New Kman Book: Blurb 6×9

Go ahead and say it. “I can’t believe you made another book.”

GUILTY

But I have REASONS for doing this. Cut me some slack. One of the best things I get to do with a camera is photograph my family. Not all of my clan is willing to spend time before my lens, but the little ones do because I am bigger than they are and they still think I have control over them, at least to some degree. This will all change soon, so I must be quick, steady and relentless.

So the little guy in this book, Kman, is no stranger to this blog, but what IS new is that the Kman is now walking the Earth with a camera in hand. Yep, it’s true. Named and unnamed sources are reporting that he has been seeing walking, talking and photographing. In fact, sources are reporting that film has been processed and the results were surprisingly pleasant. There was rumored to be direction in the images, thought and a point of view. Time will tell, but it is my job to help the process along. So, as I write this I am feverishly hunting for a Nikon FM2 and 35mm lens, the exact rig I started with, and a box of film sits on my kitchen table ready to be shipped.

I didn’t create this book for me, I created it for HIM.
This book is for him to study, to remember and to use to help understand the photographic process. What did it FEEL like to be photographed? Why did I shoot color black and white? Where was the light coming from? All things he can figure after spending a little time with this book.






This is a Blurb, 6×9 color softcover. A good mix of black and white and color as well as a multitude of formats. All I did was pull a selection of photographs from an eight-year time frame. What sucks for me is knowing that because I live in California I’ve missed so much of his life. I have gaping holes in the coverage, something that drives any photographer crazy. But, this is the reality for now. Have a look and let me know what you think.

Workshop Photography: What to Expect

Okay, this is a long one. With so many workshops these days I wanted to explain a bit about how I view these events, and also how I think it might benefit you to view them. Creating a telling body of work in a week or ten days is nearly impossible, but there are many ways of “learning” during a workshop and not all of them translate to the actual image making. I’ve taken several workshops in my life, and made a few good images here and there. But, I learned a tremendous amount from all of them. Examples? Okay, from Robb Kendrick I learned about what personal work really meant. I learned realities of what it meant to be a pro and I learned about the balance of work in a long career. With Chris Rainer I learned about how long it takes to make great work and I also learned about black and white printing. Yes, in a class shooting color slides I learned about black and white printing by Chris showing me straight prints from the Ansel Adams collection. I learned, at least a tiny amount, about how Ansel saw light and how he envisioned his final print. It BLEW ME AWAY and it had nothing to do with me actually making images that day. If you are heading to South America to make the same exact images you make at home…..I’d still love to have you, but I want more from you than your safety zone. I really do. In fact, and this sounds odd, I want you fail, at least to some degree. I would love for you to forget about being a photographer and think more about living a creative life. If you connect with your surroundings, the images will come. These classes are so much fun, and typically lead to more action in a short time than you can imagine. The images below and many of those in the slideshow are simple, Leica, black and white snaps. I think keeping your gear to a minimum is critical during these classes. If you are staring at your gear you are not staring at what you need to be staring at. Know what I mean? These images were all made WHILE I was teaching, or at least monitoring(With Jefe Weintraub) the class members and making sure people were taken care of, so just imagine what you can do with a clear mind and some critical focus. I think ultimately, when you boil it down, these trips are about furthering our understanding of a culture, connecting with a place and people(Including the food and wine, or Pisco!), elevating our level of image making and experiencing what it means to be a traveler. It’s gonna be real. See you there.

This is a long slideshow, but if there is something in there you need me to expand on, please let me know.


PERU WORKSHOP

ARGENTINA/URUGUAY WORKSHOP

Wedding Photography

You might be wondering what the title of this post and this image have in common. In short, everything.

Over the past few years I’ve really avoided writing much about the wedding business, industry or even the photographs that I have made in this field.

I’m involved in a lot more than just wedding photography, so for me, when it comes to writing, I typically have MORE to write about than I know what to do with. Consequently, weddings fell down my list.

But there is something very important that I wanted to bring up.

I’m forty-one-years old. It feels odd to say that because I still feel like I’m twelve, but the mirror tells me otherwise. I guess you could call me old school. Again, I don’t feel old school, but I could see you putting that label on me.

My background is varied, which I think is a good thing. Before I studied photography, I worked as a photographer. That might sound odd but it’s true. I worked as a newspaper photographer before I ever took a class in photography. I shot, edited, printed, did the half-tones and paste up and watched as the presses churned out the efforts of my labors. I heard the good and bad from people on the streets, and felt the power of a strong image as it reverberated through a community. I was NOT a good photographer, far from it. My portfolio consisted of horrendous self-portraits, high-noon landscapes and the creme de la creme of my lineup was a photo of a deer shot with a 500mm mirror lens out the door of my car. I had no trouble getting a job in photography, but I KNEW I wasn’t yet a real photographer.

After figuring out photography was what I wanted to do with the rest of my life, I realized I wanted to study photography and more importantly I NEEDED to study photography. So I did.

I got a degree in Photojournalism, worked for my college paper, freelanced, assisted and studied photography full time, diving in like there was no tomorrow. I also studied how to write, how to edit, how to design, at least to a certain degree, and also dove into the art world, studying intensely and suffering through actually trying to make art myself(Life drawing was my worst class ever). Those were some of the best and worst days of my life. You see this was about so much more than nuts and bolts, so much more. It was about finding myself, my vision and my voice.

Today I run into dozens of “photographers” that are “self-taught,” and some of you are remarkable image makers. Being self-taught has always held a certain allure or charm, but never more so than today.

But I have to say, I’m somewhat skeptical about many of the modern “self-taught” photographers because often times, when I see their work, I realize that many are mostly self and very, very little taught. In the past 24 hours, all within biking distance of my house, I’ve seen THREE, “professional” photographers undertaking shoots with NO idea what they were doing. How do I know this? Because I stopped and watched. I saw a clear photographer/client relationship, and three photographers with zero understanding of basic lighting conditions. All three photographers were using digital body and 24-70 lens. All three shot FAR, FAR, FAR more images than they needed to, using the camera as a type of pacifier to make themselves, and probably the client, feel as if real images were being made. I could tell just by watching that none of these photographers had a style or real clear vision for what they were trying to produce. At times they would shoot the same person by moving around them in a circle with their lights in tow.

I realize that life has many challenges, and going to photo-school full time isn’t within the realm of many people. I get it. I got lucky. I had parents who helped with my college tuition, and I chose a school right down the road, so in-state tuition, at least at that time, was next to nothing. I lived in an efficiency apartment, with a roommate, and we split most everything. I assisted for the local fire department photographer and he helped me with supplies and let me use his automated color printer when I was on deadline. I bulk rolled my film, used whatever free chemicals I could get my hands on and I lived in the school darkroom. I assisted for a still-life photographer who shot medical parts, sometimes taking eight or nine hours to make one image. I survived on cheap beer and Carnation Instant Breakfast drink(I was partial to the Strawberry). And I was very aware that many folks were having a far more difficult time making it than me.

This time of learning, of study, was invaluable for me because it was what allowed me to BEGIN to find my voice, my vision, which in my humble opinion is the most important, most valuable thing I have. Why? Because it is mine, and it is unique, just like your true vision is.

I made so many mistakes, so many false starts. I thought I was one photographer, but in reality I was another, and there was no way for me to realize this until I made those mistakes, those jumps off the photographic cliff.

Even after four years of study, I was only beginning to understand who I was with a camera in my hand. I ventured into the professional world, thanks to the help of many other people, but struggled with how to make it and how to keep true to goals. I worked in the newspaper world, I did freelance editorial work and basically shot ANYTHING that came my way. After a few years of doing this I realized that being all things to all people was not only NOT helping me find my real style, but was in many ways holding me back. So I quit. Yep, I quit and took a job with Kodak.

The first piece of paper I signed when I accepted the job was a conflict of interest letter stating I would no longer do assignment work. I signed it without a second thought. I realized then that the mainstream photography world was not where I was headed. The mainstream world didn’t offer me what I needed. I began working for Kodak, sold off all my equipment except a Leica M6 and a 35mm lens and went into temporary retirement. I visited with hundreds of photographers across the nation, spent time talking about photography, about printing, galleries, magazines, creativity, personal work, and a strange new perspective began to build in my mind.

Before long I had my camera in hand and I was making pictures yet again, but THIS time, the pictures were ONLY for me. I went into the field on my projects and made my pictures and suddenly, through the layers of my past and the stimulus of the day, I began to see the photographer I really was. Jobs couldn’t show it to me. Clients giving me their demands didn’t do it for me. School had opened the door but it wasn’t until this time at Kodak, and the shooting entirely on my own, that I found my vision, my style and my voice.

If I had listened to the industry I would have NEVER found it. Not even remotely close. The industry was telling me to go in an entirely different direction, heck the industry was telling EVERYONE to go in that direction. I knew I had to follow a different path.

So when you view the image at the top of this post and I tell you that this photograph, and many, many others, are critical to my wedding work I’m hoping that you now understand. Pictures like this are a reflection of who I am as a photographer. I don’t listen to what the wedding photography industry wants to me be. I don’t pay attention to what the wedding magazine lists are telling me I have to do, to say, to be. None of the applies to me. My goal is to put my stamp on the wedding, not the other way around.

We are a product of our past, our environment, and LEARNING photography, actually studying it, from the basics of light, timing and composition to more advanced studies of the history of our craft was critical to me finding the path I’m on.

If you are a photographer who is waiting for clients to dictate how you work then I think it might be time to reconsider why you are doing what you do. And if you haven’t ever studied photography, think about giving it a go. I think real study could be what unlocks the photographer inside you.