August 1, 2015

Hey, I’m the Featured Member for August 2015 – Los Angeles Center of Photography

Santa Monica, California

This month I am the featured member in the Member Gallery at the Los Angeles Center of Photography website. My gallery displays a 20-image portfolio of my street work from the past three years. As I choose this set of images, I was looking for those of which I was most proud of with a consistent feel. I was not looking for images from a single place or time, so it is all the more interesting to examine some of the characteristics of this set.

Of the 20 images, 10 are from Los Angeles taken on various trips to Downtown, Santa Monica, and Beverly Hills. 5 of these are from a 3-day stretch of intensive shooting downtown that I did earlier this year for a book project with John Free.

Flowers and DogDowntown LA with John Free

2 images are from workshop intensives, with Jay Maisel and Sam Abell. During these workshops, you are challenged each day you to make 5 images for the next day’s workshop critique. These two images mark, for me, a breakthrough in thinking.

New York, NYNew York City with Jay Maisel

Whidbey Island, WAWhidbey Island with Sam Abell

The remaining 8 images are from the various travel trips I have started to do in the last few years. The images are from Havana Cuba, Oaxaca Mexico, Lisbon Portugal, and Dublin Ireland, but none of are particularly “travel” images.

Of the 20 images, all but 1, was taken with a micro-four-thirds mirror less camera as I ditched my dSLR sometime in late 2012.

One of the earliest images in the collection, from 2012, was taken in Beverly Hills. I was out for a couple hour photo walk with a good friend and my husband. It was a nothing special day with a nothing special agenda, but my mind had been freshly implanted with the teachings and matras from Jay Maisel’s: “you are responsible for every millimeter of the frame”, “show me the rip in the fabric”, “light-color-gesture”. This image was my only keeper of the day, but what a keeper it was. It will be a permanent member of my top 20 street photographs.

Beverly Hills, CABeverly Hills with Jerry Weber

The most recent images, one is featured at the top of this page, are from Santa Monica Beach and represents all that I am working to achieve now in my photography: walking into the scene to create deeply layered images capturing the full figure and the context behind while carefully managing the juxtapositions between the image elements.

Enjoy my portfolio gallery at the Los Angeles Center of Photography website. And I can’t help but plug and upcoming guest lecture workshop “Sharpening your Photographic Vision” with Sam Abell. The lecture is Dec 3, 2015with the workshop Dec 4–6, 2015.

July 12, 2015

Wall to Wall People – Working with Complexity

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When it comes to my street photography, I am heavily influenced by the work of Alex Webb and David Alan Harvey. Both of these photographers are known for their highly layered complex images with compositions that play with the juxtapositions of near and far subjects. Though these compositions are quite complex, each image is collection of clearly identifiable scenes and interactions, each playing out in their own space within the image.

Here is a set of images from Santa Monica Beach taken during the busy July 4th weekend. The bright sun and harsh light adds to this colorful and active scene. Images were taken with the Olympus OM-D EM-1 and 17mm lens (35mm effect focal) prime lens. Although you may think that with these more complicated the scenes, a zoom lens would help manage what is in the frame, however, I find it easiest when I stick to a fixed focal length and move my feet to find the right location then wait for the moment.

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June 21, 2015

Ireland Impressions

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Living in the desert southwest environment of Los Angeles for most of my life, I am fascinated by rain. Please enjoy my Ireland Impressions which chronicle my travels through the country-side and towns across County Mayo and a little bit of Dublin – May 2015.

(Click any image to view large and enter slide show mode)

June 21, 2015

The Simple Joy of Seeing

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Some pictures have no place and no time. It is just you, the camera, and the simple joy of seeing. I saw this in the hotel lobby in Dublin, but it could be anywhere. This image is a tribute to three mentors of mine: Jay Maisel, Sam Abell, and Arthur Meyerson.

June 20, 2015

The Forty Foot – in Honor Bloom’s Day (a little late)

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Ulysses, by James Joyce, chronicles the peripatetic appointments and encounters of Leopold Bloom in Dublin in the course of an ordinary day, 16 June 1904. It opens with a scene overlooking the Forty Foot, a local and historic swimming cove outside Dublin in Dun Laoghaire.

Chris and Ian, members of the Dublin Camera Club, brought us here during our stay in Dublin, but we would have no idea that we would be treated to a show of youthful diving. The air temperature was about 55-degrees F and who knows how cold the water was. But to these Dublin youth, it was a warm and sunny evening.

June 7, 2015

The forest, a cape, and a dog – How I got this shot

Click image to appreciate large.

Click image to appreciate large.

I want to talk about this image –  what makes the image stand out for me and why I put it in black and white (something I rarely do), I want to illustrate how I got the shot and what I was thinking. It is a process I use often and sets me up for being able to capturing these poignant fractions of time.

Choosing the frame

I took 36 images to get this shot. This image is frame number 10.

I chose this particular frame from the sequence because it shows clearly a figure and a dog miniaturized by the breadth and majesty of the forest. There is not a lot of detail in either the future or the dog and this helps the viewer appreciate the size and magnificence of the forest around them. They are clearly recognizable, however, and in each occupy own separate space in the image. The figure, all in silhouette, looks mysterious with her jacket forming the shape of a cape. The silhouette is also fully surrounded by lighter areas making the shape standout without ambiguity. In art they call this using “figure and ground” to make the shapes stand out. The dog, is also in a figure-ground relationship with the background, only in this case a white dog against the shadow of the path floor. The fast that the figure is black on white and the dog is white on black increases the visual enjoyment of the image. Finally there is the forest and the diffuse light hitting all the bright green spring leaves in such a way as to highlight every little layer and texture.

I rarely turn my digital images to black and white, not because I have anything against black and white, but because I usually use the color in my images as an additional form of contrast, focus, and emotion. For this image, however, it is too green – all green. The beauty of this image are the layers of texture and light patterns in the leaves and the use of figure ground and I think black and white will show this best.

Getting the shot

If this were a roll of 36 exposure film, this is what you would see.

Click to view large in another window.

Click to view large in another window.

Novice photographers often try to capture these types of images with a chase the image sort of process: “see image, hope your camera is set ok, pray you focus well, try to grab the shot”. Rarely am I successful in taking “grab” shots using this method, instead I have developed a discipline of looking for situations that could present opportunities in the near future and following my instinct and waiting for the image to materialize, as was the case for this image.

I was standing on the steps of Moore Hall and had just finished taking this shot of the graffiti I found inside. I turned around and saw the forest and the path and liked this higher vantage point.

Moore Hall

Moore Hall

Graffiti Ghosts

Graffiti Ghosts

I was lagging my friends because I was taking many pictures in the forest on our way to Moore Hall. They had already moved off the scene and where off to the right. As I turned around I noticed the figure coming up the path. My first thought was to wonder if something unusual would happen to make this more than just a “person on a path” image. I framed up the shot, checked my camera settings and dug into my position.

Frame 2

Frame 2

(Frame 2) As the figure moved closer I noticed that her jacket looked like a cape
– that would create a nice extra piece of the story. I started shooting, not really confident that my tiny photographer brain would know, in the moment, exactly what combination of person, path, and forest would have impact.

Frame 6

Frame 6

(Frame 6) A little closer and I noticed the dogs. “Dogs!”, my tiny photographer brain in my tiny photographer voice exclaimed, “A cape and dogs!”. “Oh no, two dogs! Why two dogs? I need just one dog.” My tiny photographer voice continued jabber on. I continued to shoot.

Frame 7

Frame 7

(Frame 7) One dog lags behind and I evaluate the scene: a figure in a cape, with a dog, on a path in the forest. I figure is nice with the cape-like silhouette, the dog still just a speck. I keep following the scene as it unfolds, carefully holding my composition as best I can.

Frame 8

Frame 8

(Frame 8) Good, the dog is now in profile. It is recognizable as a dog, even at this small size. What will it do next. I just follow the dog. Taking my pictures to capture the dog gestures and relationship with the unidentified “caped” master. This is perhaps the most important moment of getting the shot.

Frame 10

Frame 10

(Frame 10) The dog stretches. I hardly notice that this will be the keeper, I’m simply keyed into taking a shot at each different gesture of the dog.

Frame 15

Frame 15

(Frame 15) The dog starts to run ahead. Just as with Frame 8, this is another important moment to notice as it constitutes a pivotal point in time for the next potential perfect alignment of juxtaposition and gesture. Another shot might still be in the future. Will the dog turn and do something interesting a little closer? As it happens, it doesn’t materialize.

Frame 20

Frame 20

(Frame 20) Sniffing the ground, the two dogs are separated, this is promising, my tiny photographer brain thinks.

Frame 28

Frame 28

(Frame 28) One dog is now out of the picture and never really made an interesting gesture. The figure is not in the light with fully recognizable features, and the small dog by her side. I keep shooting, but notice that when the dogs run, my shutter is really to slow and the mystery is gone as soon as all the figures are in the light.

The scene is over. Did I get one? I remember the steps and the concentration, I’m pretty sure I held my composition throughout the sequence. Did I get a moment, a gesture, and a play of light all to coincide? I would only be able to evaluate my success by looking at the whole sequence after the emotion had passed.

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