Monday, July 21, 2008

Jack Radcliffe

Via photo-teacher extraordinaire Aline Smithson’s blog, I came upon the work of Jack Radcliffe, who, since his daughter Alison’s birth in 1975, has documented her life. (The July 13, 2008, article by Radcliffe in the Los Angeles Times explains the project.) This is the kind of project I’m into right now. Something about a relationship, something deeply personal, something where the photographer and subject are connected in a way that makes all the difference. Below are some of my favorites; you can find more of it here.


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe


Copyright © Jack Radcliffe

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Wednesday, December 05, 2007

Jeff Curto on photography

Everyone’s posting about the Newsweek “Is Photography Dead?” article. I think it’s worth a read, just to know what all the fuss is about, but be sure to pay attention to Jeff Curto’s response in the comments at the end of the article.

While you’re at it, check out Curto’s podcasts: Camera Position and History of Photography.

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Wednesday, October 17, 2007

Norma Rae, Annie Hall, and Nicholson

I’ve been into photography since I got a Kodak Disc camera for my 10th birthday, but it’s really only been in the past two years that I’ve started to get more serious about it. This leaves me in the position of being 34 years old and just getting started. I look at most of my “emerging” peers, and they weren’t even born when I got my Kodak Disc. I was born under Nixon; they were born under Reagan or, Christ, even the first Bush. (I can hear S. laughing now; he was born under Hoover.)

I don’t think this really matters to me on its most basic level. Age has never been an issue for me, and you don’t have to look very far for proof of that. In many ways, I feel thankful that I’m not trying to find my voice as a photographer at the same time that I’m trying to figure out who I am as a person. I’m over that whole angst/ennui thing, and now I’m aware—very aware—of what I want to do and how little time I have to do it.

I sent Julia Dean an e-mail a couple weeks ago, thanking her for the wonderful classes she puts on at JDPW, and she replied saying that my e-mail couldn’t have come at a better time: She was just thinking that she hasn’t done enough, particularly where her nonprofit work is concerned. I haven’t yet replied, but when I do, I’ll say that no one worth her salt—and Julia’s worth her salt and then some—ever feels she’s done enough and that one lifetime isn’t adequate.

What I’m saying is, Norma Rae has osteoporosis, Annie Hall is hawking anti-aging cream on TV, and Nicholson is starting to look like a dirty old man instead of just dirty. I will blink and it’ll be over; I need to make sure I do all the things I want to do.

The result of this awareness, something that has only started to hit me in the past year or so, is that I sometimes have to pull back on the reins a bit. Case in point: Critical Mass is accepting entries, and I felt I had to do it, I had to get my work in front of those 200 reviewers, and it had to be now. I paid my $50 and started thinking about my work and which images I wanted to enter, and I realized I wasn’t ready. Not this year. Next year, maybe. But not this year. I e-mailed and withdrew and the sense of relief was incredible: I can take this at my own pace. I’m not in a race with kids still in undergrad. It doesn’t matter what anyone else was doing when she was my age.

It’s okay. And that’s the thing: When I was younger, it wouldn’t have been.

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Friday, October 12, 2007

The meet cute

When Ian and Star asked me to be in a show, my head was in that isn’t-it-cool-that-I-have-my-first-show space. But very soon after, I realized that I needed to get my act together. We decided on the images that I would show, and then I had to get them ready. In a class at JDPW, the amazing Aline Smithson recommended that, as a way to keep costs down when you’re just starting to get your work shown in galleries, you do the matting and framing yourself. I followed her suggestion, printed my own archival pigment prints on my Epson Stylus PHOTO R2400 at 12 x 18 inches, matted them using precut archival mats from Light Impressions, and framed them using black metal gallery frames from Dick Blick.

When I was done framing the eight images for the Shotgun Space show, and the three images for the White Wall Collective show, I told my boyfriend that I never wanted to frame my own work again. It wasn’t that the matting and framing was difficult—after the first one, it was actually pretty easy—and they looked good. But what occurred to me was that, even though Aline was right (it was an incredibly cost-effective way of doing it—I was able to print, mat, and frame each image for around $20), I felt as though I hadn’t followed through as well as I could have.

It reminded me of knitting. It’s been a while, but I used to knit pretty often, and I was really good all the way up until the finishing—the part where you have to sew together all the pieces. I hated the finishing part, and I never got good at it, because by that point I was just so damn impatient and ready to be done that I rushed through it. And that’s why my sweaters didn’t look half as good as Diane de Avalle-Arce’s sweaters did—well, that and the fact that Diane is the kind of woman who milks her own goats to make her own cheese and is inherently a better knitter than I am.

I didn’t care that much about knitting, so my lack of finishing skills wasn’t that big of a deal. But in case you hadn’t noticed, I do care about photography—and somehow the thought of spending all that time and effort working to make good photographs and editing them until they were just right, only to end up printing at a size that I chose because it’s what I could print myself and frame on the cheap . . . that just didn’t sit well with me.

So I recently began the process of looking at print services—more specifically, master printers, people who spend as much time getting the print just right as I spend getting the photo just right. I don’t have the kind of money to go to a place like Laumont, and I started looking around at places in L.A. and elsewhere. That’s when I came across West Coast Imaging. Their site is really clear, and they seemed like they might be a good fit for me. So I e-mailed them with a few questions on Wednesday night, and first thing Thursday morning I got a callback from Terrance Reimer, a custom printmaker. We connected this morning and talked for 45 minutes, and I knew he was the guy (or at least the printmaker) for me. He was easy to talk to, happy to answer questions, passionate about photography, and enthused about my work, plus a photographer himself.

Today I uploaded images for him, and he’s going to print some free 8-x-10 proofs for me—two from the Chromira (one on Fujichrome Supergloss paper, and the other on Fujiflex Crystal Archive) and three from the Epson Stylus Pro 9800 (one on Crane Museo Silver Rag; one on Hahnemühle Photo Rag; and the third on Hahnemühle FineArt Pearl). I should have them in a week or two. And now I feel much better prepared. I can start thinking more seriously about the size that I want to print—right now I’m thinking of doing one edition at 20 x 30 inches, and maybe another edition at 30 x 45 inches.

Next step: Find a framer I can work with long-term. I think I’ll start by going in to Santa Monica and talking with the people at Allan Jeffries. I’ve had a couple things framed there in the past and been really happy with their work.

They should have Match.com for photographers, printers, and framers. eHarmony would be asking too much.

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Tuesday, October 02, 2007

Julia Dean

I know I’ve said this before on this blog, but it’s worth repeating: If you’re anywhere in Southern California, go to www.juliadean.com, look over the wide selection of courses and the phenomenal instructors, and sign up for a class. What the hell are you waiting for?

First of all, Julia Dean is the coolest person you’ll meet, and a wonderful photographer and teacher on top of that. And she surrounds herself with the best group of people—from the instructors she brings in, to her office staff (shout-out to Natalie!), to her volunteers. And come on, she’s on the boardwalk in Venice. Can you beat that?

Plus, the students there are consistently good. Everybody is there to learn, there’s none of that competitive bullshit you get at so many places, and you walk away from classes feeling you’ve made some lifelong friends.

Can you tell I like the place?

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Monday, September 03, 2007

Teachers

For reasons that I honestly can’t seem to recall, this morning I found myself thinking of Bloomington, Indiana, the small town where I went to college, a place I haven’t been back to since graduating in 1995. Indiana University is big—no bigger than many of its Big Ten counterparts, but still really big for a kid who grew up in a town of 15,000 and could walk into the local grocery store and say, “Charge it to my dad’s account,” without having to tell them who her dad was, because they just knew.

I’ve since lived in places much bigger, but when I got to Bloomington, full of expectations for what my college years would be, it felt huge and fell short. There are myriad reasons for this. I don’t think I really knew, as a senior in high school, what I wanted in a college. And I went into it passively: I assumed it would teach me, but I didn’t realize I would have to work so hard to learn, and I hadn’t yet learned how to work hard.

I.U. is a good school, and Bloomington is a great town, but I had trouble finding my place in both. Again, myriad reasons. If I knew then what I know now, it would be different, and I might even love it there. But I didn’t, and I couldn’t, and so much of my time was spent counting down the years, months, weeks, and days until graduation.

So would I choose a different school if I had it to do over again? No. Because I met three teachers there who changed the way I look at the world.

One was Barry Kroll, whose Vietnam literature course (with texts like Tim O’Brien’s The Things They Carried) formed the basis for the political beliefs I hold today. We knew, throughout the semester, that Professor Kroll had served in Vietnam, and we all speculated things like, “Hey, do you think he ever killed anyone?” (What else would a bunch of 18-year-olds wonder about?) But when he stood up on the last day of class and put on a green military jacket, we cried, and I have tears in my eyes just thinking of it today. I didn’t think much about war before I took that class, and I haven’t seen war the same way since.

Another was James Madison, who taught American history, and who made it come alive for me in ways it never had before. I still have a clipping in my file cabinet of a letter he wrote to the editor of the Indiana Daily Student, in response to an article about rewriting history, in which he said, in part, “The past is up for grabs—always. It’s not static, it’s not dead, it’s not even past, as one pretty smart American once said. Rather than one and only one way of seeing it, we are free to see it as we see, struggling through reading, thinking, observing, and talking to understand in our own way. That we all will differ in what we see is what causes such confusion and what scares those who perhaps haven’t yet looked hard enough at the past.” Madison was it, you know?

The third was Scott Russell Sanders, who taught an English class called “A Sense of Place,” and who once, on a beautiful afternoon walked out of the classroom and asked us to join him, as he led us on a walk through Dunn’s Woods, silent all the way. Some of my classmates were whispering to each other, asking what the point was, whether this would be on a test, where we were going. I was first in line behind Sanders, and I was willing to follow him wherever he led me. And where he led me, where he led all of us, was to that sense of place that he cared so deeply about. I don’t think I fully grasped it when I was 18. But I think of him often, and I’ve come, over the years, to understand. (If you’re interested in reading an article by Sanders about Bloomington, and his devotion to and care for that place, click here.)

Can you imagine anyone who makes a greater impact on the world than a teacher?

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Tuesday, July 17, 2007

Faculty

I’m sure there are all kinds of wonderful benefits that come with getting your education formally (i.e., in art school), but I am so thankful that my photographic education is coinciding with the burgeoning of blogs and that I’m able to use those blogs, along with my own work and reading and study, to cobble together an informal education for myself.

In the past few weeks, I’ve been increasingly overwhelmed with all the technical stuff I don’t know about photography (lighting, in particular). My god, how can I be a photographer if I only use natural light? Entire categories of my lack of knowledge were growing in my mind; subcategories were being created. Why? Because I now have several ideas for projects that I’ve either just begun or am planning to begin soon, and I want to get them right. What if I’m missing some key piece of information, some critical technical expertise, that could make all the difference?

And then tonight, I read Alec’s post about lighting setups and Mirrors and Windows and The Americans, and I was relieved. I don’t have to know all that lighting shit. I don’t have to do anything but follow what interests me. I can learn it if and when I want to. Or I can never learn it. But where did I get the idea that that was necessary to make great photographs?

I read Alec tonight, and it was exactly what I needed. I am not in art school, but I have assembled, without setting out to do so, my own personal faculty for my photographic education. They include: Jen Bekman, Armando Bellmas, Lane Collins, Jörg Colberg, Mrs. Deane, Amy Elkins, Martin Fuchs, Shawn Gust, Raul Gutierrez, David Alan Harvey, Andrew Hetherington, Ben Huff, Shane Lavalette, John Loomis, Shelly Lowenkopf, Christian Patterson, Susana Raab, Justin James Reed, Kevin Sisemore, Alec Soth, Amy Stein, Zoe Strauss, Brian Ulrich, Greg Wasserstrom, and Shen Wei. Every day, at least half a dozen of these people open my eyes to something I hadn’t considered, introduce me to the work of a photographer I hadn’t heard of, challenge me to find my own answers to the questions they raise. Every day, they push me—most without knowing it—to work harder, be better. And this list doesn’t include teachers like Mitch Epstein and Joel Sternfeld, those who don’t blog but whose books I’ve learned just as much from as I have from the rest.

The best part about this school I’ve cobbled together for myself? There is no graduation. It never ends.

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Friday, May 18, 2007

Paparazzi

I was in Venice last night for week four of an Aline Smithson–led class at the Julia Dean Photo Workshops. (Can’t say enough good things about Aline and Julia—if you’re in Southern California, taking a JDPW class would be a good move.) On the way home, my boyfriend and I stopped off at Hows Market on the PCH in Malibu so he could get something to eat. While he was examining Nutrition Facts labels on products he had no intention of buying, I was wandering around at the front of the store, camera over my shoulder. The checkout guy came up to me and said, “You’re not paparazzi, are you?”

“No.”

“Well, if you are, you just missed her.”

I laughed. Then as we were paying, he said, “Sorry about that. We have to be careful about paparazzi, and Paris just left three minutes ago, so I thought maybe you were one of them. They can put their cameras up to the window, but they’re not allowed in the store.”

“Paris Hilton?” I asked.

I think that’s what finally confirmed for him that I wasn’t paparazzi. That, or my boyfriend’s laughter.


Copyright © 2007 Liz Kuball

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Friday, March 09, 2007

Friday fun

With all the blogging on Todd Hido this week, I wanted to get out with my tripod and try my hand at some super-long exposures. It’s a strange feeling to release the shutter, go inside, check e-mail, get something to drink, go back out to close the shutter, and actually have a picture after all that.

I’ve done moonscapes before—two- or three-minute exposures under the full moon. (Shout-out to Say Dempsay, the teacher whose assignment got me out doing that last year!) Here’s an example of one of the moonscapes I took. This was taken around 10 p.m. (in the lower 48, not in Ben Huff’s Land of the Midnight Sun).


Copyright © 2006 Liz Kuball

The moonscapes were fun to play with, but I think I like even better the shots that I took tonight. I’m no Todd Hido, of course, but it was fun and it gave me some ideas. Not bad for a Friday night.


Copyright © 2007 Liz Kuball

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Saturday, February 10, 2007

I heart L.A.

Superbrief comments for the evening: Went to the first afternoon of a two-day course at The Julia Dean Photo Workshops, and, man, is she good. I learned so much in just four hours. Back there again Sunday afternoon, and then Monday for the first of six monthly meetings for another workshop.

Bottom line: If you’re in Southern California and you’re into photography, get yourself over to the boardwalk in Venice and take a workshop at Julia Dean’s. It’s money (and time) well spent.


Copyright © 2007 Liz Kuball

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Wednesday, February 07, 2007

Mystery

So Monday night I was taking pictures outside the post office, and while I was there, I took a few shots of the liquor store across the street, realized I didn’t particularly like them, and moved on. When I got home and downloaded, I saw this strange reflection in the image, and I couldn’t figure out where the hell it was coming from.


Copyright © 2007 Liz Kuball

I e-mailed Say Dempsay, an awesome photography teacher, to ask her what she thought it was. If anybody could figure it out, it would be Say. She had some ideas, for sure, but she said she’d never seen anything like it before and she wasn’t certain of the explanation.

The mystery was deepening.

Tuesday night, I happened to be at that same post office again (this time actually picking up some mail), and I thought, “Hey, I’ll try to replicate that effect and see if it was just something freaky in the air last night.” I took a few shots and, sure enough, there it was again. But this time, I noticed that I could actually move the reflection around the sky, depending on where I pointed the lens. I e-mailed Say and, this time, she actually tried to get the same kind of reflection using a candle in a dark bathroom in her house. (This is why she’s such a great teacher—your obsessions become her obsessions.) She couldn’t get it to happen, but she offered me the use of her camera to see if it was something weird in my camera or lens, or whether it was something I could get to happen in hers, too.


Copyright © 2007 Liz Kuball

I took pictures with my Canon 5D with my 16-35mm lens and then again with my 50mm lens, and in both situations, I could see the reflection. But I noticed I could see it as I was looking through the glass—even before I hit the shutter release. So it had to be some kind of reflection on the internal elements. But just to be sure, I took out Say’s 5D and I was able to get the same result. (To the left is a crop of the part in question.)

I drove back to campus (where she was in the middle of teaching a class) and showed her the results. We know that there’s some reflection going on with the lens elements, but we don’t know why. And we don’t know why we’re not seeing this same effect in other similar situations.

So what do you think? Have you ever noticed anything like this in your own photographs? Do you have an explanation for it (beyond just knowing that it’s some kind of reflection in the camera)? If so, be a pal and e-mail me—this is the kind of stuff that keeps me up at night.

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Sunday, February 04, 2007

Peter Parker

My boyfriend and I spend a lot of time in the car, and with my vow to take and post a new photo every day, he’s gotten used to being in the middle of a conversation with me—one or the other of us talking—and hearing me shout out, “Stop!” I think he’s almost gotten to the point where he starts to hit the brakes before I purse my lips to say the p. Today was one of those days, and the result is the photo you see below. I think all the adults were inside watching the Super Bowl, and there were just a few kids in the yard. I learned from one of them—a boy, maybe 6 years old?—that it was his birthday and that his cousin’s birthday is in eight days. That’s why they have Spider-Man in their yard.


Copyright © 2007 Liz Kuball

Next weekend, I’m taking a two-day course at The Julia Dean Photo Workshops in Venice. And that week is also the start of a six-month workshop I’m taking there called “The Long-Term Project”—that’s the one I’m really eager for. I have a couple different project ideas, but the one I think I’ll start with involves the Los Angeles County line. I don’t know that I can articulate my plan just yet—I’m still thinking and researching and figuring out why I’m drawn to this in the first place—but I think it’ll have something to do with following the county line from where it starts just west of Malibu all the way up past Santa Clarita, east through the Antelope Valley near where David Hockney did his Pearblossom Hwy., and then down past Disneyland and toward the beach again.

This will be my first long-term project, so I’m not sure how it’ll play out. I’m assuming (and hoping!) that the project will evolve as I get into it, and that when I start I can’t possibly know what I’ll find. I’ll still post daily photos to my blog, but I’m sure you’ll start seeing some from this project instead of just the one-offs I’ve been posting so far. So stay tuned. It should be fun!

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