Tuesday, July 17, 2012

In defense of dreams

After purchasing a Sigma 100-300mm lens this morning, I decided to stop into Panera. I'm not a huge fan of the big chains these days, but this particular Panera has some good memories for me, and there are always interesting conversations one cannot help eavesdrop into.

Sure enough, the minute I sat down with my breakfast sandwich and iced coffee, I was treated to a conversation between a 40-something Asian male and a 50-something white guy that struck a chord that has been strumming in me for some time. The subject: kids' futures.

I picked up the conversation as they were discussing athleticism and body frames. The Asian guy mentioned something about the Asian guy's sons and their futures in sports and various universities. The white guy asked about his one son who was "prone to injury". The Asian guy said that his son was still playing soccer but he was getting injured. He was struggling with two "spiritual worlds" as well, one in which they're trying to teach him about Chinese culture, and the other where he's exposed to Christian culture. I gathered that they both were involved in the Church, and religious schooling, but I'm not even going to go there since that's an entirely different discussion. Suffice it say, these two men were discussing the viability of their various sons' futures regarding sports, career and interests. 

The Asian man then mentioned that his son who is prone to injury really wants to coach, but that's really just a "dream", and that he's convinced him to think about a "vocation" instead of an "avocation". That's how he described his son's desire to coach: it's just an "avocation".

This is where I had to really hold myself back from getting involved in the conversation. I am well known by dozens of strangers over the years for jumping into their conversations, usually with an "excuse me, but I couldn't help hearing..." and then a bit of a polite but aggressive statement on the fact that what they believe is probably wrong or misguided or based on facts they are unaware of. I can't help it. I'm opinionated as hell, and I find it hard to just let people say stuff that isn't true.

Now, you may be asking, "Jeff, get to the point, what does this have to do with arts?" I'm getting there... I promise.

Since the beginning of time I'm sure there has been the age-old discussion and debate about doing what makes a living, and doing what you love. And that discussion and debate usually begins with a conversation between a father and his children. Fathers want their children to be self-sufficient, and they are strongly in favor of risk-aversion when it comes to career advice. As much as it seems every father seemingly wants every child to become a doctor, lawyer, accountant, architect or engineer, most people do not become these things... and yet they still make a living.

Some even make a living doing things like art, or sports, or music, or talking on the radio, or helping other people in various ways. Amazing, isn't it? These are all things people are told won't make them money and will have a hard time finding a job, so they should at least study a completely different subject as a fall-back.

Coming back to the conversation between the two men...  as I bit my tongue instead of biting my sandwich I knew full well where this conversation was headed. The Asian guy continued to say that he had convinced his son to get into a physical therapy program at a major private university, as a "fallback plan". He would do coaching on the side, but concentrate on physical therapy.

We all know what happens when you have a "fallback" or why it even exists. It exists because someone has told exactly what we've already talked about: that somehow you won't make it. So, in reality, the "fallback" becomes your actual career. You don't have time for sports, for art, for music, etc. You can't spend the time necessary to become disciplined, skilled and adept enough in this area that you develop a style that differentiates you from others and brings in business from those looking for those services.

The starving artist myth is just one of many myths related to careers and dreams. We are all told that doing what we want to do will never pay the bills. Why is that? It's because society, in general, does not view those fields as something that requires just as much dedication and discipline as the traditional careers like engineering and medicine and so on. But if you ask anybody who is good at a non-traditional job, such as art or music or sports, they will tell you that that is complete hogwash and that they've been dedicating their lives to the discipline since they were kids. They will tell you that they spent all of their time focused on that one thing they loved to do. They might even tell you that they went to school for it, ignored the naysayers and pressed on. And most of the time, their parents supported them. Their parents "got it". Their parents understood that talent in arts and sports isn't really a "gift". It is developed and perfected, as a skill, over a long period of time, just like anything else.

What I'm getting at is that things like art and music and sports and other non-traditional fields can be careers if they are treated as such by parents, guides, teachers and so on. The "fallback" concept is a fear-based concept, rooted in ignorance and myths about "starving artists" and such. Starving artists exist because they are part-time artists who gave in (like many of us) to the fear and risk-aversion, and went to school to study a field that put us into nine-to-five jobs. Successful artists are artists who worked just as hard as any student studying engineering or accounting. If you spend enough time doing anything, you can make a living doing it because you'll be better than anybody who only does it as a hobby, or part-time. You will gain discipline and skill and a style that will have value to others, and this translates into money. You won't develop those requirements doing it "part time" while you work in "Cubicle Land".

So, here's what I would have said to this guy if I had mustered my energy to do it: Let your kid do what is necessary to be a coach. Support him. Get him to coach Little League. Help him hook up with other coaches and maybe get an assistant job so he can learn the ropes. Get him busy doing coaching-related activities every day while he's in college his first two years. Help him make this his vocation if this is his dream. Don't tell him he needs to find a more lucrative and "safe" job, because he will not pass muster in a competitive field like coaching doing it part time. Falling back to something "safe" (which is a huge misunderstanding to begin with... how many Americans had "safe" jobs in 2000 and are still unemployed or have been laid off two or three times now?) means he will someday regret not doing what he wanted to at this crucial point in his life.

The arts are no different. Put your kid in an arts program if they love and want to be in the arts. They will never make a living in the arts if it's pushed aside and turned into a "hobby". Standing out in the arts takes just as much work as athletics, engineering and other fields. Ask any ballerina, cellist, graphic designer or artist who makes a living doing what they do. Almost every single one of them will tell you that they were able to get where they are because they had the support of their parents who understood this crucial concept, and who understood that doing it every day, all day, was the road to one's dream job, just like any other discipline and career.

Thursday, February 03, 2011

Hattie the Ballerina

Recently got my first job photographing a ballerina. I had a blast. I love working with creative and artistic people and I was sure we'd get some great photos. The only thing I wasn't sure of was that morning I realized I hadn't thought about music. Not that I need music while shooting, but I wasn't sure if she would assume I would play some appropriate dance and ballet music. And I have no dance music.... except for Philip Glass stuff that the famous dancer Twyla Tharp worked on. I was pretty sure she most likely wouldn't be into Philip Glass's music. Of course half way through the shoot we're talking about music and she tells me one of her favorite works is by Philip Glass. Teaches me I shouldn't assume!








Polaroid Type 55 Negative was shot for 1 second at f4 with a Kodak Aero Ektar 178mm on a Graflex Speed Graphic, and using a hand-tripped strobe.

Wednesday, December 08, 2010

Single Tree on handmade Paper #1

Last year I took a workshop on making paper with Barbara Fletcher at Western Avenue Studios. I took the course because I knew I wanted to explore handmade paper as a medium for some of my photography. This is the first of that experimentation: Polaroid emulsion lift on handmade paper.

One of the things that is first noticeable is that the image is very glossy compared to when placing it on a flatter surface. Also, the gel regent seems to contract due to not being able to find a harder surface (like commercial watercolor paper) to stretch across. The result is that with the very "topographical" nature of hand-made paper, the image basically hangs between the valleys and pits of the surface and eventually splits and breaks off, so I may have to coat this in a gel medium or something in order to prevent further deterioration.

Thursday, July 22, 2010

Impossible Announces PZ 600 Image/Spectra Film for Polaroids

This is just so cool... Impossible just announced that they're selling Polaroid integral film which will work in the Spectra line of cameras. Those are the bigger Polaroid cameras which would shoot wider-format images (as opposed to the typical square) under the names "Spectra", "Image", "1200" and "990". I've always been a bit of a purist when I got into Polaroid and I focused on the older "peel-apart" films. The SX-70 and 600/Onestep cameras were cool with their automatically-developing process, but the images were so small! Spectra kind of fixed that, giving you an image which was about 1/3 bigger. Doesn't seem like a lot, but when you have a small image, it's a big difference. Of all the film that's hard to find, the Spectra/Image/1200 film is probably the hardest. It seems to go bad really fast, faster than the 600 stuff. Don't know why. So this news is good news for me... I'll have to pick up some film from Impossible soon.


Thursday, March 04, 2010

Lowell Sun just ran a story about my show

Maxine, the Loading Dock Gallery curator, just told me about this story in today's Lowell Sun, in the "Steppin' Out" section. This definitely ups the anxiety a bit. I actually haven't been anxious that much, but something like this means a lot of people I don't know will pick up the paper, read this story and show up with their critical eye, so there's that voice in me that says "friends will say your work is nice, but strangers can be honest if it's not", so I'm really hoping people enjoy the show. I've been very busy getting ready. And of course the whole crew at the Loading Dock Gallery have been busy as well. I'm pretty excited about tomorrow night. Everyone is invited to the show at 122 Western Avenue in Lowell. The reception is Friday night, from 6-9pm. And I still need to figure out food!

If you're on Facebook, you could put it on your calendar here

Wednesday, February 24, 2010

The "Impossible" is about to become possible

When Polaroid announced several years ago that it would be hanging up film products for good, the world responded with a resounding "I though you were already dead?" There were a few folks, like myself, who were still using Polaroid and buying up stashes of Polaroid, but most people weren't too alarmed. Those that were alarmed wiped away the tears and immediately jumped online, started blogs, Flickr groups and even companies devoted to satiating Polaroid fanatics.

Sites like "Save Polaroid" led to sites like "Unsaleable.com" where you could buy all those crazy film fantasies in the form of Lomo and Holga cameras, Polaroid films and more.

Then something interesting happened. Unsaleable magically became Polapremium.com. This new Polapremium company specialized in only Polaroid, but not only that, they offered films unavailable and even unknown to the majority of Polaroid fans like myself. "Blue" Type 100 Polaroid film? "Soft focus" Spectra? Even "Chocolate" Polaroid, previously only available to those wealthy enough to afford the 8x10 positives and negatives which ran about $200 a box, but now available for less than $20 a box for your Type 80 or Type 100 camera.

Around the same time, a story came out about some Dutch Polaroid ex-employees who got together to buy up Polaroid's equipment and lease their factory to do what seemed the impossible: bring back Polaroid. This endeavor became known as the Impossible Project, a name coined from a phrase said by Dr. Edwin Land, founder of Polaroid, who said "don't undertake a project unless it is manifestly important and nearly impossible. This group at the Impossible Project decided they were going to make new Polaroid film and even try to make it easier to manufacture since the old Polaroid films used dozens of resources just to make one print. The folks at either company didn't make a big deal about it, but a lot of people noticed that the people with the Impossible Project were connected to Polapremium. Not only that, but Ilford was involved.

Today, we see that this wasn't just talk. Polapremium has changed its name once again, and this time it's "Impossible", a clear connection to The Impossible Project (even the URL gives it away). While much of its stock is depleted, it is clear that Impossible (Project) is serious about an announcement they'll be making in late March, apparently about some new developments they've made for future Polaroid films. 

All I can say is if they announce new large format peel apart film -- especially my beloved Type 55 -- it'll be a great birthday present! Otherwise, I'll be content with some new film for my Onestep.

Imagining Past and Present: a Photo Retrospective by Jeffrey Engel

Not too pretentious a title hopefully! I'll have a solo show from March 3 through 28 at the Loading Dock Gallery in Lowell, MA. An opening reception will be held on Friday March 5th from 6 to 9pm. Some of the work that will be in the show will cover a wide range in terms of age as well as media. I'll have photos from the early '90s, and I'll have recent Polaroid emulsion lift pieces. There is no over-arching theme other than most of the pieces tend to be landscapes or environmental photos.




I'll also have a few hand-made silver-gelatin prints available. I made these at Bill LaPete's lab in South Boston. Bill is a master printer, a genius at his craft, and he'll impart some secrets you never learn in art school if you use his darkroom.


Sunday, July 19, 2009

Other Photographer turns down a model who wants full editing rights

I wrote this in response to someone in the General Industry forum on Model Mayhem.

Depending on the model, I might sign like this (release where the model wants full editing rights, ie. she wants to be able to say yea or ney on whether any of the photos get published). If the model wasn't worth it, you did right by not agreeing. But I could think of situations where it might be worth the risk of the model nixing all your photos. In fact, you hear about this more and more with celebrities or models who know they have leverage with a photographer who really wants to get known. If I were a rising or established celebrity, I may be trying to control my "brand" and how I'm perceived in the media. The successful brand are the ones that are professionally and closely managed. Know what I mean. Your model friend may be trying to do the same. She may want to make sure none of your photos that get released have some expression or whatever that she does not want to make public.

I worked with a model once who asked me to not publish any of the photos that had her in profile. Everything else was OK, but she was really concerned with the ones that had her looking to the left and where we could see that her nose was a bit long. I complied because I respected that she was trying to create a persona and her profile expressed some things that didn't fit into that persona. I can respect that.

I encourage models to really think about what THEY want out of the model release, not just agree to my terms but really think about what they're saying and cross out the things they don't like and add in things they want. Then I read it and do the same.

Most of the time, models just skim it and sign the release.

Models, you DO have power here. You are 50% partner in the endeavor.

Negotiation is an art.

Saturday, April 11, 2009

Kevin Kelly's 1000 True Fans: a Method to Success for Creatives?

This is about an older article from The Technium, but it's so good that I just have to talk about just how great it is. Kevin Kelly says people who make things should stop trying so hard to get a few wealthy patrons and also not count on trying to sell a gazillion cheap items. He says what creative people like us should be doing is looking for 1000 true fans. These 1000 true fans are people who are willing to spend a day's wage, once per year, to support your endeavors.

Graphic © Kevin Kelly

Kelly goes on to say that true fans are people who:
...will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can't wait till you issue your next work. They are true fans.
I bolded one of his sentences above for a reason. You see, at first some might say that his theory is a pipe dream, and that it's actually quite difficult to get 1000 true fans. In fact, some people like John Scalzi have really pointed out some major obstacles and roadblocks to attaining this goal, and they have a pretty good argument, I have to admit.

However, as I mentioned, I bolded a line above about people watching items in eBay. This is because a young woman is doing exactly what Kevin Kelly talks about, and from what I can tell, she started doing it before Kelly even wrote his article.

Abbey Ryan paints small oil paintings once a day and puts them up on eBay where they are selling for $80 to $250 each. I don't know exactly how successful she is at making a living at doing these paintings, but she is actively engaged in what we're talking about here: getting true fans and she's generating a buzz, so it's definitely working for her in that respect (not to mention that her paintings are actually pretty cool as well). In fact, some of you are going to go to Ryan's site right now and be amazed at what she's doing. You're going to bookmark her page, blog about her, and maybe even jump on eBay... just like Kelly said. This is how it happens, folks.

Back to Kelly's article....

Kelly knows he's making it sound easy. He writes that it does take time and that it is hard. But isn't this exactly what it's all about if you make a living being creative? You work hard to appeal to your true fans. One cannot just take a photo or make a painting, frame it, and expect people to want to buy it. There has to be a reason, an appeal, an affinity, and all creatives have the tools available in this day and age to attain a steadily growing fanbase of supporters by building that affinity, but you have to use the tools and you can't stop. If you want this to be your living you have to make it your living and that means working hard to get those 1000 true fans, because they are out there!

Monday, December 08, 2008

Last batch of Polaroid will be February 2009

CNN's front page Monday night, December 8, 2008 has an story and iReport about Polaroid's sunset coming up in two months. Very sad. They interviewed a few people who run some of the Polaroid enthusiast websites, like Save Polaroid.

I'm just glad I picked up several hundred boxes a while ago! I keep them in a wine cooler I purchased specifically for this occasion. A lot more is in my pantry, mainly the black and white which keeps much longer than color.


Monday, June 02, 2008

I'm famous in Holland

My Viewbook non-commercial photography portfolio has just been featured in Viewbook's blog as part of their "Uncovering Portfolios" series. Check it out!

Sunday, April 06, 2008

The Massachusetts Model Mayhem Meet & Greet Wow That's a Lot of M's

A very large New England contingent of the Model Mayhem community descended upon a picturesque mansion in northern Massachusetts to meet, shoot and network.

The photographers were there from the very beginning, most just milling about eyeing the lone one or two models like vultures to carrion. If we weren't all joking about it, it might have been awkward. However, within an hour or two, at least twenty more people arrived and by the evening the place started looking like a party at the Playboy Mansion. Beautiful people galore.

Thursday, April 03, 2008

Viewbook is awesome and free

I've decided to use Viewbook for my non-commercial work. It's a good idea to separate work that disparate channels might see. When you combine your artwork with your commercial work, you tend to dilute, defocus and confuse your viewers. Viewbook doesn't offer unique domains, however I don't think this is necessarily a big problem for me at this point. For now, Viewbook is a great resource, it looks just as good as Livebooks or Foliolink, it has very minimal limitations, and it's easy to use. The only drawback is that there aren't really many templates, but who cares when one third look like this:

Wednesday, April 02, 2008

$399 for fifteen sheets of Polaroid 809???

I've noticed ever since Polaroid announced they're stopping production of all instant films, people think they can sell their Polaroid and 8x10 stuff for ridiculous prices. I really want to know who is buying this stuff. Honestly, these people on eBay are trying to sell a box of 809 for $399, and the stuff expired in 2001! You know damn well that it's going to be totally washed out colorwise... especially anything that ends in "9" from Polaroid. It's made for emulsion lifting and image transfer. The color isn't pro color and it gets even worse with time. And you also know these people were NOT keeping it cool... the boxes are too big. They sat at room temperature... for years.

I'm seeing people trying to sell a Polaroid 545 sheet holder for $85.

I've seen trends come and go with Polaroid stuff. You used to be able to get an old Polaroid 110b camera modified to shoot 6xx for about $225. About a year or two ago, prices went up people are trying to sell them for $500+. More insanity. Now these people that bought them for $500 six to 18 months ago are trying to dump their cameras on eBay with the Polaroid news and they're trying to get even more.

Craziness.

Don't be a sucker. This stuff is perishable. It's not like Polaroid film lasts forever. Don't get crazy on the equipment either. It will be dumped on the market eventually because nobody is going to buy these things at these prices except the absolutely desperate.

Monday, March 03, 2008

Leap Into Spring Fashion


So I just shot a crazy hectic and exciting event on the 29th. The wonderful Aileen Benson organized a runway show at Vinalia's in Downtown Crossing for the Children's Trust Fund. The show was called "Leap into Spring Fashion" and I was asked to shoot the event. Now, when Aileen asks if I want to shoot something, I usually just automatically agree to it, and unfortunately I didn't read the details. I thought it was just going to be a runway event and then photographing people for with some of her male models from Tonn Model Management for a $5 donation to CTF. Well, it turned out that didn't really happen as it was so hectic, but also I failed to remember that there were actually three runway acts, and it involved photographing all of the models wearing the designs in between the events.

All I can say is this: RTFM! (Read the ____ Manual!), ie, read what people send you! Luckily I had brought my friend and and trusty photographer Carlton SooHoo who helped me with lighting and shooting and even running down the street to Macy's to get a sheet for our makeshift "backdrop". Yeah, yeah, you can see the creases, but that's what Photoshop will be used for. The funny thing is that Aileen sent off one of the guys to find a steamer but the guy disappeared and apparently got lost or something. Nevertheless, the show had to begin.

One of the original reasons why I wanted an extra person was that I wanted to do something different in terms of small-venue runway photos. They always look the same to me, and my theory is that it's because there's horrible lighting, and the photographer ends up using on-board flash (real big runway events usually don't have flash because photographers are far away with telephoto lenses). What I thought of was backlighting.... having some light coming from behind the model standing at the end of the runway. So I had Carlton standing near the steps to the runway and when the model arrived at the end and my flash unit tripped Carlton's flash unit behind the model, the result was a runway photo with some nice back-lighting and depth.

Unfortunately, I wasn't the only one using flash. I hadn't counted on everyone else whipping out their Sureshots and blazing the models with flash (usually there are rules against that!) but sure enough within just a few minutes, Carlton's SB-800 had gone on the fritz. Ouch. So there goes that idea... at least not with using Pocket Wizards. Next time, definitely use Pocket Wizards.


As I mentioned, in between the runway shows, we photographed the models wearing the designs. My favorites were of Fiona wearing this piece from Nirva. I don't know, I just like these shots. I always tend to like imperfect shots. Snapshot DIY look.... dark and dusky "'70s" look... Polaroid look. I dig it. Anyway, Nirva was actually one of the designers at the Gamble Mansion shoot last year. It was nice to see her again.

After the event, Aileen made me take pictures of her doing the twist while wearing one of JP Amolat's (Pinkblue Hollywood) designs. After about 40 photos, we finally agreed this one was the best. She also probably burned 500 calories doing it. Modeling is hard work.

Lastly, we had a special guest: Jacqueline Bruno, Miss Massachusetts. She was great, posing with lots of people including some of the models and us.

To see all the photos of the runway event, the models, the designers, and some behind-the-scenes pictures, visit my Smugmug page.

Wednesday, February 13, 2008

Erik Hansen's photos of brilliance and wonder

As the crowd was thinning out and leaving the opening reception of Ballad of Life, I noticed a lone gentleman studying my photos. Naveed, our curator, asked me to speak to him and so I went over and introduced myself. We got to talking about photography and our own goals and ideals in the medium. Turns out, we had a lot in common. We exchanged cards and I promised I'd take a look at his work.

You gotta check this guy's work out.

I-Scape 12 "The Wolf Grows Up in the Woods" by Erik Hansen

It's really stunning. He creates these landscapes that seem to capture time and space with a masterful control of light and composition. However, this technical description betrays the actual aesthetic of his work. His compositions evoke something within me, a sense of wonder and curiosity. I feel like I'm looking at how children or Zen monks view the world.

Erik calls his artwork "I-Scapes". Says Erik:
I-Scapes (IMAGINARY TIMESCAPES) represent mysterious places and states of mind that exist somewhere beyond the ordinary conscious world. Humans, animals, or their spirits may have recently passed within their borders.
This might be one of the reasons why Erik and I have a similar aesthetic appreciation. It's clear to me that we have a similar need to express some of these concepts in our work.

He also does a lot of prep work for his photos. Keep in mind, none of his photos are digitally altered.
I sculpt pieces and paint props and backgrounds. I also gather and reassemble found objects. The hands-on, tactile part of the process is particularly satisfying.
I couldn't agree more. While I have nothing against working in Photoshop to alter and manipulate images, it is my opinion that there is something special about being able to create the world you are trying to capture in the camera frame itself. It's a great sense of accomplishment, and it does translate to your audience.

http://www.erikhansenphotography.com/

Photo © Erik Hansen

Tuesday, February 12, 2008

Ballad of Life, Opening Reception

The opening reception was amazing. I couldn't have imagined a larger turnout. This isn't about bragging, this is about my bewilderment and being absolutely grateful for the fact that between 200 and 300 people were interested in checking out our work between 2 and 4 pm last Sunday. In reality, there were already about 50 people in the gallery at 1:45.

In case you didn't know, I am in a group exhibition right now called The Ballad of Life. It closes February 29th. You can check it out on the third floor Contemporary Art Gallery located at, of all places, the Armenian Library & Museum of America in Watertown, MA.

360º VR Panospin™ of me talking to Erik Hansen in front of my work
Photo © 2008 Carlton SooHoo


I have six pieces in the show from an ongoing series I call Personal Mythology. However, for this show, I call this initial group of photos "What I Remember". The work is related to dreams and memories from childhood up to recent time. My focus is primarily on how we tend to romanticize and dramatize events, and sometimes treat dreams as real events as well. This mixture of dreams and events become real concepts to us and become a part of our personal lexicon, but more importantly personal mythology.

The name of our group is PhotoEmerge. It was founded by our curator Naveed Nour and officially began in early 2007 as a workshop in the business of photography. I'm proud to say I'm a member of the "first class" so-to-speak, as PhotoEmerge will continue as a group collaborative with old members leaving and new members renewing its existence.

Other members that also showed were Kate Russell-Jones, George Libbares, Jason Jedrusiak, Melanie Thornton and Marcus Stern.

Sunday, November 11, 2007

Fashion Shoot Contest at SAINT

I just took part in a really fun photography contest at Saint in Boston. Saint is the sister club to the wonderful restaurant Domani, attached to the Copley Hotel in downtown Boston. I mention this detail because Domani's (and Saint's) chef is the famous Rene Michelina, who I photographed last summer for Asian Boston Magazine with Channel 7's Frances Rivera. Anyway, DJ Reaz's company The Synergy does some great events with great music and this was no different.

I had come to find out about the fashion shoot contest by contacting Reaz from a simple listing in Craigslist about his need for a marketing guru. He had selected to allow people to contact him for other services so I put on my salesman cap and told him I'm not a marketing guru but I'd be interested in shooting his events. He looked at my portfolio, contacted me and asked if I'd like to actually take part in the event. Naturally, I agreed to it.


My task was to get two models and dress them in Sam Vartan's designs. Two other photographers would be doing the same and we'd meet on November 7th in a head to head to head contest to produce great photos.

I located models via Model Mayhem. I immediately thought of Erica, a model I hadn't had the chance to work with at the recent Trash the Dress shoot at Oakland Beach, Rhode Island. I contacted her through Model Mayhem and all was set. However I needed another model. Sam and I talked extensively about models for his designs. We spent time on the phone going through the site and I contacted a few but very few models would respond. One model I was hoping would respond did, and rather quickly. It was Aileen. I was impressed with her interest, and the fact that she was actually signed on with an agency, Tonn Model Management. I was impressed as heck and we all agreed to a time to meet up with Sam for a fitting.

The fitting went great, Erica and Aileen looked amazing, and I was excited to come up with some ideas. Sam rocked, he was really open to the design combinations and he and the girls schooled me on what goes good together.

A week later the models and I (and Carlton) met up at Tonn's studio (thanks Tonn!!!) to practice some ideas for the event. We came up with some great photos. Keep in mind that with this kind of photography, I try not to take full credit. The models themselves contribute enormously... they can make or break a "perfectly lit" photo. So when I refer to this kind of photography, it's almost always a "we" and "us" thing.

The night of the event, we had several hiccups. Change in time, change in duration, change in what we could bring into the club, it all caused a lot of stress and anxiety, but I found that I totally lived for it. While we couldn't really shoot the stuff we had practiced for, we managed to come up with some last-minute ideas which I think were pretty good. John Bellavance helped out as well, and one idea he came up with was to put the lights in the bathroom. The bathroom's walls were transluscent glass, so we posed Erica and Aileen against the bathroom walls! People thought we were crazy. But we got some great photos. Unfortunately, the judges didn't think ours were the best, and we lost, but we sure did have a lot of fun doing it.

Saturday, October 13, 2007

Photo of photographer Jeff Engel by Carlton SooHoo, another photographer


Jeff
Originally uploaded by carltonsoohoo
My friend and colleague Carlton SooHoo shot a photo of me last month since I didn't have a real portrait. I helped a bit with lighting, but he really made me look like such a bad ass photographer!

Check out an article about this shot on his blog or click on the photo to see his technical description for Flickr's "Strobists" group.