Blog | LomiMonk Photography

Nov

2011

On Being Vulnerable in the Creative Process

I watched a TED.com video a while ago. It was recommended by David duChemin in an article when he was talking about how to stop trying to sell through social media and rather attempt to connect with others. I usually try to follow David’s recommendations because, to me, he feels really connected. He feels connected to his readership and students; he feels connected to the photographic world at large through his social media outlets; he feels connected to the people he photographs for NGO organizations. But mostly I imagine him to be connected with himself, his life, and how life is.

Why do I imagine this? Well, it comes from something Brene Brown mentioned in that TED.com talk (see below for the embeded video). During her talk she mentioned that joy, happiness, contentment, comes from feeling connected with others; feeling as if we matter to another; that we belong and have a place in the world. And, she makes the point that to feel connected with others and with ourselves we need to be able to tolerate being vulnerable.

Now, vulnerability, as I see it, is tied to some very strong emotions, the strongest among them being fear, but also involving anxiety and shame. These are challenging emotions for many and our mental health hospitals and counseling offices are filled with people attempting to come to terms with them. (I know, my day job is in the mental health field and I deal with these emotions in others and in myself on a daily basis.)

What does all this have to do with the creative process? Well, that also comes from something Brene Brown mentioned in the video: Life is messy. Life does not go according to plan; others fail to live up to our expectations; the world betrays us at times; things are unfair; we are crippled by our own fears and doubts. Often times life just lines up according to its own-maddening-set of rules and we are often left feeling as if we weren’t given a playbook-let alone a rule book. As a result, living, and being creative, requires a large measure of courage. Courage to face our creative process in all its messiness. Courage to try things that don’t seem easy and have a high failure rate. We require the courage to be vulnerable in the face of those that would criticize our work and our efforts; the courage to dive into a creative endeavor without the promise of success at any step along the way.

And yet it is necessary, this thing called vulnerability. It is a necessary step in the creative process; it is a necessary step in connecting with others; and it is a necessary step in coming to terms with living this human life contentedly, happily, joyfully. It is a necessary part of the process in creating anything really: from new business venture to creative scrapbook, from professional power-point presentation to your wedding photobook. We throw ourselves headlong into the abyss of the unknown future with little more than a blind faith that we will be alright in the end. This is vulnerability and we are swimming in a sea of it called living. We do not create anything new by playing it safe.

So, what do you want to create? One image? A dozen? A series? A book? A canvas? An ebook perhaps? Some stock images? Do you want to create a photographic business? Do you want to create a notebook to give to others? Or perhaps a calendar? All of these involve risk: the risk of being rejected, hurt, embarrassed. All of these can also include the risk of being successful. And yet, there it is. That is what we must face.

Oct

2011

El Kookooee Se Quema (El Kookooee Burns)

Each year, on the last Sunday in October, the Mexican Bogeyman of El Kookooee is burned in effigy in the South Valley of Albuquerque, New Mexico. I’d never been to this event, or it’s bigger cousin, the Burning of Zozobra 50 miles north in Santa Fe, and so I thought I might go. I arrived early to get a feel for the environment and try to get a sense of what was going to happen. I’ve felt driven and called, both, to document and tell stories of this enchanted land where I live and although Daniel Milnor has also embarked on his journey to tell the story of New Mexico, I can’t help but tell my own vision of this place.

Each year the effigy is designed by a middle school student and then the design is reproduced giant size into El Kookooee, the Bogeyman. The burning of El Kookooee culminates the Festival de Otoño in this Latino neighborhood and is intended to help maintain the cultural heritage of Hispanics in the area. The effigy is stuffed with your fears and worries, written on slips of paper, to symbolize ending and rebirth.

As the day marched toward its inevitable conclusion and the crowds began to gather on the South Valley Baseball Fields the giant statue of El Kookooee was consecrated by Aztec Dancers, a belly dancer or two, and eventually by fire dancers.

The crowd took on a festival feeling as families arrived, set up picnic chairs and coolers, and children ran around and played. Folks arrived by car, by scooter, by foot, on horseback, and four wheeler.

Eventually night set in and the anticipation of the crowd was raised along with the volume on the PA system. To the beats of “Ring of Fire” by Johnny Cash, “Burning Down the House” by the Talking Heads, and the cries of “burn it! burn it! burn it” from the crowd, the Fire Dancers took over the attention of the onlookers.

Eventually the Fire Dancers earned their due and El Kookooee took the first steps in achieving his purpose as flames quickly licked their way up his right leg and engulfed him to the approving roar of the crowd.

Not long after, the people grew silent as people often will when faced with a cold dark night and a strong contained fire.

Whether lost in reflecting or filming the thing going up, not many could take their eyes from the burning bogeyman.

And eventually he lifted everyone’s fears and worries into another winter’s night.

Oct

2011

New Craft & Vision eBook: Making Light 2

Not too long ago Piet Van den Eynde released an ebook titled Making Light that really helped my understanding of off camera flash. It was a $5 well spent for me. I don’t use off camera flash all that often but when I do I want to be able to do it well. Once the ambient light dips really low and I want to keep making compelling images a flash-especially an off camera flash-is essential. Making Light helped me a great deal.

Yesterday he released his second book in the series, Making Light 2 through the really awesome folks at Craft & Vision. Making Light 2 picks up where Making Light leaves off and takes the reader deeper into understanding working with off camera flash. Van den Eynde works through High Sync Flash, working with multiple flashes, advance triggering systems, different modifiers, and what to do when your small flash units just don’t cut it anymore.

I particularly enjoyed the 4 interviews he includes at the end. It was great fun to read about more takes on off camera flash and see the work of yet more people. This helped me understand what can be a mind blowing subject for some, including me at times.

So, if you enjoyed Making Light and want to explore off camera flash in more depth then this book is for you. If you have yet to read Making Light I would recommend it. Even though I don’t use off camera flash all that often that book helped me to notice and understand different qualities of light and how to work more effectively with them. Then I could add more light if I wanted to. Better to have more tools in the toolkit than less.

Special Offer on PDFs: Use the promotional code MAKINGLIGHT4 and you can have the PDF version of Making Light II for only $4 OR use the code MAKINGLIGHT20 to get 20% off when they buy 5 or more PDF ebooks from the Craft & Vision collection. These codes expire at 11:59pm PST October 24th, 2011.

Making Light Bundle: Get both volumes for just $8. There’s no product page for this package on the C&V website but you can make your purchase by simply clicking the direct shopping cart buttons below.

Oct

2011

Go For Launch: A Picture Package (Balloon Fiesta 2011)

This series of images is a continuation of the story I began telling a couple of weeks ago. You can access that blog post here. In that series I attempted to tell the story of the lead-in to the balloon launch at the Albuquerque International Balloon Fiesta. I’ve lived here in Albuquerque for 16 years and have visited the Fiesta often and I had thought I would try to depict the wee hours of the morning (the end of the night, really) and not just replicate what 250,000 cameras do daily at this yearly, nine day festival. I hope it worked.

This picture package, this short story, is an attempt at telling the story of what happens once the night ends and the launch begins. I hope to give a feel for what it is like on the field for it is really indescribable.

With a “Go For Launch” clearance from the Dawn Patrol, the Balloon Fiesta Morning began in earnest. Launch coordinators dressed in varying zebra-striped patterns made sure launches were safe and I switched from my black and white, night photography focus to one that better suits the color and excitement of the Balloon Fiesta Mass Ascension.

The dawn sun began to hint toward a beautiful morning and the energy on the launch field grew more palpable as balloonists and gawkers alike looked eastward in anticipation of the sun’s first warm rays peeking over the Sandia Mountains.

This land of near eternal sun, this Land of Enchantment, has a very simple and very appropriate state symbol; the Zia Sun. I found myself fortunate as the Zia Balloon inflated right near me as it readied for takeoff.

All of a sudden balloons begin to rise en masse. All around balloons are lifting off, flying over, being laid out, inflated. Wave after wave, to rousing cheers, these silent sky carriages lift their cargo skyward.

Drawing the loudest applause, the Creamland Dairy Cow took flight. A thunderous beast, she often inflates but flies only on perfect days. She’s a bit temperamental in wind.

It’s a bit of a wonder that all this can happen due to the simple differences in behavioral properties of hot and cold air.

Before long the sky becomes an ever changing technicolor tapestry. If the viewer is fortunate the winds will play to his favor and create a “box wind”; a low elevation wind moving one direction while a higher elevation wind moves the opposite. This allows skilled balloonists to ride these opposing winds and rotate around the launch field.

The great fun of this event is the accessibility of the balloons. Viewers can walk right up to and talk to balloon crews, peer inside the inflating balloon as it lays on its side, even touch the balloons. Kids especially love this fiesta and spend lots of time gazing skyward.

Despite its early hour, it is a very family friendly time.

Oct

2011

Looking and Seeing

Quite often as I read books, articles, and ebooks that attempt to teach me some of the art of photography I come across a section that attempts to give me some ideas on how to learn to “see” better. The instruction is well meaning and often helpful but something about it usually leaves me a bit flat. For the longest time I could not discover what about it was leaving me feeling this way. Then, after watching this interview by master interviewer Charlie Rose of master photographer Henri Cartier-Bresson, something started to slowly dawn on me.

You see, Cartier-Bresson attempted to communicate to Charlie Rose a basic tenet of his method. Granted, he could have done better and Charlie could have listened better, but it is in there. Repeatedly the Frenchman stated the key was to stay present, sensitive, and receptive.

He was attempting to describe to Charlie what Charlie was not being at the moment: present, sensitive, and receptive. When we are in this state the world presents itself to us. We don’t have to go seek it. It is a state of mindfulness that stays open, saying “yes, yes, yes” to that which is presented to it. It is a very subtle difference but one that I think makes a crucial difference in how images are made

There is a difference between “looking” and “seeing” and that difference is one of activity and intention. Looking is active. It is a search. By looking we are actively searching, attuning our eyes to the light and seeking. We are going into our environment to come in contact with something, or someone, and photograph them. Seeing, in the way that Cartier-Bresson was doing it, is not active; it is receptive. He is open and waiting, staying present to the moment. The only action comes when he presses the shutter release button. It is a meditative state, I believe. I think Cartier-Bresson meditated his way through the creation of the photograph.

This is why, I believe, he is so resistant in this interview or take credit for the images. He didn’t do anything; he not responsible. He simply prepared the environment, both internal (by preparing his mind to be receptive) and external (by placing himself in optimal environments) and remained receptive and responsive. Then all that was left to do was obey the muse a press the button when she instructed him to.

So, while all those exercises in the instructive books I read will teach me to look really well and will be helpful in increasing my ability to notice, in the end I will need to learn to be present, sensitive, and receptive. Only through this will I be ready to receive the photograph.

Oct

2011

“Aha!” Moment: On Using Manual Exposure Mode To Create Drama

Ever have one of those moments when a realization just hits you and you want to slap your forehead in one of those “NOW I get it!” moments? I just had one.

Ever have that feeling just moments after that “Aha Moment” where you feel a bit silly for taking so long to “get it?” I just had one of those too.

I guess part of the fun of photography is that there is so much to it that the learning just continues and continues. Sure we can get really frustrated during this lengthy process, but bored? No, not me. And hopefully not you either.

So, what did I learn? Well, I learned about the benefit of using manual exposure to create dramatic effect in images. It has been a long slow process getting to this point but I believe it is finally beginning to sink in, slowly.

Let me walk you through my process so that you follow what a significant, yet simple, realization this is. And also one that shifts a paradigm for me in terms of thinking about making, taking, creating images.

1) When I first started to explore photography seriously a friend suggested I shoot in Manual Mode, so I did. For those of you who aren’t familiar with Manual Mode it is the mode where the photographer makes all the exposure decisions in making the image. The photographer (me!) chooses the shutter speed and aperture. By contrast, the Full Auto mode of Program Auto, and the semi-auto modes of Shutter Speed Priority and Aperture Priority, allow the camera to make its bazzilion calculations to determine the “correct” exposure and then set the settings automatically to match that exposure. The problem with how I started using Manual Mode is that I depended 100% on the light meter reading in camera to determine exposure. Sure, I might increase or decrease the exposure by 1/3 of a stop for one reason or another, but mostly I was wildly spinning the dials to match the cameras idea of a “correct exposure.” It was fun and I felt all pro, but I missed a lot of shots because I was busing messing with the dials. So I began to wonder why I was using the camera this way.

2) So I switched to Aperture Priority. In this mode I chose the aperture and the camera did its bazillion calculations to determine “correct exposure” and then set the shutter speed automatically to achieve this exposure. Great. Now I was controlling some of the aesthetics of the image (namely depth of field-or the area that is in or out of focus). Sometimes I switched to Shutter Speed Priority where I chose the shutter speed and the camera did its bazillion calculations and set an aperture to create “correct exposure” but 95% of the time I shot Aperture Priority. Sure, sometimes I fiddled with Exposure Compensation but, you know, just 1/3 or 2/3 of a stop over or under exposed based on whether my subject was backlit or not.

3) Then one day I was shooting the Dia de los Muertos parade here in Albuquerque and the light was waning in the evening. Soon it was dark and so out came my flash. I popped it on the camera (gasp!), left the aperture right where it was (wide. open.) and set the flash on auto-through-the-lens-trust-me-I’m-Nikon-and-I-won’t-let-you-down, and tried to photograph a lovely person who had volunteered to be photographed. Kablooey!!! I nuked them into next week. My friend Marc, the camera whisperer, took pity on the poor soul in front of me and took the minute or two she was taking to regain her vision to help me out. “What are you set on?” he asked. “Oh, no, no, no. Set your camera to manual, f8, 1/250th. Start there and dial it in. Always set your camera to manual and start there or else the camera will try to make the black of the evening into middle grey and everything will be over-exposed.” “Oh.” I said. So I tried to burn that advice into my memory and it has helped. It’s not the only way to do things with the flash, I know, but it was a good learning for me. And I did finally end up with the image to the right.

4) Then this spring I had the opportunity to take Joe McNally and Dave Hobby‘s Flashbus Tour workshop and I was struck by the direction that Dave Hobby takes with his flash photography. His first bit of advice was 1) set your ambient exposure in manual and 2) layer your (strobe) light on top of that. “Hey, wait!” I thought, “there is that manual thing again.” What struck me most was that he often stops down the ambient light by 1 or 2 stops, leaving a little light in there, and then adds light with his strobes. And here was the key piece, he was not listening to what his camera is saying is a “correct exposure.” He does a quick peek at what the camera thinks is good, stops the exposure down 1-2 stops with his shutter speed, and then begins to add light with his strobes.

5) And slowly, slowly, slowly that awareness that we need to sometimes NOT listen to our camera’s idea of a “correct exposure” has begun to sink in. And I finally “got it” today when I saw this image by Gael Turine. Had the photographer not been shooting in Manual Mode and not chosen to “underexpose” the image (or had he followed a light meter’s direction on what is a “correct exposure”) then lots of what we see as black would have been exposed to make it look middle grey, and the lighter parts of the image would have been overexposed to the point of having no texture, making the image look completely different and less interesting.

And so there is my “Aha!” moment. Simple, but counter-intuitive if you’ve come to trust the light meter in camera to determine exposure. Time perhaps to throw most of that direction aside and play with stopping the exposure down or up. Time to start to play outside the limits of 1 stop over or under exposed and see what fun there is to have. (I actually wrote this article before I shot the images for my previous post on the Balloon Fiesta. All of the black and white nighttime images in that post were “underexposed” by about 2 stops.)

Note: the image at the top of my son daydreaming during his dinner was shot in natural light and I stopped the exposure down 2 full stops from what the TTL light meter told me was a “correct exposure.” Why not compare the two exposures below. The top image is stopped down 2 stops from what the camera’s light meter thinks is the “correct exposure” (bottom image).

Oct

2011

Picture Package (Balloon Fiesta)

As some of you may have notice I’ve taken a turn toward documentary photography as of late. I really like individual photographs and their power, but there is something in trying to tell a story in a series of images that really captures my creative imagination-and challenges me to no end!

I that vein I’ve really been captured by the idea of “Picture Packages”, the idea that Daniel Milnor (aka Smogranch) put forth in this post. Basically, he tries to capture a short series of images that can stand on their own as well as tell a story as a group. Also inspired by Daniel’s willingness to make the process of his latest project (New Mexico) open and transparent by posting his images, thoughts, audio and video on tumblr, I thought I might share my latest efforts at creating a series. Below is a series of images I shot at the Albuquerque International Balloon Fiesta yesterday (Sunday) morning.

I went into the Balloon Fiesta Park with a set of ideas that I wanted to capture and that really drove my intention. Along the way I discovered some other opportunities that presented themselves and fit well into my idea. Still other pictures seemed to fit in as I was looking through the day’s images later in the evening. I’ve more to shoot and more to share to make this story more complete, but I’m really happy with the results. I hope you like the images as well.

Sep

2011

Creating Mood

I’ve been playing with storytelling recently. I’ve found a number of photographers that I admire that all seem to be telling visual stories with their photography. I suppose they would be labelled as “documentary photographers” and dismissed by some who make more “artistic” statements with their photography, but I find their work to be highly artistic. I am also finding it to be incredibly challenging to do.

One of the things I’m really starting to pay attention to is mood in an image. While a lot of that is created through color tones and subject matter I was especially struck by the huge mood differences that a shift in a subject’s body language can create. As an example I thought I would share these two images I shot recently of my wife and son in our dining room. I am standing outside the house looking in.

Which one do you like? Do you have a sense of why you like that image more than the other. Can you identify a particular mood or emotion that either of these images invokes in you? And can you relate that mood or emotion to why you liked the image more or less than the other?

image 1

image 2

Sep

2011

New Craft & Vision eBook: The Inspired Eye, Vol. 3

David duChemin has been a tear these past three years or so. For a man who has chosen a visual medium as his profession he has also proven to be quite the writer and penning 4 print books and numerous ebooks as well as regular posts on his blog, www.pixelatedimage.com. Today he release the third and final ebook in his “The Inspired Eye” ebooks, The Inspired Eye, Vol. 3

Ever since coming across a copy of “Within The Frame” in my favorite local-and now closed(!)-Borders book store I have always enjoyed David’s writing. He writes about matters close to my heart and does so with eloquence and humor-though he would spell that “humour.” He tends to focus not on the “how to” of photography but rather on the “why” of photography. This book, and this series, focus on creativity: it’s joys and it’s challenges.

Having ridden some creative highs in the past few years, experienced the challenges of creativity overflow (too much going out with not enough coming in), as well as a personal low through physical injuries, surgery and months of rehab, David knows about the rewards and challenges of the creative life. And he pours it into this book.

Filled with humor, anecdotes, quotations, images shot mostly on his iPhone, and sound, soulful advice and direction, this book encourages us to take action on our creative path and warns against pitfalls along the way. Drawing from his own personal experience as well as the wisdom of creative people from history David weaves a wonderful read with a motivating and encouraging voice. I recommend it.

Special Sale:

you can get The Inspired Eye 3 for $5, or $4 if you use coupon code EYETHREE4 before Saturday, September 24 at 11:59pm (PST). As always during these launch discounts, you can get 5 for the price of 4, this time the discount code is EYETHREE20.

You can also get the entire The Inspired Eye bundle for $12. Volumes 1 & 2 have new covers but the content remains unchanged. Just visit the Craft & Vision store.

Sep

2011

On The Hunt (on not turning your photographic subject into prey)

I can’t help but keep noticing the language we photographers like use when describing photographing: shoot, shot, capture, get, take. Sounds a little violent, doesn’t it? With this crowd I feel a bit like a hunter.

I think it comes from a mindset that the world is out there and I need to go get it, take it, capture it, shoot it. It is a predatory mindset. I understand it and I know it is part of the nature of photography. I also think we need to be careful. Predatory mindsets are singularly focused and tend to dehumanize and devalue its prey (whether human, animal, vegetable, or other). Predatory mindsets tend to decrease the respect felt for the object. In photography, as in hunting, the value the subject becomes decreased to only the value that the photographer gives it, not its inherent value, or the value to itself. I know this is not what most photographers intend, but it happens. A lot.

Eli Reinholdsten’s recent post about photographing alone together reminded me of this dilemma. Have you ever been out on a photographic excursion (notice I resisted the urge to write “out on a shoot…” 😉 with other photographers and you find someone interesting to photograph. You ask them if you can and they agree. Then suddenly 5 people are shooting over your shoulder like paparazzi. They are of course paying you a compliment on your sharp eye that discovered such a wonderful subject, and they are trying to get “their” shot at the expense of you and your subject’s agreement. I know I’ve been guilty of this as much as I’ve had it happen to me.

The result often is a startled subject and less than optimal photographs. In that moment of frenzied ~~shooti~~… er, photographing, the subject has been reduced down to an object, the person and their contract with the original photographer has not been respected, and the original photographer’s effort and intent has been passed over. In that moment the quarry was hunted without so much as an afterthought.

I wonder if we could, collectively, begin to speak (and think) of photography in a more collaborative way? Less shooting, taking, and capturing, and more making, co-creating, representing. What if we looked upon photography as a gift to the subject rather than to ourselves and the world.

To get an idea of this put yourself in front of the camera. Notice how you feel. Notice how you are treated, interacted with, respected (or not.) It can be a very subtle thing, but it will infuse the photograph with your soul, or not. That will depend how safe you feel in front of the photographer’s lens. And that depends to what degree you feel like prey.