Thinking about Peru 2010

Roughly 120 days from now I’m teaching a workshop in Peru.

My planning has already begun. You might find that a little surprising, but it’s very true. And while this might seem like a lot of prep time, let me assure you, it isn’t. Not by a long shot.

And when I say planning, I don’t mean dragging out my suitcase or beginning to prepare lecture notes. Those will come, in time. I mean, one of the basic questions is which camera will I take – my Leica or my Hasselblad?

At the moment, I’m beginning to prepare the logistics of my photographs. My personal introspection of what I’d like to make while in Cusco for the first time – what I’d like to make while there, not what I’ll be teaching. In fact, this note is somewhat of a primer on what we will be considering while there.

You see, in many ways, I’m in a similar position to the students who will be attending the Peru in Book Form photographic workshop. I’ve never been to Peru. I’ve never witnessed Easter in Peru. I’ve never seen Cusco. I’ve never been to this hotel. I’ve never flown through Lima. So, it is difficult for me to know exactly what will happen, which is what is so exciting.

(For those curious why the heck I’m teaching a workshop in a city I’ve never visited, I’m working with the producer of the PhotoExperience workshops who specializes in photography in Cusco. Between the two of us, we’ve got it covered.)

I think one of the most difficult things about doing an event like this is fighting the urge to preconceive what will happen or what I will see. More seasoned photographers might stand over my shoulder: “been there, done that“ trying to share the easiest solution with me, but again, my mind is telling me otherwise. I have grand visions, but there is always a catch.

In my editorial and newspaper days, assignments NEVER appeared like the concepts I’d preconceived. On the one hand this was frustrating. My visions were always incredible, and often times the visuals in front of me were not. I’d find myself cursing the assignment editor or saying to myself, “Gotta make chicken salad out of chicken sh%$.”

But on the other hand, arriving at unexpected things was fantastic, kept me on my toes, challenged me, and in the end made me a far better photographer. Heading into unknown territory with my camera became second nature, which has helped me tremendously when it comes to shooting weddings or even portraits. I don’t get rattled.

So today I find myself dreaming about Peru and also trying to figure out how I’m going to “design” my photographs – better yet, create my story.

I don’t know what I’m going to see in Peru. I could go online and look up Easter and try to find something specific, and part of me wants to do that, but I’m fighting the urge. Perhaps I don’t really want to know. I want to see with fresh eyes, knowing that what I see has never happened before. Each year brings something new, something I learned from photographing Sicilian Easter over a four-year period. I would return to the same towns, shoot the same events and see different things each time.

I’m thinking about other aspects of my images: how do I want them to look? In what format? Color or black and white? What size prints will I make? Will the prints be digital or traditional? Am I shooting for more of an editorial look? Gallery look? Or a book?

The specific goal of this workshop is to photograph Easter in Peru with the idea of producing a book from the material. What size book? What format? Will this be a commercial book? A personal book? A limited edition? Softcover? Hardcover?

What if I shoot two different ways and make two different books? Can I even do that? Will it water down the images if I try to do two things at once? Should I research previously published books on Peru? Of Easter?

Okay, by now it is evident I just finished my morning coffee, and that perhaps I’m a little fixated on this issue. Guilty as charged.

But this is my reality. You see my “design” on my images changes. I’ve got more than one look, and I’m trying to predict the future.

The easiest thing to do is shoot my Leica and Tri-x. I’ll love it. I know because I’ve done it so many times, in so many places. But I could also use the Hasselblad, which I love for portraits. Maybe I could shoot the action with the Leica and the slower stuff with the Blad?

It would be so great to board the plane with two small bodies, two lenses and a small bag of film. Light, easy, simple. But my mind tells me I can do more, make more, but this might just be another trick.

But in the end I can’t allow the concept of a book, or what a gallery might like, overpower the basics of light, timing and composition. I need to put myself in the best position to make the best photographs that are most reflective of me as a photographer.

It’s so easy to get lost in the “design”.

So, today my planning and designing continues. Soon I will work on lecture notes, slideshows, etc. I will curse myself for losing at least half of my Spanish ability. But I will also relish the idea of what will happen 120 days from now. I will dream about the moments and the happiness we will experience.

Like a fire burning inside, keeping us creatively warm, until that moment when the starter gun says,” Go!”

www.santafeworkshops.com
www.photoexperience.net
www.milnorpictures.net

Peru Workshop 2010

Okay Campers,

Peru is on tap for 2010. Easter Week, Cusco. Map of Cusco

This is going to be an experience, and a great chance to make some serious images, as well as a chance to begin thinking of your work in book form. Imagine a week away, isolated in the best way. Focused only on making photographs, experimenting, searching, etc. Some of my best work has come from this same story in other parts of the world, so I’m anxious to see how the Peruvians celebrate their Easter.

The idea is to emerge with an essay, in book form, from the time we spend in Cusco. I think this situation is the perfect scenario, not only for making images, but also learning to grasp light, timing, composition and the ability to edit your work with a book in mind. It is times like these that allow you to find your personal vision. I think this class works for the beginner, but also works for anyone who wants to create a body of work, or anyone who wants to disappear into a project. The classes are small, so there is plenty of one on one time as well as the chance to spend time with other students.

Our digs…..Panza del Artista.

On a side not, my wife will be joining us. She is also a photographer and has been a professional markets specialist for Canon Cameras for nearly twenty years. So, if you need to get your tech on in addition to making pictures, she is your ticket.
And if this isn’t enough, each student will receive a coupon for a free Blurb book to cement their experience in printed, bound form.

If you have aspirations as a documentary photographer, this is what life is all about.

You can see my other Easter work, in book form, at this link. Sicilian Easter

Also, check the coupon at the very bottom!

MP_PE_1
MP_PE_2

TEACHING IN PERU

I’ve been lucky enough to be asked to teach in Peru during Easter of 2010. I’ve covered Easter before, many times, in Sicily, as well as Mexico, and here in the US, where my love of the egg is evident.

This workshop is part of the Photo Experience program, which has been in operation in Peru for some time. Check their site to see a list of both completed programs as well as a few of the upcoming events.

The idea of the workshop is to think, see and photograph with the ultimate intention of creating a book from the images. Working in book form is different than randomly snapping here and there, and is a great way to learn to see your photographs in more depth. We will look at a photo as a stand alone image, as well as how images work as a theme, how to sequence a picture story, and design specific to the book process.

And imagine how much there will be see in Cusco during Semana Santa!

PERU IN BOOK FORM LINK