Body Art

Though I have no photos right now -- tonight, I may change that -- I'm going to be doing a documentary photo project on body art for my advanced photojournalism class. I'll be posting the photos on this blog and tagging each with the "DocPhoto" line, as well as anything else that may occur to me.

As usual, it might work, it might flop, it'll probably some combination of the two, but that's life, no?

Things learnt

[I'm going to make a concerted effort to post more often in here. I've been slack about it for the past couple of months because, all at once, I've been busy and uninterested in the rest of the world. Shame on me, true, true, and this is part of my effort to remedy that.]

Over the weekend of the Southern Short Course in Charlotte, I learned quite a bit from listening to people and looking over their work. Unfortunately, I only got a little bit written down, which is what I'm going to share here. So, here we go ...

From Jeff Widener:

• Build a photo library. Have a collection of inspiration on your bookshelf. Anytime you feel you're lacking in ideas, go look through a couple books of someone else's work. It's all been done already anyway.
• Get inspiration from old magazines. Find old stories that need to be updated.
• Be persistent with other people, but don't piss people off.
• Have fun with your art -- it's not just a career, it's a good time.
• If there are personal things that get in the way of making good photos and taking the pictures you want to take, deal with it. It's a major block.
• "Make love to your craft."
• Find humor in the situation. It'll make things fun, and enjoyment increases productivity.

From Shawn Rocco, regarding portfolios:

• Every photo in your portfolio should be a visual surprise, moving the viewer the want to see the next photo.
• A photo story should have something between 6 and 12 photos -- succinctness is key.
• Leave out photos that detract from the portfolio as a whole. There shouldn't be any photo in the set that just leaves a viewer with an "Eh, okay, whatever ..." feeling.
• Wide-angle vertical shots are not very attractive. Maybe kinda avoid them.

From Ross Taylor:

• Why the hell are you there? Know why you're shooting, and let your subjects know why. If they ask, have a good answer ready for them.
• Avoid acid-washed jeans. Way uncool, dude.
• Draw out a storyline, under which should be two things: Themes and Visual Icons. Themes are the parts of the story that should be told, like love, hate, fatigue, worry and other such mostly abstract ideas. Visual Icons are the way you tell an audience about those emotions and thoughts through your photography. List both.

From various people who slip my mind ...:

• Project boxes: cardboard boxes with a certain title, into which materials for long stories or projects are placed. Probably more useful for long-term projects.
• When getting a Web site, make the interface intuitive, make sure it loads quick, always include your phone number instead of just an email, and respect the photography more than the Web design. Also, avoid designed named after platypuses.
• Don't blow stuff off -- go anyway. No matter how stupid it may seem.
• Get the important stuff: tight, medium, overall, opener, closer, emotional, et al. No matter what you're shooting.
• Have a large visual vocabulary.
• It's not just skill, it's passion.
• Keep your photos clean.
• Chaos is opportunity. Get in the midst of it.

Sure, that's just a little sample of what was digested, but hey, time is money, and I'm broke. ... which means I need to do other things. Ciao.

Finito

Yep, finished with classes for the semester. I had an Arabic final at noon, and now I'm done.

To celebrate, I'm going to ... change my desktop background?

From this:

To this:

This is a completely pointless change, but, as I now have all of perhaps two responsibilities, most things I do will seem completely pointless.

There'll be more later, I'm sure.

On JOUR 3610

I am finally into the photojournalism classes, and I am in a ... satisfying ... relationship with the class. "Satisfying," for everyone's reference, hides somewhere between "Goddamn, I love this," and "Goddamn, this sucks." It's not an easy class, and it's not an unrewarding class. I take pictures, and I learn, though I'm constantly frustrated and unhappy with my own work.

At first, it was a little boring, going over the nuances of manual cameras, since I've been shooting manual for the last six or so years. I wouldn't miss the class for anything (aside from maybe a salsa performance in a few weeks, but more on that later) though, just because I do enjoy the professor and the non-technical material we cover in class, a.k.a. "ratholes." I'd really like to get more into the non-technical aspects of the craft: talking to people, finding stories (we have gone over a lot of this, but not to the extent which I would prefer), and I'd really like to discuss the concept of "finding a style." Every photographer I've ever talked to has mentioned this abstraction, and, being the son of an engineer who works with concrete facts and figures, I can only just say, "What the hell?"

I look forward to continuing through the series of classes, especially some of the stuff we'll supposedly do on slideshows and different presentation types. I'll hopefully be signed up for the new class next semester on using newer technology with media, but we'll just have to wait and see. My final (and not total, as we're only halfway through the semester) assessment of the course is that it's engaging, demanding, and totally worth it.

Unused photos. And Nyquil.

Some photos taken for my the last assignment, specifically, ones I didn't use. And I'm on a Nyquil hangover, something that I find as close to Robin William's mythological "Fukettall" medication, the stuff that makes you apathetic toward everything. So, anyway ...

The fact that this didn't show their faces and that it was soooo grainy kept me from throwing it at the assignment like a badly-used athletic analogy onto a blog.

I liked the "On Air" bubble being lit, but this was the only time that he got on-air while I was there, so I didn't have much time to rearrange. Thus, there is a microphone stock sticking perfectly out of his head. Bravo, me.

Another one of the DJ, this time through the glass of the DJ booth to his right. Just ... eh.

Right. Uhm ... going home now. To sleep it off.