move could pull off this look without a large security staff standing by. The fact that Cynthia looked great walking down that street with the tiny little dog was almost secondary.

Timing and location were critical in making this shot happen. While we weren’t even remotely at risk of an indecent exposure charge, there was a real chance we could be cited with disturbing the peace if we chose the wrong neighborhood. After all, it’s not every day that one sees an attractive young blonde walking down the street in her underwear, especially in the Midwest. Her ability to be a distraction meant choosing a street and a time where traffic would be minimal. I had been watching this particular location for a while and knew it was our best chance at not being disruptive.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Of course, we still attracted a small amount of attention. There is a coffee shop just behind where I was shooting and being early on a Sunday there were, naturally, a handful of caffeine addicts who desperately needed their morning fix. No one complained, though, and when we stopped by the coffee shop later they were quite complimentary. One barista even asked if we might repeat the shoot on a regular basis, thinking it would help them attract early morning traffic.

Such are the type of things one encounters when shooting outdoors in an urban environment. Like shooting out in nature, there are all the benefits and challenges of light and shadow, but here one also has the addition of architecture, which can be incredibly beautiful to the point of being overwhelming, and traffic, which can be incredibly frustrating to the point of making a shot impossible. There are dangers, to be sure, but there are also some very strong benefits that make the urban outdoors an attraction all its own.

Americans are lucky to live in one of the least densely populated countries in the world. Even our largest cities are dotted with green space and urban planners everywhere are aware of the importance of building aesthetic value into a city’s appearance. Even in New York City, where people are seemingly stacked on top of each other there are places and times one can shoot in peace. We are quite fortunate to have the urban scenery we do and there’s no excuse not to capture it in photographs. Here’s to another week outdoors![/one_half_last]

Nature / PotD

Covered In Nature

April 11, 2015

Covered In Nature (2009). Models: Rose & Emily. MUA & Styling: Kelly Oswalt

Celebrating Spring and Nature go hand in hand. Spring is when nature is at its most glorious so it only stands to reason that now is when we are most anxious to get out and immerse ourselves in its glory and grandeur, taking as many pictures as we can along the way.

[one_half padding=”4px 8px 0 2px”]Kelly Oswalt gets the lion’s share of credit for today’s photo; the concept was hers and she did all the makeup and styling. We even shot in her backyard. Kelly’s concepts often involve nature and she makes those natural elements her subject when she is behind the camera herself. Not everyone understands or appreciates how to work with, in, and around nature, but Kelly does it well.

Bonding with nature is one of those concepts with seasonal appeal. This time of year, I’m drawn to Thoreau’s descriptions of living as close to nature as possible. While there have been many others who have perhaps studied nature more deeply or lived more simply for longer, Thoreau’s gift was relating the connection between nature and life.

“The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night… All memorable events, I should say, transpire in morning time and in a morning atmosphere. The Vedas say, “All intelligences awake with the morning.”

and then later he muses:

“A single gentle rain makes the grass many shades greener. So our prospects brighten on the influx of better thoughts. We should be blessed if we lived in the present always, and took advantage of every accident that befell us, like the grass which confesses the influence of the slightest dew that falls on it; and did not spend our time in atoning for the neglect of past opportunities, which we call doing our duty. We loiter in winter while it is already spring.”

[/one_half]

[one_half_last padding=”4px 2px 0 8px”]While few can afford to do as Thoreau did, building a cabin by a pond and then taking two years to live there and write, Spring ignites in most all of us that urge to “get back to nature,” to be outside, explore, and experience. Our desire to be part of the world, to kick off our shoes, dress down next to nothing, to feel nature as though we were born into it, is instinctive. Human evolution has not lost the primal need to connect with that source from which we originate.

As we’ve seen this week, taking pictures outdoors comes with a host of dangers and challenges. When people are involved, especially, one does not just pick up a camera, shoot leisurely, and expect images of any quality or to not endure some difficulty. Yet, for all the issues that might present themselves, for everything that one might need to consider before going out, just the experience of shooting outdoors in nature is worth whatever trouble might be involved. Even if the pictures don’t turn out as planned, one has spent the time surrounded by and hopefully enjoying all that nature has to give.

Again, from Thoreau:

“If the day and the night are such that you greet them with joy, and life emits a fragrance like flowers and sweet-scented herbs, is more elastic, more starry, more immortal- that is your success. All nature is your congratulation, and you have cause momentarily to bless yourself. The greatest gains and values are farthest from being appreciated. We easily come to doubt if they exist. We soon forget them. They are the highest reality. Perhaps the facts most astounding and most real are never communicated by man to man. The true harvest of my daily life is somewhat as intangible and indescribable as the tints of morning or evening. It is a little star-dust caught, a segment of the rainbow which I have clutched.”

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Nature / Photography / PotD

Not All Outdoors Is Equal

April 10, 2015

On The Rocks (2012)

Finding that perfect place to shoot outdoors can be difficult and when we do find a place that works we tend to want to keep it to ourselves. Great outdoor locations are almost as valuable, and rare, as gold. Non-photographers think we’re crazy, but experienced photographers know that not all of nature is created equal.

[one_half padding=”4px 8px 0 2px”]Mud. Muck. Gnats. Hills. Rocks. Rough terrain. If one is going to shoot with me outdoors, those are some of the conditions that one is likely to encounter. I’m not one of those people who just hop out of the car and say, “Hey, this would make a good place to shoot!” Instead, I study a location for a while, watch it in different conditions, walk it multiple times if I can, and consider exactly what I can and cannot do there photographically.

Even with all the planning I’m sometimes surprised. More water. Less water. A visiting herd of cows. For all the challenges to shooting outdoors, finding the best location may be the most challenging. Certainly, it requires the most energy.

I couldn’t get to the location where today’s photo was taken if I wanted. With all the rain we’ve had this week I rather doubt there’s a natural tributary in the state that isn’t at or overflowing its capacity. That’s the one draw-back to an otherwise almost idyllic shooting location; one I’ve used several times over the years and almost always with impressive results. Even though the location is public property, it is secluded enough I tend to consider it mine and would probably be a bit jealous if I saw pictures from another photographer taken there.

Perhaps the biggest challenge to shooting outdoors is finding just the right location that works for the time at which you want to shoot. To the uninitiated, it seems that any bright, sunny location ought to work for taking pictures. After all, if we have plenty of light and maybe some flowers and trees in the background, what more do we need? Experienced photographers understand, though, that finding just the right location, one that can be used repeatedly while still generating unique looks, is almost as difficult as mining for gold in the Midwest. There aren’t as many locations running around as one might expect.

Finding a good location is not unlike going on a treasure hunt. One can drive, and hike, for hours, through all manner of conditions, before finding that perfect spot. We don’t want it to be recognizable, because then everyone else will want to use it. We want our pictures to be unique and that means having locations different from where everyone else shoots.

Understand, there are thousands of locations where one can take a good photograph. The challenge is that for most of those locations one good, usable image is all one is going to get. No one needs a portfolio where all the photos look the same. Things such as notable landmarks, unique trees, and recognizable gardens are fantastic for that one shot, but don’t provide the long-term use for which we ultimately look.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Everyone has their own opinions, of course, but here is what I look for in a good outdoor location:

Flexibility. Can I get more than one look out of a location? If I shoot from different directions and different times of day does it look like a different place? Does it work both morning and evening? How does it look during different seasons? The more I can get out of a location the more valuable it is.
Lighting. Sure, most any outdoor location gets light, but is it the right kind at the right time? Are there barriers between me and the sun? If so, do they make good filters? Is direct light the only option or is reflective light available as well?
Background pollution. Look toward the horizon and what do you see? If it is anything other than trees, clouds, and maybe a mountain, we have a problem. Power lines are the most frequent offenders, but randomly visible rooftops, or hints of urbanization in an otherwise forested setting reduce the visual impact.
Access. Is the location public property that can be accessed legally at any time or is it private property for which one has to obtain permission? Used to I would fudge this one, but as private property laws have changed in many states I no longer consider it worth the risk. I prefer public property whenever possible and will ask before shooting on private property.
Traffic. If I can get to a place, other people can as well. How well trafficked is the location? Do we need to watch for people in the background? Might people stand around gawking? I don’t exactly enjoy an audience.
Remoteness. How difficult is it to get to the location? The image above required a little over a mile’s hike, which is fine for a location where I don’t need additional equipment. Being remote means better privacy, but also means more difficulty getting help if something goes wrong.
Peacefulness. Very much a personal preference, is this a location I would enjoy even if not taking pictures? Would I just sit and read a book here? Is the place one I can enjoy just being? Such qualities inevitably transfer to the photos.

Every picture tells a story and we want every story to be different but having to find a new location for every outdoor concept is time-consuming and often frustrating. Finding one that offers multiple options all year long is like finding treasure.

And no, I’m not telling where mine are.[/one_half_last]

Nature / PotD

Stormy Weather

April 9, 2015

Color of Spring (2012)

Nothing adds drama to a photograph quite like dark, brooding, rolling clouds in the background. Capturing those clouds, without resorting post-processing trickery, is rather challenging. By the time clouds get as dark and ominous as we might want, chances are the weather is getting feisty and that’s not a good time to be taking pictures.

[one_half padding=”4px 8px 0 2px”]Rain was still about an hour off the afternoon we took this picture. The model only had a short window of time available but was anxious to get pictures of the dress she had created for a competition. She wanted the pictures outdoors and the weather was perfect for getting the level of drama she desired. We weren’t out long, maybe thirty minutes max, but that was enough to set my weather anxieties on edge.

Growing up in Kansas and Oklahoma, one learns a lot about weather; it’s a necessity of survival. Weather forecasting back then was still in the relative stone age compared to the computer-driven real-time analysis available to meteorologists now. No matter how much one knew about the weather, usually the best tool in forecasting was having a large window through which one could look out. We were taught to respect, not fear, bad weather. Tornadoes could be avoided with some precaution, we were told. What we had to watch out for was lightening.

Stories abounded of people getting hit by tree limbs or knocked out of fishing boats because of lightening, but the incident that really drove the danger home was Johnny Bill. I met Johnny Bill (yes, that was his real name) through his grandparents my final year of college in 1983. He was the type of kid grandparents took pride in introducing to everyone. He was tall, athletic, an unruly shock of ginger hair on his head, and the kind of kid that attracted a following of little girls no matter where he went. He was intelligent, polite, and extremely kind.

Football season was still young. After school practice was critical, but Oklahoma high school coaches had strict policies about weather. Playing or practicing in the rain was acceptable, but at the first sign of lightening everyone was to be off the field. So it was this Thursday afternoon. Storms were still several miles away it seemed, but at the first rumble of thunder the coach called practice and sent his team toward the locker room. Johnny Bill was crossing the endzone, his helmet in his hand, when lightening hit. He and two other players fell to the grass. The other two slowly got up. Johnny Bill didn’t.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Two weeks passed and then stretched into a month. His family, the school, and the entire community prayed. Hard. Doctors did everything they could to relieve the pressure on his brain, but he had taken a direct hit, effectively burning out his entire nervous system. After several weeks, the decision was made to remove Johnny Bill from life support and he passed within minutes.

A lot has changed in meteorology over the past 30 years. I’m sitting here this morning knowing that storms are, once again, on their way. Where, when, and at what strength is hardly a mystery, though. I can watch my phone and see exactly the same information meteorologists see. I know upper level wind speeds, I can see barometric pressure readings, and radar has real-time accuracy. I don’t have to wonder whether it is safe to go out. I’ve known all week, in fact, that today’s weather was going to be rough, so we didn’t schedule anything outdoors.

Would it be tempting to take advantage of the dark clouds I know will be rolling in this morning? Sure, tempting, but stupid. By the time the dark clouds are most photographable lightening is likely at its most ferocious. Just because it sounds like it is still miles away doesn’t mean the next strike won’t be right on top of you.

For that reason, I’m not bothered too much by photographers enhancing skies in post-processing, provided it is done well. I would much rather see a carefully used photoshop brush than an obituary notice. Little of what photographers encounter has the ability to be lethal, but lightening is one element of nature that’s never worth the risk. Please use some common sense before going out into stormy weather.

And perhaps consider learning how to photoshop clouds really well.[/one_half_last]

PotD / Social Commentary

Free Information

March 16, 2015

Freedom of Information (Composite, 2015)

James Madison, the fourth President of the United States and a principal author of the United States Constitution, was born on March 16, 1751 and it is because of his commitment to a balanced government and informed electorate that we celebrate Freedom of Information Day on his birthday. But wait, with such freedom comes responsibility. Are we up to the challenge?

[one_half padding=”2px 6px 0 2px”]Anyone my age or younger has grown up with a concept that government has an obligation to be open and honest with its citizens. President Johnson signed the first Freedom of Information act on July 4, 1966 with some hesitation, but it set forth a standard for the federal government we pretty much take for granted today. We fully expect that our federal government has to tell us, within reason, what it’s doing.

At least, that’s what the history books will tell you. That law was actually repealed by the 89th Congress and replaced with Title 5 of the United States Code, which contains language substantively identical to the Freedom of Information Act, but also contains a great deal of additional regulation over civil service functions and responsibilities.

Hold on, we’re not done yet, though. There have been amendments over the years and they’ve come with some political turmoil. Consider the Privacy Act of 1974, which most importantly gives an individual the right to see what information the government has about them, correct that information if it’s wrong, and sue the government if it is being misused. Opposing the Privacy Act was then federal attorney Antonin Scalia (prior to his appointment to the Supreme Court), President Ford’s Chief of Staff, Donald Rumsfeld, and a deputy named Dick Cheney. They convinced President Ford to veto the bill, but could not stop Congress from overriding the veto.

They weren’t done. In 1976 (same President, slightly different Congress) what was laughably referred to as the Government in the Sunshine Act (it was the 70s, forgive them), added some restrictions to the act. Most notably among them, information regarding matters of national defense and preventing federal agencies from speaking regarding active court cases. Suddenly, that picture of the federal government started having huge holes cut from it.

President Reagan limited the act even further, using Executive Order to allow government to hide pretty much anything it wanted under that “national defense” clause. President Clinton vacated that order in 1995, and went on to issue Executive Orders of his own to allow for the release of documents older than 25 years old that were of “historical interest.” President Clinton also oversaw the Electronic Freedom of Information Act in 1996, requiring federal agencies to make documents available electronically (which is why federal websites are so important).

There were some smaller Executive Orders here and there, but the next major change came as part of the Openness Promotes Effectiveness in our National Government Act of 2007. Among other things, the act redefines what qualifies as a member of the news media (includes bloggers not directly associated with a traditional news outlet), and establishes the Office of Government Information Services to mediate claims against federal agencies.

Whew. Being an “open” government isn’t quite so easy, is it?

And therein is the challenge. Not only does government have a responsibility to be open about what it’s doing, what information is being collected and for what purposes (we’ve been arguing about the whole cell phone thing for how long now?), we have a responsibility with regard to what we do with that information.

Specifically this: we have to ask for the information.

Freedom of Information merely means that government agencies have to provide certain information when it is requested. They don’t have to mail it to your door. No one is going to sit down and make you read it. You have to ask.[/one_half]

[one_half_last padding=”2px 2px 0 6px”]In my aged (in an oak barrel) opinion, the need to figure things out for ourselves has never been stronger. Since 2007, there have been a number of politically-motivated websites who have gained some level of prominence by making Freedom of Information Act (FOIA) requests and manipulating that information to serve particular political purposes. There’s no sense blaming one party or another because it happens in abundance on both sides.

And both sides get it wrong more than 60% of the time, according to studies released last year regarding information integrity.

The unintended result of so many people having what is essentially quick and easy access to so much information is that our news and information sources are now flooded with misinformation more than anything that is actually factual and helpful. Even our most trusted news sources have been caught in outright lies, and more frequently are guilty of taking raw information gleaned from federal sources and twisting that in ways never intended.

When we allow others to interpret information for us, it becomes very much like the composite image we choose for today’s PotD: challenging to know exactly what we’re seeing. Was this a single picture from one event? How many people are actually in the picture? Is anything important being omitted in the “redacted” portions of the image? How does one tell what is real and what is reflection? What is that child eating?

Think of information as though it were a basket of fruit. On one side, the government has its basket with a small, carefully lettered sign that says, “Free for the taking.” No one takes the fruit, though, because it hasn’t been peeled or washed and would just be too much trouble to prepare. People on that side of the street complain about being hungry but ignore the basket of fruit completely because it’s just too much trouble.

On the other side of the street are fruit vendors. They take the free fruit from the government basket, wash it, peel it, slice it, and make it look attractive on a plate. As a result, people flock to that side of the street to consume their fruit. There’s just one problem: some of it is poison. [Remember, Maleficent dealt in fruit, also, much to Snow White’s demise.] But even knowing that some of the fruit is poison, people still consume as much of it as possible and consider themselves well fed.

We do exactly the same with information. We consider the raw sources too difficult, so we let someone else do the parsing for us, knowing that a great deal of what we read is “poisoned” with editorial bias, but we consume as much as we can and consider ourselves informed.

I’m fairly certain that if James Madison were alive today, in addition to being totally freaked out by technology and vehicles that move without visible means of propulsion, he would encourage, if not demand, us to take a more active and deliberate role in how we receive critical information from and about our government. We don’t have to take someone else’s word. Proposed legislation is typically available online within hours of it being presented and given a bill number. Verbatim transcripts, and in some cases video, of committee hearings are available online as well.

The information is there, and it’s free. Now, what are you going to do with it?[/one_half_last]

Photography / PotD / Social Commentary

Beware The Ides

March 15, 2015

DISCONTENT (2011). Model: Rachel

The same author who warned his Julius Ceaser to, “beware the ides of March,” (Julius Ceaser Act I scene ii) also has Polonius instructing Laertes, “This above all: to thine own self be true,” (Hamlet, act I, scene iii). Both are instructions that photographers and other creatives would do well to heed.

[one_half padding=”2px 6px 0 2px”]I have had work published in a lot of magazines around the world. There was once a time when we were averaging more than 20 new publications a month. Then, things changed. A lot of things changed, actually. The “digital revolution,” the “dot-com bust,” and the “let’s lay everyone off and hire contractors” movement. Business wasn’t handled the way it had been in the past. There were more photographers in the market than ever and occasionally one would even find one who knew what they were doing. Demand for creative talent diminished as stock companies flourished.

Then came digital printing and online magazines. Suddenly, there were new magazines popping up everywhere looking for, begging for, content with which to fill their pages. I would pass by more upscale newsstands and not recognize two-thirds of the banners facing me. I would pass by a month later and find a whole new crop in their place. Longevity didn’t seem to be in the cards for most new titles.

Being a freelance creative means going out and finding the work; it’s never going to just show up at your front door unprovoked, though that’s what many of us dream. We network in circles with which we’re less than comfortable. We push ourselves well out of our comfort zones. We play nice with people we really don’t like all that much. We do whatever it takes to get that plum assignment.

Then, we’re asked to work for free. Or at least, if not for free, for roughly a third of what our services is actually worth. We sit at our desks or on our couches and begin to wonder: is it all worth it? Why do I keep chasing something that seems to want no part of me?

Hello, self-doubt. I’ve been down this road enough times now I know it’s coming, typically mid-March just as things are starting to thaw. We have fashion weeks out of the way, we’re scheduling editorial shoots as heavily as we dare, and all the while we’re thinking, “Is it worth all the trouble?”

Shakespeare’s Caesar is warned against the betrayal of his best friend, Brutus. Perhaps the soothsayer would similarly warn creatives against the betrayal of ourselves. Once we begin to question whether we’re good enough, once we start wondering why someone else got a job we wanted, once we start thinking that perhaps we made a wrong turn in our career, we’re slowly but surely killing ourselves. We might as well be plunging a dagger into the heart of our creativity.

Not that some self-reflection isn’t occasionally necessary, and no, freelance creative work isn’t appropriate for everyone. Yet, when we begin doubting ourselves we betray the talent within us that leads us to be creative. Coming up with new ideas, exploring new concepts, stretching the bounds of our media, requires us to have faith in ourselves, faith in our talent, and the resolve to see a project through to its end, even if that end isn’t exactly what we had hoped when we started.

“This above all: to thine own self be true.”

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[one_half_last padding=”2px 2px 0 6px”]The commercialism of creative fields has created a sense of competition that, too often, is unhealthy. We begin worrying more about whether an image is commercially competitive rather than whether we captured the image we intended to take. When we look at magazines and see styles dramatically different from our own, there’s a temptation to change, mimic what we see is being published, rather than continuing to pursue and refine our own style. In short: we stop being true to our creative selves.

I was perusing through a stack of magazines recently, one of those stacks where, once again, I recognized none of the titles. In considering the imagery being used, I found myself asking, “Is this what I have to do to be commercially viable anymore?” Where does one find the balance between what seems to be popular demand while staying true to one’s own creativity?

Again, we’ve been here before so I have some idea how to snap myself out of this deadly loop of self-denial and betrayal. It goes something like this:

Stop trying to be all things to all people. One of the biggest fallacies of being creative is that we have to be able to do it all. No, we don’t. In fact, chances are pretty f’n high that you can’t. Stop wasting time and energy trying.
Find your niche and work it. If you don’t like doing color photography, then stop chasing that medium. Find the black and white markets that are best suited to you.
Present your best work. Web sites and social media make it really easy for us to just toss up everything we produce, whether it’s really our best work or not. Smothering people with our work doesn’t make them like it any better. In fact, it has the opposite effect.
Choose the right place and the right time to show your work. Not all creative work is conducive to online presentation, so why force it? Facebook and Twitter never have been especially kind to graphic mediums, so why treat that as your own website? Control where your work is seen and make sure the right people are seeing it.
Don’t compromise your talent. You alone know whether you’re doing your best, producing your best work, and trying your hardest. Don’t let others set your standards. Be true to yourself, to your talent, and to your creativity.

I know there are some who argue against my approach, who say we have to “evolve” and “change with the times.” What works for someone else may not work for you, though. What works for me works for me and may not help someone else one bit. Some people do need to evolve and do so well. Others, though, need to hold tight to what they are already doing.

What’s important is that you are making those decisions for yourself. Stop chasing trends that are going to change next week. Stop trying to be like someone else. Stop mimicking someone else’s creativity.

Don’t be your own Brutus. To yourself, above all, be true.[/one_half_last]

PotD / Social Commentary

Blurred Lives

March 14, 2015

Blurred Lives (2013)

How strongly are we influenced by what we hear, what we see, and what we experience without ever actually giving the matter direct thought? Is there such a thing as an original thought anymore or is everything merely a re-interpretation of what someone else created?

[one_half padding=”0 4px 0 2px”]One of the big news items this week was a jury’s decision to award the family of late singer Marvin Gaye $7.3 million for copyright infringement after determining that Robin Thicke and Pharrell Williams had used, or been strongly influenced by, portions of Gaye’s “Got To Give It Up” when writing their hit song, “Blurred Lines.” While the amount of the award is staggering, and some naysayers predict this is the end of original music, the fact is we’ve been here before (Michael Bolton vs. the Isley Brothers, 1994) and the music industry will continue to produce “new” material to meet demand.

The larger question, though, is to what degree we are all influenced by the more subtle aspects of our environment? We go through the day with music playing in our ears, but we aren’t consciously listening to the songs. We read various headlines and snippets of stories without paying particular attention to their source. We see ads and commercials almost everywhere we look, but can’t tell someone what product was being sold. How much of what we experience is sticking?

Memory is difficult to quantify and is an extremely large field of scientific study. Just about the time scientists and doctors think they have a complete picture of the situation, there is even more adding to the constantly increasing bulk of information regarding what we remember, why we remember, and how much we remember. Midst all this ongoing research, though, one thing is for certain: we are all affected by the experience of our environment.

Kat and I were recently re-conversing along a topic that is fun to consider: what would a person such as one of the country’s founding fathers think were they to suddenly be transported into modern America? While there would unquestionably be a high amount of astonishment, and perhaps even fear of outright sorcery, one thing almost for certain is that they would experience sensory overload. We have so very much going on around us that our brains are required to process external information almost 24/7. There is little time to relax, to absorb, or to ponder because of the near-constant barrage of new information coming at us.

So, how do we know what part of our consciousness is us, original, new, having never existed prior to this moment, and how much is simply a re-manufacturing of material recycled from all our experiences and the things that influence us? There doesn’t seem to be any consensus on the topic.

National Public Radio’s Ashish Ranpura writes:

Fundamentally, memory represents a change in who we are. Our habits, our ideologies, our hopes and fears are all influenced by what we remember of our past. At the most basic level, we remember because the connections between our brains’ neurons change; each experience primes the brain for the next experience, so that the physical stuff we’re made of reflects our history like mountains reflect geologic eras. Memory also represents a change in who we are because it is predictive of who we will become. We remember things more easily if we have been exposed to similar things before, so what we remember from the past has a lot to do with what we can learn in the future.

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[one_half_last padding=”0 2px 0 4px”]That first sentence is the kicker: what we remember changes who we are. What sticks now helps determine what sticks stronger, later. So, consider the maxim that a lie repeated enough times becomes Truth. The more we experience the same thing, whether it’s a statement, a song, or a photograph, the more likely we are to not only remember that one specific item, but items similar to it, even to the point our memories no longer distinguish between different but similar entities. Everything becomes a giant blur.

Consider the image above. At first glance, it appears to be a double-exposure, what happens when the shutter is opened more than once onto the same piece of film. This is a digital image, though, and what we are seeing is very similar to what our brains must at time experience: an over-abundance of information. Taken at ISO 100, the shutter was open a quarter of a second with a wide-open aperture of f/2.8. The image appears to be doubly exposed because it was left open to an excessive amount of information. As a result: everything is blurred.

So it is with our lives. Very little of our experience is clearly defined. We are so inundated with information that even our own memories can’t be trusted to be accurate. Our very lives are blurred to the point of not being sure who we really are. Are we individuals, or are we a conglomerate of our experiences?

Perhaps we need to step away more often. Psychologists have been telling us for several years now that having quiet time, alone, totally disconnected from all the unending madness of the world, is critical to our development, if not our sanity. Most people try to “get away” perhaps once or twice a year on something called a vacation, but too often even those attempts end up being little more than exchanging one set of overwhelming experiences for another. We rush to get in as much “vacation” as possible before having to go back to work and, as a result. our brains get no rest.

Here’s the kicker: we control, for the most part, how much we experience. We’re the ones who spend hours on social media, keep earbuds glued to our ears all day, watch endless hours of television or streaming media. Little is actually being forced upon us. The blurriness of our lives is of our own doing.

So perhaps, this weekend, we step away for a while. The weather should clear up a bit this afternoon, so step away. Go for a walk in the woods. Sit for an hour or so beside a babbling brook. Take a nap. Better yet, take two. Eliminate all the experiences manufactured by someone else and take some time to create your own; do something that is totally you.

We might be surprised at just how much more focus we have come Monday if we spend more of our weekends defining our own lives.[/one_half_last]

Fashion / PotD

Yesterday’s Glamor

March 13, 2015

Yesterday’s Glamor (2009). Model: Samantha Caster

There is a reason fashion designers continue invoke the spirits of decades past. This season, we saw a mix of looks from the 70s, 60s, 40s, and even a couple from the 90s. Why? Why keep looking back when we could be, and perhaps should be, looking forward?

[one_half padding=”2px 4px 0 2px”]Answering that question is more complicated than one might think. There are commercial considerations that play strongly into any planning for a major label and retail sales almost always do better with looks that are familiar than those that are new. Women especially look for individual pieces, rather than whole ensembles, that compliment what is already in their wardrobe. After all, if one is spending $1,500 on a jacket it had damn well better go with something hanging in one’s closet.

Designers also consider the psychology of people being more comfortable with what is familiar. There is a strong reason designers such as Iris Van Herpen and Paco Rabanne have not yet reached that level of name recognition that older brands such as Chanel and Christian Dior enjoy: we don’t feel like with know them. We look at the forward-looking contemporary fabrics and styles and aren’t sure we can figure out how to actually put them on our bodies. While the new looks are interesting, we tend to treat them more like museum exhibits on our way to buying the looks that our parents or grandparents wore.

More than anything, though, I think we are in love with the fantasy of the past. We tend to forget, or are blissfully unaware, of just how much fabric and living conditions have changed over the years. That 1960s Chanel suit that looked so chic on Jackie Kennedy? Yeah, that thing was hot as hell and one tended to perspire severely wearing those things. The demonstration of grace under pressure came in finding ways to prevent the sweat stains from showing.

The polyester suits of the 70s absorbed every fragrance that passed within 70 miles of the wearer, which meant one inevitably showed up to an event smelling like a mix of cigarettes and gasoline and cheap cologne no matter what attempts you made to avoid such.

Simple cotton dresses of the 40s wore quickly with frequent laundering. Threads were demonstrably more fragile and, while the seams your great-grandmother sewed might have been sturdy, the fabric itself broke down in sunlight, and dirt and detergent, causing it to wear much sooner than a similar garment would today.

We look at pictures from the past and we see glamor, whether it actually existed or not. Even the stories that are passed down from one generation to the next fail to capture just how comparatively difficult life was a mere 50 years ago. We see a movie star smiling in her movie promo and totally gloss over the fact she was likely paid about a fifth of what her male counterpart received, and even that was likely confiscated by a chain of husbands or male managers who were certain a woman didn’t know how to manage her own finances.[/one_half]

[one_half_last padding=”2px 2px 0 4px”]Even the pictures of grandma smiling with her children gathered around fail to remind us that she had to wash clothes by hand, maybe even sewed the clothes and certainly had to do all the repair work. She inhaled the fumes of bleach and starch and dye on a daily basis. Her soap dried her skin and protection against the sun was non-existent.

Fact is, even taking the pictures of those eras was more difficult than it is now. Up until the late 1950s, there were no strobes to stop motion. That meant working with large heat-inducing lamps that required holding a pose at length until the photographer had everything perfectly set. Then, he (it was almost always a male photographer) would take several Polaroids, waiting for each of them to develop, before loading the camera with film and actually taking the picture. Between shots, makeup and hair would have to be retouched and often blotting sweat stains was a major issue. By the time that single glamor shot was achieved, the efforts of perhaps 20-30 people had been completely exhausted.

We see none of that when we look at the pictures, though. We love the fantasy of those images and longingly hope to recreate the fantasy in our own lives. So, we rush after clothes that remind us of yesterday, or with increasing frequency visit a thrift shop or vintage store in hopes of snagging the original product. After all, wasn’t life more simple and pleasant then? Wasn’t life just as beautiful as the pictures they produced?

Designers understand how much we want to relive the fantasy and modern fabrics offer us the opportunity to do so much more comfortably than did our grandparents or great-grandparents. Yesterday’s glamor will always be a significant part of every runway season, and fashion labels are happy to take that fact to the bank.[/one_half_last]

Nature / Photography / PotD

Spring, No Filter

March 12, 2015

[one_half padding=”2px 4px 0 2px”]Photography continues to morph as a medium. Since its inception, definition of what is or is not a photograph, how pictures should be taken, and what qualifies as “good” has been a subject of constant debate. There are those who live and die by the rule of thirds. Others consider clarity the defining element. Some accept almost anything as long as it is creative.

One of the most significant changes in photography over the past five years has been the rise of image-based social media sites such as Instagram and Tumblr. They have changed the concept of what photography is, what it does and its place in society. Even the vocabulary has changed with terms such as “selfie” and “no filter” having entered the popular lexicon.

Our picture of the day qualifies as a “no filter” shot. Now, you’re going to look at the picture and think I’m lying. If ever an image had been run through a half-dozen Photoshop filters, this would be it, right?

No, not a single one. I didn’t even color correct. This is straight out of the camera, taken on a lovely spring day in 2011. So, how did we get this interestingly abstract look without post-processing manipulation? By knowing our camera and working a bit outside the bounds of “normal.”

I’m going to get a bit technical here, so those uninitiated might want to grab a dictionary.

Aperture and shutter speed made all the difference in the world with this shot. When working with nature, we often want the crispness that comes with a tight aperture, typically f10 or higher. For this image, we pushed all the way to f32, which was about as small as this particular lens would take us. At any lower setting, we would have lost all definition completely.

The challenge, of course, is that when one makes the hole allowing light into the camera so very small, an adjustment has to be made somewhere else to compensate, otherwise the image is too dark. Our choices are ISO, which affects the light sensitivity of the capturing media, or shutter speed, which determines the length of time the shutter is left open. In this case, we chose a significantly slower shutter speed of .3 seconds.[/one_half]

[one_half_last padding=”2px 2px 0 4px”]In almost any other conversation, .3 seconds would be incredibly fast. Anything under a second is pretty quick, isn’t it? Not always. Depending on the lens and environmental factors, shutter speeds are normally faster than 1/100th of a second and if we’re attempting to capture a moving subject we’ll need to be significantly faster than that. If we’re at the Speedway, shutter speeds of 1/5000th are not uncommon. By comparison, .3 is crawling.

The final element is one that may seem counter-intuitive: motion. Typically, one would use a tripod with such a slow shutter speed and perhaps even take other precautions such as a timed or remote shutter release to prevent motion blur. Motion blur is what makes this image, though. By pre-determining the direction in which we would move the camera, its angle, and the distance of the motion, we were able to give the image the desired amount of abstraction while still leaving a subtle hint as to what the subject actually is.

No, we didn’t get it right the first time. Or the second. Or the third. This image is half-way through a set of 26 photographs. There are others that are equally interesting, but this is my favorite of the set.

As warmer temperatures finally begin to return to the Midwest this week, now is the time to reacquaint ourselves with the outdoors. We enjoy going for walks, hiking along trails, or perhaps even sitting under a tree and reading a good book. Now is also a good time to get reacquainted with one’s camera and some of its

Now is also a good time to get reacquainted with one’s camera and some of its unique capabilities. Go outdoors. Go off tripod. Experiment with settings that aren’t supposed to work and see what you can do to create truly original images.

While the social media definition of “no filter” means going without post processing manipulation, why not also use this opportunity to take any filters off your creativity? Let your mind wander. Turn your imagination loose with no limits as to what might be possible.

Spring is the perfect time to strip away the filters, both in terms of photography, as well as life. Get out there. Discard the restrictions. Play. Risk. Fail. Try again. You may find yourself taking some of the best photographs ever.[/one_half_last]

Nature / PotD

Johnny’s Apple Seeds

March 11, 2015

Love Those Apples (2013)

Apples have always been part of my life. Some of my earliest memories as a child involve Mother pouring me a glass of apple “juice” from a giant HiC™ can. There was also plenty of apple pie, apple sauce, apple dumplings, and apple fritters in my diet back then. Apples were significant.

A lot of people, some of whom have opinions worth trusting, tell us that apples today are not as nutritious as they were when I was a child. Others warn against shipping apples into the United States from countries whose health standards may not be as high as ours. I’m waiting for someone to warn that apples are not good for us at all. Yet, apples are still the second most popular fruit in the US, right behind bananas (according to the USDA). Nothing is considered more American (though the fruit did not originate here) and nothing is more iconic, even in the world of technology, as an apple.

Today is Johnny Appleseed day. I remember my father telling the story when I was maybe six or seven years old, how he traveled the country teaching horticulture, reading stories, and preaching. Of course, there’s much about John Chapman’s life that is as much fiction as not, and almost none of it can be verified without question. There are even debates as to exactly when he died (March 11, 1845 is considered the “official” date) and where in the vicinity of Fort Wayne, Indiana he is buried.

What’s not in question, though, is the impact he had on the Ohio Valley. To this day, there are still numerous apple orchards dotting the landscape across Western Pennsylvania, Ohio, Indiana, and Illinois. There are even some who claim a connection to Chapman, though once again, those claims are difficult to substantiate. One has to question whether America’s fascination with this incredible fruit would be as strong as it is without the influence of one man who took the planting of apple trees seriously and took the time to make relationships along the way.

The picture above was taken a couple of years ago at what is considered an organic apple orchard in Indiana. The little guy had already heard about Johnny Appleseed in his preschool class and talked about him and planting apple trees the entire trip. He then saved the seeds from his apple so he could plant more apple trees in our yard. He couldn’t have been more excited. Apples do more than provide nutrition, they influence lives.

Finding positive stories about people in history is increasingly difficult. As we re-evaluate actions and statements of 200 years ago in light of contemporary society, people we once considered honorable don’t always fare well. Maybe there are negative stories out there about Johnny Appleseed, but I don’t care to hear them. I like the concept that one person made a positive difference in both the agricultural practices and nutritional attitudes of the whole country simply by planting trees and telling stories.

Now, who’s down for a warm mug of apple cider?

PotD / Social Commentary

Let There Be No Secrets

March 10, 2015

Let There Be No Secrets. Model: Lisa. H/MUA: Sasha Starz.

Note: Choosing a picture for today was difficult because it is a topic for which I am not aware of having an image that applies directly. To my knowledge, the model in this picture, a young mother of two, is not affected by our topic and in no way do we mean to imply that she is. Let’s be very clear on that fact before we start.

[one_half padding=”2px 4px 0 2px”]I chose this picture because of its ambiguity. She’s looking out a window as though she’s hiding from someone or something. Maybe she has a secret. Maybe that secret needs to be shared. What could that secret be? How might you respond if you knew? Today’s society is as judgemental and vicious as any. Social media bullies are everywhere, ready to pounce on the first hint of vulnerability they find, whether accurate, justified or pure fiction. She’s a very attractive young woman. How horrible a secret could she or anyone else, possibly hold?

You might be surprised. All around us women hold a potentially deadly secret, afraid to tell friends, family, and sometimes even doctors for fear of being stigmatized, ostracized, and left to face a difficult challenge alone.

The secret? Across the United States, about 217, ooo women, 80% of whom are childbearing age (15-44), are HIV/Aids positive. 1 in 4 people living with HIV/Aids are women.

We tend to ignore the issue of this disease any more; it rarely makes the news and even more rarely does it come up in conversation. We live in a day when the threat of HIV/Aids is considerably lower in the United States than it was even ten years ago. We would be wrong, though, to ignore the matter completely.

Today is National Women and Girls HIV/Aids Awareness Day and in doing our normal research as we do on any special “awareness” day I was rather shocked by the statistics. Like many of you, I’ve long considered HIV/Aids to be almost a back-burner issue. Even when a friend got a false positive test back a couple of years ago and went through a couple of weeks worth of emotional torment, I still didn’t consider the disease a major health issue. Seeing these numbers was a bit alarming.

For example, we tend to think of young, sexually active people as being the ones most at risk. Yet, in 2010, the last year for which there are reliable numbers, people my own age, 55 and older, account for twenty percent of the 1.1 million people in the United States living with HIV/Aids. Twenty percent!

HIV/Aids is most prevalent across the Southern states. The rate of infection in Indiana is relatively low, 5.2-9.9 per 100,000. Across the states of Texas, Louisiana, Mississippi, Alabama, Georgia, North and South Carolina, and Florida, the rate is 20.9 – 177.9 per 100,000, over FIVE TIMES higher![/one_half]

[one_half_last padding=”2px 2px 0 4px”]Most sadly, even when the know their status, 1 in 4 women postpone medical care because they are afraid; afraid of family reactions, afraid of partner abuse, afraid of religious ostracisation, afraid of being left alone. They hold their status a secret instead of getting help.

Let there be no secrets.

HIV/AIDS can happen to anyone and those diagnosed over the age of 55 are more likely to be diagnosed at a later stage of the disease. The only way to know for sure whether you are infected is to be tested. Under the Affordable Care Act, HIV testing and counseling may be available to you at no cost.

HIV/AIDS infections among women and girls dropped 7.7 % from 2008 to 2011 and continues to decline. Yet, because the disease is so vilified and those with the disease are socially shunned, we cannot afford to keep any secrets.

There is a lot of help available. Start with the Office on Women’s Health of the U.S. Department of Health and Human Services. Healthcare.gov can provide information on the availability of free testing in your area (blame your governor if it is not available for you). A larger, though probably still not complete, list of helpful resources can be found by clicking here.

Stop keeping this secret. Let the word out. Let women know there is help and there are people who will support them. Get tested with your partner(s). Do it today.

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PotD / Social Commentary

Celebrating The Anti-Barbie

March 9, 2015

The Anti-Barbie (2010). Model: Dani Norberg. Styling: charles i. letbetter

I find it sadly interesting that today, the day after International Women’s Day where we celebrate women and all their wonderful contributions to the world, is Barbie Day. Barbie, that representation of all that is superficial, misogynistic, plastic, and objectifying in the historical view of women and the severe lack of reality in how society defines women. I am in favor of this particular celebration not existing.

We actually did a project a few summers ago where we took Barbie dolls and treated them like models. Ultimately, we turned them into zombies and at least one little girl was disappointed to discover she couldn’t actually get the zombie Barbie in a store.

I decided to go a different direction today though and celebrate the anti-Barbie; women who are independent and fierce, perhaps embracing an alternative lifestyle, not afraid to do things differently, to step outside the norm. These are women who wear their ink and body modifications proudly, not caring what anyone else thinks about the matter; women who define life by their own standards, set their own rules, and hold to their own sense of morality.

For too long we have limited women’s role models to those who are the elite, those who go on to college, run Fortune 500 companies, break through barriers at the top to give women more opportunity, and I’m not knocking those women in any way, shape or form; what they have done is nothing short of miraculous. But I also find strong role models in women who hold down two or three jobs to make sure their children are fed, clothed, and sheltered. I find strong role models in women who operate backhoes, drive trucks, and design stage lights. I find strong role models in women who join the military and fight to be allowed on the front lines. I find strong role models in women who struggle in the face of unending adversity and still somehow manage to hold their families together.

I don’t personally know any women who are anything at all like Barbie, and I don’t think I want to though I know they exist. Being superficial and plastic, hanging on to an ideal that was never anywhere close to reality, has no place in this or any other progressive society.

So here’s to all the anti-Barbies, the real women who aren’t afraid to be different. We love you. We thank you. We embrace you.

potd

We don’t always like to admit that some of our best shots are not the ones we planned, but rather the ones resulting from some error occurring behind the scenes. For all the planning we do, sometimes fate takes over, and fate often comes with a sense of humor.

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Working with horses is a good reminder of why planning photoshoots well in advance is important and why no detail is too small to let go unattended. With sufficient time and care, though, they can take incredible photographs. The same can be said of people on occasion.

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What happens behind the scenes of a photoshoot? Everything! More than just doing hair and makeup, off-camera actions tell just how hard we work to capture those great shots and how much fun we have along the way. We look this week at events not intended for public viewing.

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Nature gives us earth, wind, and fire. The urban outdoors responds with concrete, glass, and steel, its own basic elements of which every city is composed. Yet, when photographing a city we must first make the choice of whether our subject is the people or the architecture.

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Cities become very different places at night, some good, some bad. A quiet shopping area suddenly becomes alive with club activity. A busy business district takes on a ghostly creepiness. Shooting in the urban outdoors can be dangerous but rewarding.

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As with nature, urban landscapes go through seasons of their own, just not as quickly or on as precise a schedule. Changes to the urban environment, both subtle and dramatic, keep us going back to the same locations time and time again, always with different results.

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Creative catwalks are big business within the world’s fashion capitols of New York, London, Milan, and Paris, but for smaller markets getting fashion shows noticed by the public is more challenging. Sometimes the best solution is to stage a show right where it can’t be missed.

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While being outdoors in nature is a wonderful experience and great place to photograph, the urban outdoors is a far more common and often more complex experience. This week we explore photos that enjoy being outside but in town.

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Celebrating Spring and Nature go hand in hand. Spring is when nature is at its most glorious so it only stands to reason that now is when we are most anxious to get out and immerse ourselves in its glory and grandeur, taking as many pictures as we can along the way.

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How strongly are we influenced by what we hear, what we see, and what we experience without ever actually giving the matter direct thought? Is there such a thing as an original thought anymore or is everything merely a re-interpretation of what someone else created?

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There is a reason fashion designers continue invoke the spirits of decades past. This season, we saw a mix of looks from the 70s, 60s, 40s, and even a couple from the 90s. Why? Why keep looking back when we could be, and perhaps should be, looking forward?

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