During September and October 2013 I was commissioned by Navitas to photograph their international students at 3 University of Massachusetts campuses in the Boston area as well as at the University of New Hampshire at Durham.
International Students photographed for Navitas, September / October - 2013.
On a three week road trip Navitas Art Director, David Kilvert, and I wandered around the North East of the US visiting the four campuses and the many towns and cities in between.
This collection of images pays tribute to the many wonderful students I met and photographed.
Navitas brings young people from all over the world to learn at these fine universities as well as at many others around the world
With profound thanks to the students and staff at Navitas Boston.
Last month I was lucky to witness and photograph dancer Lénio Kaklea (as well as others) as part of The Performance Program at MOMA in New York. I have prepared a short slideshow of Lénio's passionate performance.
According to the MOMA website:
The Performance Program is part of MoMA’s increased focus on the historical as well as the contemporary practice of performance-based art. The ongoing series brings documentation and reenactments of historic performances, thematic group exhibitions, solo presentations, and original performance works to various locations throughout the Museum.
20 Dancers for the XX Century (2012/2013) presents a living archive. Twenty performers from various generations perform, recall, appropriate, and transmit solo works of the last century that were originally conceived or performed by some of the most significant modernist and postmodernist artists, dancers, and choreographers. Each performer presents his or her own museum of sorts, wherein the body becomes the primary museological container and object. Accordingly, there is neither a stage nor a demarcation of performance space; rather, the performers circulate freely between the Museum’s Marron Atrium, the Museum galleries, and other public spaces.
Cast: Magali Caillet-Gajan, Ashley Chen, Jim Fletcher, Brennan Gerard, Trajal Harrell, Burr Johnson, Lénio Kaklea, Catherine Legrand, Morgan Lugo, Richard Move, Mani A. Mungai, Banu Ogan, Leiomy Prodigy, Christopher Roman, Shelley Senter, Valda Setterfield, Gus Solomons, John Sorensen-Jolink, Meg Stuart, and Adam Weinert
Sam Jones is a photographer who has pictured actors for 20 years. He has recently launched an online video magazine called 'Off Camera' featuring long interviews with some of the people he has photographed during his career.
I really enjoyed his chat with Robert Downey Jr which I can highly recommend. It is an insightful discussion with an artist and human being who clearly has used each life experience to enhance the one that follows. In Downey's words:
“If somebody has not really made space for themselves they can't really make space for somebody else”
He talks about his acting method which might be aptly described as 'prepared invention' or as he says,'When I am dropped in a hot zone I know how to find a bush'
He also talks about experience and how he has learnt to work with younger actors, 'I like inviting people to realise, yes I am just another schmuck standing here. I am just really good at being just another schmuck standing here because I've done it a lot'
I really liked this comment about 'natural talent': 'You don't want to be dependant on god's grace. You have to know what to do when the suns not shining.'
If you do check out this video it will be good if you can play it through your television. The plain, well lit set and conversational style can have you thinking you are sitting there with Jones and Downey in your living room.
I recently received an email from a student who described herself as an emerging photographer. She asked if I would mind answering a series of questions for her. I’m always happy to help as time permits and often see these questionnaires as an opportunity for a little self assessment.
Generally, the questions run the usual gamut and these were no different just phrased succinctly and thoughtfully - I just thought I would share the answers this time.
don't stop taking personal pictures
1. How did you get your first break in the photographic industry?
I began by photographing my friends surfing and had a little success being published during the late 70's. I also worked in a camera store during this time. I left that job and travelled a bit while working in bars to pay for equipment and trips. I eventually started a screenprinting business (at first printing my pictures on tee shirts) and before I knew it 10 years had passed! During this time I mostly did 4x5" personal landscape photography. An agency saw this work and booked me for a tourism shoot. Eventually I found myself doing more photography and ended up selling the screenprinting business in 1986. I've been a fulltime photographer since then.
2. What advise could you give an up and coming photographer entering the industry?... apart from origami looks interesting!
Technically: Know your shit from capture to file delivery
Personally: be committed to the image and learn how to communicate your ideas to your subjects and clients. If a picture doesn't work because the subject didn't co-operate or the client didn't 'get it' it's most often because the photographer didn't listen or didn't explain well enough.
3. What do you think is the key to being a successful photographer?…after owning a camera...
see above plus don't stop taking personal pictures
4. With respect to your photographic career to date, is there anything you would have done differently?
Listen better to the advice I am passing onto you ;-)
5. What are your thoughts on digital vs print portfolios?
I am conflicted on this myself. I recently showed my ipad portfolio to a prospective client in the US during an opportune moment. I would not have been able to reschedule the chance meeting for when I had print samples. They were happy with the ipad and the chance meeting turned into work.
On the other hand I love prints. I think the print portfolio can be overdone, however. For my last go at showing work to a bunch of art buyers I printed out 8" wide strips of work on my 44" printer and unrolled them on the desk. There were 5 strips of 4 to 5 images each showing a different subject matter. The buyers seemed happy to be able to move the strips around and run their hands over the paper - it was less precious than a formal, expensive portfolio.
6. When developing a folio what do you think the industry are looking for , what do you think makes a photographer and their work stand out, i.e. style etc?
That's a hard question without an easy definitive answer. I think you have to show your work around to really find out. As an emerging photographer you should be updating your portfolio almost monthly (which is why an electronic portfolio is good). Look at the great photographers (both contemporary and historical) and see what makes their pictures distinctive. Look for the nuance. Don't copy anyone's look or style - develop your own 'nuance'
7. Is there an industry standard for the number of prints included in a folio and is there an ideal print size required for various genres of photography?
The number of images in a portfolio should be one less than the point at which the viewer loses interest :-) As photographers we generally have to tell the story in a single frame so you need to be ruthless when editing the pictures. Don't get caught up in how much effort went into making the picture as a reason for including it. The portfolio has to show creativity, technical ability, ideas and originality. Try to do that with the first 5 pictures. If they make an impression the client/buyer will keep turning the pages or ask to see more
8. What are the most successful methods of obtaining work in the industry? Do you have an agent or do you freelance?
Meeting and connecting with people face to face. Using social media (carefully) to get noticed is a good way to set up a face to face meeting.
9. How do you see the digital photography industry changing in the next 5 years?
It will be more about the moving or sequence image that will begin as a still frame on an electronic page or device and morph into a 10-20 second video or sequence.
