Tagged With « project »
Over the last three years I have been photographing inside foreclosed houses, right after the actual foreclosure and before they are cleaned up to be put back on the market. That is when I can photograph the “ghosts” of the families that used to be in those houses. While this project is based on the still photographs, I am also assembling an audio collage.
Editing a large set of images down to a select few is a challenge for most photographers. In this podcast, I take you with me as I am photographing and then you watch and listen as I am editing my “shoot” down to the selects.
Last week I wrote about how I was going to stop blogging on a fixed schedule. That still holds true, but since writing that, I had one of those “aha” moments where I was prompted to think about something in great depth. All that thought and pondering shouldn’t go to waste and so here it is as a blog entry.
The photography world is often dominated by the rage for the latest camera, software or accessory. We all know that (and I am as guilty as the next person in terms of talking those up.) Long after the latest/greatest photo “toy” has been forgotten, there is one timeless thing that will make every one of us a better photographer, which is feedback. There are many ways to give and get that all-important feedback, much of which I have blogged about in the past. In my experience, one of the very best ways to get that is through an ongoing, on-line critique group.
I have been thinking about failure recently. What first comes to my mind when I say that word is the phrase, “failure is not an option.” NASA engineers made that line famous during the nearly disastrous Apollo 13 space flight. The phrase and its very focused message have long since entered our collective body of speech. The older I get, the more I think that at least for creative people, like photographers, failure is all but a requirement. For me this dichotomy is doubly interesting since, had I not become a photographer, I would have probably become an engineer of some sort.
I recently read an article by Steve Raymer, a former National Geographic photographer who now teaches at Indiana University. He was discussing how photojournalists “frame” issues. He was not talking about the literal framing of images or the composition, but rather how concepts and ideas are organized and presented by photojournalists. That got me thinking about my own work and how I had “framed” different issues that I had explored over the years. I also started to wonder if the way I framed things had helped or hurt my career.
I fly a lot for work, like most photographers. I initially commuted for personal reasons like most people do. I wanted to be with my family as much as possible, while I was working on projects that seemed to always be “somewhere else.” Eventually commuting became an integral part of my creative process as a photographer. This blog post is an argument for the idea that most photographers who work on long-term projects should consider building commuting into their creative processes.
The members of a critique group that I head recently had an email dialogue about what to call one of the member’s ongoing projects. As the process unfolded, I thought about my own struggles naming my projects and how the naming of a photographic project is arguably the most important step in the process of defining and shaping such a project.
This podcast explores the creative evolution of my project, “Concurrence: India.” The work evolved from a literal reportage on globalization to a more personal exploration of the fluctuating encounter between the eternal and the modern.