Whether you think you can or think you can’t – you’re right!
I’ve been having one of those weeks, as I often do. I’ve had a couple of things happen that have really made me challenge my assumptions, especially about what I’m capable of.
I think what you are capable starts with what you believe. So it’s definitely worth asking the question ‘what beliefs do I hold that prevent me from achieving what I’m capable of?’
Sometimes you can’t see this for yourself and need to talk this through with others. Sometimes you’re pushed out of your comfort zone and this changes your perspective.
Obviously just believing that you can is not enough. It requires work and effort to close the gap between your current reality and what you know you can achieve. There will be frustration and disappointment along the way but you have to stay the course and keep at it.
Susan Bein is a teacher, graphic designer and photographer based in Portland, Oregon. I first came across her work on Instagram, although how I found her there I’m not sure. I think I was following links from one person to another to another. On Instagram Susan is @Wizmosis – check out her work!
In her bio she says:
I was an art kid who began photographing as a teen because I couldn’t paint or draw what I could see in my mind’s eye. I took classes from many of the photo giants of the time; Ansel Adams, Minor White, Aaron Siskind, and Paul Caponigro. I used black and white film and large format cameras.
What an amazing opportunity to learn from the masters of photography a veritable who’s who.
Susan drifted away from photography and into graphic design and teaching. Falling in love with photography again with the advent of the iPhone.
I love her iPhone work that is on Instagram and featured in her book Slightly Bonkers. The book is more magazine-like which gave Susan an opportunity to include a large number of the images that she made during the craziness that was 2020. I’m glad she did. Take a quick look in the flip through below.
Check out Susan’s presentation in the video below and learn more at her website here.
I’ve enjoyed looking at chapbooks and zines over the last couple of weeks, especially as an alternative to ‘prints on the wall’ as a finished product. To begin exploring the practicality of this I thought I would pick a small set of images and make something.
I had been playing with my iPhone at night just to see what it was capable of doing in low light. Over the course of a couple of weeks – usually when I was taking out the trash cans – I made a series of images of the moon. I then wondered whether I could actually get a crisp image of the moon with my Sony A7RIII.
I pulled these together in a Lightroom catalog, picked the ones I liked the most and then started in.
I have also had ‘learn InDesign’ on my list of things to do, so this was an opportunity to do all of this at once.
I started simply by making the chapbook using square museo cards. These are double sided so it was easy enough to set up a print template in light room for the card and run them through for the front and back. It was a bit of a brain twister to make sure the the right image was in the right place, in the right orientation but I figured it out eventually.
I then moved on to the zine which I had decided I would make on regular photocopy paper using my laser jet printer. I made a project for this using InDesign and was able to relatively quickly assemble the images for printing. My laser jet printer has a duplex option which means it automatically prints on both sides of the paper. It did take me a while to get all the settings figured out and by a while I mean a lot of paper! I finally realized what the issue was and got the zine printed.
For binding, the zine was stapled using a long reach stapler – what a cool toy that is! – and the chapbook was sewn using the three hole pamphlet stitch. I was happy with how they came out.
I was quite happy with how this came together. I still have a lot to learn but have a number of ideas for other mini-projects that I could do in a similar way which will build into something a little more substantial.
I am crossing my fingers and hoping I don’t jinx myself by saying this but I have impressed myself with my ability to keep up with posting on Instagram. I had set a creativity challenge for myself earlier in the year – originally it was to post on Instagram everyday but instead I decided to post every other day. Remarkably I’ve kept up with it!
Like photography and all forms of social media there is a good deal of editing involved. I am not showing everything that is going on for me only when I’m moved to use the camera. Nevertheless I am capturing my life one frame at a time.
Many of these photographs have special meaning for me but I wonder whether they connect with an audience. Certainly none of the images have ‘gone viral’ so that’s one kind of answer to this question.
One question that I’m returning to is ‘who are you creating for? Is it for yourself or your ‘audience’?’ I have always been advised to create for yourself but market to your audience.
How do you think about this? Where is ‘audience’ in your creative process? Not considered or front and center? Or somewhere in between? Is that working for you? I’d love to hear about it.
I’be been thinking about projects over the last few weeks. You might call it a series, others might call it a portfolio but for me all of my photography sits as part of at least one of a number of on-going projects. I picked up this way of working from one of the earliest workshops I did online with Bill Neill.
I had been thinking about initial ideas and how to develop them into a rich body of work when I started to think about what’s the goal? What would success look like? When would I know that I was done?
I must admit though that I never feel like I’m ‘done’. I just keep looking for images that will either raise the standard of the work that’s in my project or that will extend it in some way. But I had never thought about it being done.
It was encouraging then to listen to an interview with Michael Kenna who said something similar. That he’s never really done but an exhibition or a book deadline line will cause him to bring a group of images together that suits the need. He keeps working though and extends the work beyond the exhibition or book.
Other people that I’ve been listening to have discreet projects – I’m going to photograph here for a week, a month, a year and then after that time I’ve got what I’ve got and I’ll move on to the next project. Even then some of these photographers look for a milestone event such as an exhibition or a book to signal being done.
I like the idea of getting your project out into the world as an exhibition, a pdf, a chapbook, zine or larger book as a signal that the work is done. If only that means that chapter of the work is finished.
How about you. How do you know when you’re done with a chapter or the whole project? I’d be interested to hear about it.
It’s amazing to me how quickly the days go by and how little I remember of them. A little bit like the conversation with teenagers at the dinner table – what did you do today? Nuthin… it’s so easy to let the day go by and not hang on to any of it.
This has been especially so in the last year where every day has felt like the same. To combat this I have gotten into the routine of logging my days. Nothing spectacular just a few notes at the end of the day to capture what I did. It’s a little bit Austin Kleon and a little bit bullet journal.
I also like to capture my energy level and focus and also what was the highlight for the day. I have a template that I made for Evernote that makes setting all this up pretty easy.
I find that on the days where I have taken a photograph I can reconstruct what I was doing, what mood I was in, what the weather was like and on and on effortlessly. The photographs immediately take me back. I can’t help but think that this is because I am usually very ‘present’ when I’m photographing while I’m thinking about what’s next, racing ahead through my day, when I’m not.
How do you slow time down to relish and remember your days?
Time to finish the thought about zines and chapbooks this week.
I had never heard about chapbooks until I came across them through Brooks Jensen. Chapbooks have a long history as a way for artists to self publish smaller bodies of work. This seems to mostly have been a way for poets to get their foot in the publishing door and to pave the way for publication of a larger collection.
With the advent of inkjet printers we photographers can get into the game too! I had said previously that for me the real difference between a pamphlet, zine and chapbook is really the production value. With a chapbook being at the top of the heap, requiring more hand work – i.e. sewing of the signature than a zine which I would typically expect to be stapled.
I have included below a flip through of a Brooks Jensen chapbook ‘Worlds Within Worlds’ which I think illustrates the chapbook concept nicely.
I really do like this idea of small handmade books as a way to get my photography out into the world and will be exploring these more in the coming weeks.
While I was recently poking around on the Royal Society of Photography website I was curious to come across the genres of photography into which you could categorize your body of work for assessment. Of the eight categories only three really appealed to me:
Contemporary: Photography that communicates a visual realisation of a stated argument, idea or concept.
Landscape Photography: Photography that illustrates and interprets earth’s habitats, from the remotest wilderness to urban environs
Visual Art Photography: Photography which communicates a creative vision.
These are quite broad and give you a lot of space to work in. Never quite satisfied. And because all three appeal to me, I wondered about the intersections of these genres and what’s there.
I had fun putting together the graphic above to explore this a little bit. Also fun to learn a bit more about the history of photography in this way.
I think that ‘contemporary’ could be interpreted in two ways – it could mean ‘of our time‘, it could also mean ‘conceptual’. I’m going with ‘of our time’.
My new types of photography then are:
Contemporary Landscape – think Robert Adams or Edward Burtynsky
Fine Art Landscape – think Hiroshi Sugimoto or Michael Kenna
Contemporary Fine Art – I’m thinking of people such as Arno Rafael Minkkinen or those doing composites such as Jerry Uelsmann or John Paul Caponigro or what Jeremy Cowart is doing with photography, light projection and painting.
I’ve been enjoying finding photographers that are new to me and exploring their work. I recently came across Gerry Johansson, a Swedish photographer known for his black and white photographs of what would otherwise be unremarkable places.
Gerry has a ‘geographic’ focus have produced books of work from photographs taken in America, Sweden, Germany, Antarctic and Tokyo. I like his thinking in that the book is really the tangible product of his work because exhibitions are too fleeting. Gone after a couple of weeks.
He clearly has a love of photography books as you can see in the video below of Gerry in his studio going through some of his photo book collection.
I wonder whether the books that he selected to discuss influenced his decision making about his own books which are often relatively small by some standards. I think that these smaller books, smaller prints and images call for a closer engagement with the work and for a more intimate experience.
Gerry talks about his work in the video below. The audio is in Swedish, if you don’t speak Swedish there are captions in English so that you can follow along with the conversation. Check out Gerry’s website here to learn more.
I’ve been enjoying an exploration of ideas for handmade artists books. I was started off down this rabbit hole by a ‘how-to’ video that I saw on the Peg and Awl website.
Whether stitched or stapled this kind of single signature book is the foundation of Zines, Pamphlets and Chapbooks. I have yet to find a good explanation or description that really differentiates between the three. My interpretation is that it’s the production value that really sets the three apart but even then that’s not cut and dried.
I had been thinking of zines as being a bit rough and ready, a home made DIY magazine. I had come across zines before in the context of music – fans diy efforts to put together a magazine that supports their local music scene or their favorite band.
Photo book publishers such as Another Place Press and Kozu Books are producing zines, using the term zine to separate these smaller books from their other books. For Kozu books this means perfect or pur binding rather than thread sewn. While the zines (Field Notes) from Another Place Press are folded and staple bound. Take a look below:
I definitely think that a short body of work could be printed and finished by hand in a similar way to these more ‘commercial‘ zines are. Looking forward to giving this a go in the next couple of weeks.