Skip to content

The Prop Project Showcase:
Charlotte Rutherford

I’ve sold two props so far since starting the Prop Project, and another piece will be going up for sale shortly! In the meantime, I am so excited to showcase Charlotte Rutherford! She was the winner of my Hansel and Gretel dress. I was particularly excited to see that she had won the dress as I have been a fan of hers for ages and this was the perfect excuse to show her off to anyone who might not have seen her work yet.

Below is the image she created with the dress. I think it is perfectly surreal and whimsical, and I’m so happy to see my dress that I love so much in good hands :-) Now, go send Charlotte some love!

Charlotte Rutherford

2010 07 14 Brooke Shaden The Prop Project Comments (1) Permalink

The Art of Art History

Let me take you back to the start of college. I decided quite last minute in high school that I wanted to major in film when I went to college. I looked for a decent film school and I sat in my first class fairly confident in my abilities. The teacher walked in, thoroughly intimidated the class by going over how difficult the tests would be and by saying that only 1/3 of the class would pass, but I still felt confident that I would be part of that third. But then the dreaded words came. The class was a theory class and had nothing to do with hands on filmmaking. I thought I was going to have a mini panic attack. I somehow entered college thinking that if you major in filmmaking, you just made films. I was wrong, and to my detriment.

You see, I’ve never had an interest in art history. I know, I know, everyone can now take a moment to let their mouths drop in shock and think slightly less of me because I don’t know all of the birthdays of the most influential filmmakers. The truth is, I don’t have a mind for it. That type of information goes in one ear and out the other. I tried my hardest throughout college to retain information like that, and I don’t think I could repeat back to you more than the most basic information about any director that we studied.

Fast forward 3 years. I graduate college with a degree in film (the production degree, I might add). The entire time I was in college I heard from the students who followed the theory track that to be a successful director I would have to know history. To be honest, the thought scared me. Certainly there were some things I was interested in, but for the most part not only did it not pique my interest, I just couldn’t remember it no matter how many times I reviewed my flash cards. So, three years later and I’ve literally retained almost nothing from my theory classes. I only knew how to shoot films, practically. I pick up my still camera, I leave filmmaking behind, and I feel confident all over again that I will be able to push forward in the photography world.

It didn’t occur to me that I would need to be proficient in art history to be a photographer. It never occurred to me until I was told by others that you had to know the history of your profession in order to be successful. I have always been of the opinion that the only thing someone needs to be successful is a belief in what they are doing. I am certainly not saying that it is a hindrance to know art history in any way; on the contrary, I think it could be helpful in finding inspiration and shaping your own art. It can also make people more aware of the context in which their art fits, and consequently put more meaning into the art. It can help with marketing as well to understand the different trends in the art market.

However, as it is, I still have no background in art history. I love going to museums and looking at art. I read the little information cards next to the pieces, I enjoy  it while I’m there, and yet I always leave the museum having retained nothing but a vague memory of what I had seen, and nothing of what I had read. My brain doesn’t work that way, though I often wish it did (especially for making college easier!). I am inspired by many paintings, by different styles of work, by different artists. But I beg the question, does knowing the names of those artists really have any influence on my art? Do people want me to learn this information so that it can help my art, or is it to simply be able to throw names out in conversations at gallery exhibitions? Simply because I am not well versed in art history does not mean that my art is suffering. On the contrary, to me it means that my art is original, that it is a direct representation of my mind and what I want to create. I am not interested in the details of history but instead shaping the future.

I am hugely aware that my photographs that are influenced by history. Right now as I write this I have thoughts of my new Ophelia series stirring in the back of my mind. Those images are partially inspired by history, by the art movement of the Pre-Raphealites, by the female stereotype and human condition. So yes, even the art of someone who is a self-diagnosed art history square is influenced by certain aspects of our past. However, I am drawn to those aspects of our past because there are strong connections to my art. Before knowing anything about the story of Ophelia I was sketching underwater images that I thought of taking of a girl lying dead under the water. My links to the past have been encouraged by google image searches of my own ideas. I only found out about the Pre-Raphaelite painters because I wanted to make my images look more painterly and I wanted to find a practical source of inspiration to mimic brush strokes.

Art should come from within a person. It feels so natural to me that creating the imagery is like breathing, it makes me feel complete. If I find a part of history relevant to my work I will study it. I have great respect for those who are interested in art history and I would not want this to be taken the wrong way. I simply cannot agree that learning art history is a necessity to achieving success as an artist.

2010 07 09 Brooke Shaden Essays Comments (7) Permalink

The Ebb & Flow of the Online Following

So many up and coming photographers these days have been born online. If you are one of these people I bet you know exactly what I’m talking about. Perhaps you mark it on your calendar, or keep it as a mental note, but you have a date in which you consider your artistic self to have been born via the internet. These people are those who got their start online. I 100% fall into that category. So I’d like to take some time to talk about the ins and outs of online marketing, or at least what I have learned about it.

I thought this was a great time to explore this subject as today (well, yesterday technically) happens to be my blogaversary! That’s right…it has been one year since I began a blog. I remember creating one so hesitantly, thinking that they are nothing but a waste of time and do no good for self promotion. However, I have found exactly the opposite. Through keeping this blog I have rediscovered my passion for writing and I have also found a way to reach out to others in a way that perhaps was not being expressly communicated through my photographs. Yes, I want my images to stand alone and to be open to interpretation, however, a photograph could never explain my views on self portraiture.

Blogging, along with using other social media sites such as flickr, deviantart, linkedin, facebook…the list could go on forever…is invaluable when it comes to self promotion. I think that the first step to being a formidable online presence is knowing how to sell yourself and knowing where your market is. For example, I would probably never venture into the world of linkedin to try and promote my photography because that is known for being a business venture site and is not heavy the creative aspects. However, flickr was perfect for my endeavors.

I got an email recently that said: “How does one become popular on flickr?”. What a loaded question. Flickr is just like any other site where people interact with each other. It is about getting out there, making sure your content is slapped in people’s faces. It is also about the amount of work you create. But most importantly, it is about the quality of work you create. I won’t pretend to not notice the phenomenon of the 365 project. The reason why it goes over so well is because people love a schedule. People love to know that if they check someone’s flickr page everyday, something new will be there to look at. It makes getting online and searching a person on flickr worthwhile. It is exciting to build momentum and see what that person will come up with the next day. This is one way that people successfully use flickr as a marketing tool. I think that beginning a 365 project is the fastest way to get noticed and to be followed. So uploading and/or updating frequently is key to gaining and keeping a following.

That said, updating too much can be a huge turnoff. Who wants to get on flickr and see that someone has uploaded 10 new photos all at once? It becomes too much of a burden to comment on and follow. There is no more suspense. I think that a cloud of mystery does an artist well in that respect. The same goes for facebook. I think many people will be in agreement that seeing 16 different status updates everyday can get tiresome and can also make someone lose interest in the updater pretty quickly. I try to keep a schedule for my updates. I update facebook more than flickr because of the wordy nature of the site. I try to upload three images to flickr each week, that is my personal goal.

Another way to use social media sites is to be as interactive as possible. For me personally, if I am reading a description under a photo and the only thing it says is Strobist info and a link to to buy prints, I feel so much less connected with the image in most cases. I feel like I am being sold something rather than shared something. People want to feel connected with the artist. Again, I think it is good to keep some mystery but sharing something about the image is a great way to connect. I love hearing why someone created something, or their thought process, etc.

So you might be reading this (if you’ve gotten to this point) and are thinking “Okay Brooke, this is all fine and good, but you still haven’t really told us how to get noticed”. Creating art regularly and uploading it will not get someone noticed. You have to get involved. To use flickr as an example, join groups, talk to people, email people, be genuinely engaged. The people that I remember at the end of the day are those who wrote a thoughtful comment or email, someone who actually seemed to care.

To use another example that I recently explored: I joined the site Blue Canvas (www.bluecanvas.com) after it was suggested to me. I perused the site and found that certain people are chosen to be featured in their magazine which is printed internationally and in all major bookstores. What a worthwhile cause, right? So I joined the site on a Monday and I said, “I am not going to quit this site until I get published”. I half believed myself and half not, but I put my best effort out there. I uploaded some images that I am fond of, I took my time writing thoughtful descriptions, and I commented everyone I could find on the site, but I did it genuinely. I tried to find something I could connect with in the art on that site. I submitted for their photo contest. Pretty soon I was getting comments back, I was getting friend requests and one week after I joined the site I was asked to do a 12-image spread with a long interview and short interview in their magazine as the featured artist, and be part of their 2011 calendar.

It is all about getting your name out there and forcing your art in people’s faces (in the nicest way possible, of course). And most importantly it is about creating interesting art that speaks to something new and unique. If people have already seen something like it, they won’t remember it. I hate falling into Business Brooke to write this, but that is the reality of the industry. There is a huge business aspect to all of this creative fun that we love so much. A successful photographer, especially one born online, would be fooling themselves to think that they do not have to be business savvy.

Here is a recap, what I find to be useful tools in online marketing:

1. Do your research. Figure out which social networking sites work for you and which ones you enjoy yourself.

2. Become involved in the site and engage with others.

3. Create interesting art that shows a different perspective on something.

4. Share something about yourself or your art that is more personal in nature.

5. Make sure people are seeing your art by putting your name out there in as many places as you can with a link to your images.

6. Update your site just enough, but not too much.

7. Create a standard for yourself. Don’t share your art for the sake of sharing.

8. Remember that being an artist is not the same as creating art. Being an artist requires a commitment to promotion if you want to call it your day job.

I know that a lot of this might be common sense, but I do get emails asking me about things of this nature so I thought I’d touch on it in a blog post. Perhaps I’ll write another after I reveal some new business-type things that are in the works for me. Thanks for reading!

2010 07 06 Brooke Shaden Essays Comments (1) Permalink

Self Portrait Artist as Omniscient Narrator

I recently looked back through all of my blog entries and to my surprise I had not yet written one on self portraiture. How could I have missed it while writing down dozens of essay ideas? Is this not what takes up a significant portion of my life? Did I forget about it or did I subconsciously avoid the monumental task of writing on the subject, what with so many people creating that type of art and loads more people criticizing it? Either way, I have now quieted my subconscious and picked through my brain enough to sit and write on the subject. Who better to write on it than one who has almost equal experience in shooting herself and others (well, that’s my rationalization)?

I have been quite lucky in my endeavors as a self portrait artist. Wait, “lucky” is not the right word, who believes in luck these days anyway? It’s all about creating your own path. I say this because I have not received a word of criticism about being a self portrait artist. If you look closely you can see people daily who are criticized for being narcissistic and self-indulgent. We all know the people that I’m talking about, the ones who can take basically the same picture everyday of themselves in uninteresting and uncomplicated poses while looking longingly off camera. Then there are those who are criticized for being narcissistic when they are taking genuinely interesting images. Then there are those who are criticized when they use their bodies as a means of expression. The point is, it is rare to not be criticized as a self portrait artist. Those are the easiest artists to attack. Vanity is a topic of great debate in the art world it would seem.

But I have to question the motives of those doing the criticizing. Is it really so horrible if someone takes gratuitous photos of themselves all the time? Is it really so bad if they post these images to the internet in a public forum? Is it terrible that they are trying to get attention? No, of course not, it doesn’t concern anyone who doesn’t want to be concerned with it. I think that some self portrait artists use it in this way and we would be delusional to think that vanity art does not exist. But there are so many other ways of viewing the self portrait artist, and of being one.

The main reason that I hear from people about why they take self portraits is because of the convenience factor. I can speak to this personally, as I began taking self portraits because I had no one readily available to me (trust me, I am a loner), and I was not comfortable asking models to join in my amateur photography sessions. I tried convincing my husband to let me shoot him but that request was shot down before I got the sentence out of my mouth. In fact, I think it went like this: Me – “Hey, will you…” Him – “No, I won’t model for you” Me – “Darn”.

So I began taking self portraits. It felt natural, really. I hate “having my picture taken”, but self portraiture is nothing like that. You don’t have to stand in the middle of a group of people and say “cheese”. It is a creative process, a personal process, and a very educational process as well. I remember the first time I tried it out. I was doing a shot on my bed, running back and forth between the camera and my position trying to fix my camera settings and troubleshoot while still having to remember to make the image as aesthetically pleasing with my body as possible. It created an extremely fast learning curve. I got to understand instantly both sides of the business. It was exhilarating, I loved the feeling of being 100% the creator of my art. I thought it was magical, the way I could sit at home on a Saturday night and within a couple hours have created something worthwhile, completely alone.

I encourage anyone who has never taken a self portrait to give it a try. Remember that it is not about looking good for the camera, it is about fitting yourself into the frame to make a believable image and it is about learning. “Learning”…that brings me to my next point.

I went through college thinking I was going to be a cinematographer or a director. I got on set for my first short film and I had actors to direct. I tried my best, gave them direction, but looking back on it the direction I gave them was shallow. I didn’t help them get into character. Instead, it was so mechanical: “You turn left and then throw your glass on the floor and then turn back to your first position and exit right”. Things of that nature. I wish that I had discovered self portraiture before that. I would have known so much more…

By experimenting with self portraiture you become aware of both sides of the camera. I taught myself invaluable little tricks of the trade, things that I can now tell models to be aware of when they are collaborating with me. It even taught me to use the word “collaborate” when speaking about models, as they are doing a lot of work in front of that camera! I learned how to add intensity to a pose, how to look weak, how to look downright dead…I learned what angles work without upsetting a model by showing them an unflattering image.

Now I would say that my work is half self portraiture and half with models. I realized at a certain point that I am not always the best model for my work. I do not have a photogenic face and my stature and “look” are just not right for everything. I like to use models now where I am not appropriate. I like to use models even when I am appropriate sometimes as well…

…In fact, I came to a disturbing realization the other day. I was driving down the 101 freeway in LA (well, sitting in bumper-to-bumper traffic) and I was sifting my thoughts on self portraiture, even thinking of this very blog post. I was trying to think of the ways in which I would tell all of you why I love shooting self portraits and why it is my preferred method of shooting, when all of a sudden I realized that saying that would be a lie. I did not want to admit it to myself for so long, I felt that there was pride in being a die-hard self portrait artist. I felt like a sellout or something. I think that people on Flickr praise self portrait artists and generally see it as a positive rather than a negative. Even my mom commented recently that she thinks that people like my self portraits more than my model shots because people are fascinated with being able to see into the life of the photographer. But here, I’ve said it…I prefer to shoot models.

While sitting in the car forcing myself to admit this, I also thought about all the reasons why I love shooting models. First and foremost, I get to tell a model how to get into character. I get to direct them. I found that I have a huge passion for directing people. Granted, I have always been quite the little boss (Bossy Brookie, if you will), so it does not come as a surprise to me that I enjoy telling others what to do. Second, it allows me to collaborate with another artist. Most models consider themselves artists just as much as us photographers do. I have had a wonderful experience lately with model Katie Johnson that emphasizes that sort of relationship. We are working on an Ophelia series where she is the model and I am the photographer/conceptualizer. However, she shocked me with how involved and in-character she became. She began sending me loads of research that she had done on the subject, and even to go so far as to look into gender stereotypes and sexuality pre-20th century. It was damn impressive if you ask me. That is what I am talking about, the feeling that you are working in conjunction with another artist is a great feeling.

Self portraiture is an art in itself. It takes great patience and a new way of thinking all together. It is something when done with integrity should be respected. I have found that in visiting and exhibiting with galleries, they have all (really, all of them) preferred my self portraits over the model shots because they find the art fascinating. I thought it would be the other way around. I thought that I had to use a model to be taken seriously. I am pleasantly surprised thus far to find that many minds out there are wide open, and self portraiture is not only accepted but respected as an art.

Placing yourself within your own frame is historically relevant and exciting. For centuries people have practiced self portraiture, but never in such an accessible and socially conscience setting. For every self portrait I have done, I have gotten into character and that character reflects nothing from my own life. However, simply by being in the image that I am creating I am automatically adding another dimension to my art. It questions the role of the artist. It shows an artist that is fully immersed in their art, quite literally examining their own art inside and out. The self portrait artist is the omniscient narrator in a photographic story, seeing all, knowing all, controlling all. It also represents a time when artists, women especially, are not apologizing for creating what they want to create, a time when creative freedom is at its peak. Who knows, this might be that very moment in history when a creative arc is happening, and all of the self portrait artists out there can say that they were a part of it.

2010 06 29 Brooke Shaden Essays Comments (6) Permalink

Awakening

This image is part of my “Sac” series, which is largely comprised of images that show a person being restrained by a layer of fabric. In each of the images the fabric is neutral colored, skin colored. The fabric mimics flesh, as though it is another layer of skin that the subjects are trying to shed or break free from. My new image, “Awakening”, falls into that category and explores another facet of breaking free. It explores female sexuality, the ways in which women are discouraged from expressing their sexuality and also the vulnerability of that feeling.

In the image we find two girls, the same girl added twice into the frame. She stands in similar poses, both of them with their mouths agape. Are they screaming in pain and suffocation or do they feel pleasure? They both hold themselves in such vulnerable ways, but also in explicitly sexual ways. Most of the body language does not say “sex” at all, but instead would suggest that the girls are trapped and weak. However, we can almost hear them yelling, we can almost see the next frame in this story, the girls escaping perhaps. Are they protecting themselves, as the body language would suggest? Do they want to keep this extra layer of flesh that holds them back from fulfilling desire, or do they want to shed it?

The layer of fabric that is draped around the two girls is being pulled off camera on either side. The fabric seems to be just as in control as the girls, if not more. The fabric is taught and suspended and enveloping them. What pulls the fabric tight? What are these girls tied to? This seems to be as close as they can get to each other, and questions if they would get closer if they were able to. It also begs the question of who controls the fabric, who puts the shield around them, and if it is possible to break free.

The detail of the “other girl” suggests sexual exploration and the fact that it is the same girl suggests self-exploration, as does the hand positioning. There are an infinite number of things we can explore about ourselves. The title offers some insight into the image. The title is “Awakening”, and directly references the sexual awakening that everyone experiences. This is the physical representation of that. The entire series could also fall under that name, as they are all meant to be the moment of realization and decision. In this image, the girls are not idly standing by. We can see their real skin underneath the facade and we want them to escape the fleshy prison. The “Sac” series is an attempt to look into those different insecurities and visualize them by showing a physical barrier.

2010 06 24 Brooke Shaden Image Evaluations Comments (5) Permalink

The Prop Project: Gretel Dress

Thank you all SO much for taking an interest in “The Prop Project”. Not only does it allow me to exercise my creativity in which props I can choose, but it also gives us a chance to share and inspire. I used to think it was bad to spend any money on an item for a photo, but I’ve come to realize that my dreams are bigger than my budget and that is just fine, there is no shame in that. A prop can liven up an image so much, it can bring a new element and put it over the edge so that it falls into that timeless, more beautiful realm that I am always striving for.

That said, next up is…the dress I wore for my Hansel and Gretel shot. It was also featured in a couple of my other images. The dress is perfect for a fairytale look, and also makes a wonderful “Alice” dress. If you get a petticoat to go underneath it gives the dress volume and really takes it to another level.

Some points about the dress…

- Longer in the back than it is the front, giving it much more “whimsy”!

- Knee length

- Embroidered in lace on the front

- Authentic vintage, 1960′s

- Baby blue in color

- Fits sizes 0-6 (I am a 2, and it is a bit big on me but also very easy to alter)

- Zips up the back

- Has a small pink stain on the bottom of the dress

And remember, whoever wins this item and uses it in an image will be featured on my blog. The item can be purchased on Ebay HERE for a fraction of what I paid for it :) Happy bidding, and thank you!!

2010 06 20 Brooke Shaden The Prop Project Comments (0) Permalink

The Prop Project

To any photographer out there reading this, you must know the feeling that I am about to describe. You see the perfect prop, so wonderful that you can’t imagine using anything else in your image, and you just have to have it. But soon enough you flip the price tag over and it is out of your price range. And then the feeling comes…your heart sinks. Photography is everything to me, and more and more I am feeling like the props I want are too expensive to snatch up. I used to be completely content with using no props, but now I am moving toward a more complete form of storytelling, one where I need to create a scene with props and real atmosphere. Certainly I still advocate keeping your money where you can and utilizing what you have, but we all know that there are those times when props are needed.

So this is where my new idea comes in. This is “The Prop Project”, something that I hope we can all participate in. The idea is simple: I buy a prop and I sell it through Ebay with a starting bid at a fraction of the price I paid for it. Under this principal, I will be able to essentially buy the prop for a lower price, and you will too. I am located in Los Angeles which is the mecca for interesting props and I have access to all sorts of vintage clothing stores and prop shops, so I certainly have access to interesting things. I will show my image that comes out of using the prop, and I will also show pictures of the prop outside of my image.

The second part to this project is this: Whoever buys the prop and uses it for an image will be featured on my blog to showcase the image that comes out of the prop exchange. It is always interesting to see the way in which two different people use the same prop, so why not show the influence that a single object can have in a photo. Using props helps tell a story. I am open to suggestions, so if someone sees a prop that I have used in a photo that they might want just let me know and I’ll showcase it.

First up will be…

The antlers!

The antlers measure about 15 inches in length and are authentic deer antlers. You can bid on them HERE. The auction closes in 3 days.  I invite the winner to send me their image so that I can post to my blog!

Thanks for reading, I hope this sparks interest in some people! xo

2010 06 15 Brooke Shaden The Prop Project Comments (1) Permalink

Lighting for Less

When people ask what type of equipment someone has, they usually mean two things: camera and lighting gear. Lighting can be a really intimidating obstacle because of the range of equipment out there and the price of it. I have next to no training with professional lights. The only training I have had has been in film school with large film lights, but nothing like strobes or photography lights. Even if I did have training, there is no way I could afford that right now. So I improvised, and I got the cheapest, most efficient lights I could find. I am willing to bet that just about everyone reading this could go out and get the same lights with about $20 in their pocket. So what is it that I light my photo with? Why, 200watt bulbs from Home Depot, of course.

Anyone can go out and find a 200watt bulb. The 200 watts will give off enough light to get a good exposure, but at the same time it won’t blow a fuse or melt the wire of the cord that it will be attached to. Okay, so what good is a 200 watt bulb without the proper cord to attach it to? My next trick is this: paper lanterns from Ikea. The package for the lantern and cord is about $5. I own three lanterns and three bulbs. The lantern is great for light diffusion. Light bulbs are often too harsh to light a subject with, but the paper will make the light appear softer.

Next step: How does one direct the light? The fancy word for shading the light on a certain area of the set is a flag. So, my solution to that would be using a black trash bag. You can tape the trash bag to the lantern wherever you want, thus directing the light and/or keeping it off of a certain part of the scene or subject.  The only other thing that I carry with me when I am lighting something artificially is something that my mom told me was of the utmost importance for survival in college: duct tape. Don’t ask me why she said that, but it has proved to be quite handy. Who needs a c-stand when you’ve got duct tape? Use things around the house to tape the lights to – lamps, walls, chairs…you name it and it will work.

Now that we have three lights and ways to rig them, the possibilities are endless. You can practice anything from back lighting to three-point lighting, to one-light setups.

I do all of my artificial lighting with the light(s) pictured above, and I always have for the photographic life. I would certainly like to delve into other types of lighting, but for now this works. We all have to start somewhere!

I used three lights to light my last picture. Below is a diagram of how I lit my picture with my equipment, and below that is a description of each light.

Light #1: This light is a 200 watt bulb inside a 1 1/2 foot paper lantern. It was placed 4 feet away from the table in line with the fruit.

Light #2: This is a 200watt bulb inside a 1 1/2 foot paper lantern. It was placed 6 feet away from the table in line with the fruit. This light was placed farther away from the table to create shadows, yet it was close enough to add fill light which softened the shadows so that it did not look harsh.

Light #3: This light was a 120 watt bulb that I pulled out of my bedroom lamp. It was placed inside a few vines of red grapes, thus giving the illusion that the grapes were illuminating the scene. The grapes were about one foot in front of the subject and about one foot above the subject, thus giving the subject a pop of light compared to the surroundings.

To those people who can’t afford lights – I’m right there with you. These money-saving lights really helped me learn lighting as well as boost my confidence in the fact that you don’t need expensive equipment to successfully light a picture.

…And a side note: the paper lanterns warn people to not put anything over a 75 watt bulb inside…I take no responsibility if you set fire to something, though I’ve never had a problem :-)

2010 05 28 Brooke Shaden Technical Comments (8) Permalink

Pixel Peeping

One could argue that at the most basic level there are only two types of photographers. The first falls into the category of people believe that concept outweighs technical perfection. The second would be the opposite, those who scrutinize over every small detail at a 100% zoom, searching for technical errors and flaws. The difference between the two marks a divide in photographers. Is it possible to be a 50-50 split of both? Can one be a conceptual photographer and pixel peeper? I think that the balance is what makes a photographer successful.

Pixel Peeper

I couldn’t help but check out the urban dictionary for the definition of pixel peeper, and of course the connotation is very negative and even describes the term as being derogatory. It certainly can be used that way, and often people who litter the photography forums preaching about camera quality and megapixels only want to prove that their camera is better than yours. I think we all know someone like this (apologies if that is you), and whenever I talk to one of those people I want to tell them that they are completely missing the point of photography. Is it not about concept and relaying a message? Is it not about capturing that one moment in time and telling a story with it?

No! That is part of my definition of photography, not the universal definition. To say that pixel peepers are missing the point of photography is to say that people who only create conceptual photographs fully understand the point of photography. But who are we to judge why someone enjoys photography? Going to film school, I met countless people who seemed to only care about how to technically operate cameras. I used to get very annoyed with people like this because I have never had a true fascination with how cameras worked. I just wanted the end result. For some people though, the fun lies in the camera specs and not in the final product.

I have been fortunate enough to meet both extremes at my gallery exhibitions. I catch people constantly going straight up to my prints and getting less than an inch away from them, leaning into them, turning their heads and squinting their eyes. Everyone wants to know a) how I did it, or b) where the mistakes are. When I approach these people at my shows most of them will say directly, “how did you do this?”. I don’t usually find the question rude, though I know some people do. These pixel peepers are simply confused by the construction and would like an explanation. Granted I do not always give one, but I try my best to explain what they want to know. Others, when approached, will simply walk away from me without saying anything, and I can’t help but wonder if they were looking for mistakes and had no real interest in the art at all.

So, does there exist a successful artist who is solely a pixel peeper or solely a conceptual artist? I don’t believe anyone could find an example. In order to be a success one must have striking images with thought behind them as well as precise technical execution. I try my hardest to be a blending of these two types of people. I go into a photoshoot heavy with concept and laden with props and ideas. However, before that image gets published, I lay my eyes over every bit of that frame to make sure that I have not made a mistake. When I upload my photos to flickr, that for me is the equivalent of publishing. When people comment and tell me that I did something wrong or missed something, I will usually disagree because I check these things very carefully (but critiques are always welcome).

I think that anyone who doesn’t peep at a few pixels is doing themselves a disservice when it comes to printing their images and growing as an artist. I think that those who want to show their work or be published or put their art out there needs to be ready for critique and also must be able to defend their work when the time comes, and the time will come eventually. I feel confident that because I have put a lot of thought into the concept and technique of my images, I can always talk about them comfortably, whether it be about technique or concept. This whole debate is something to really think about and put into practice. It can help define you as a photographer, whichever side you may be on, and it can also help people grow in the way they create images.

–

*Special thank you to AlgenonQ for suggesting I write on this topic*

2010 05 04 Brooke Shaden Essays Comments (8) Permalink

The Meaning of Inspiration

I talk often about the excitement I feel when I look at a Pre-Raphaelite painting, and when someone asks me what I am inspired by I will often cite those paintings as a reference. I am drawn to painting in general, but in terms of what I feel close to artistically, those are the pieces of art that do it. I have always loved the ethereal beauty of them, as though the girls are timeless and lost in a dream land. I like the textured look that the paintings take on, where the true blacks are almost skewed brown and the whites have a milky warm glow about them. I am inspired by them. My image today was inspired by Ophelia (certainly one of the most well known Pre-Raphaelite paintings out there) by Millais.

But then yesterday my husband said something that really made me think. He said “It is almost as if you have been waiting to create this image since you began photography because it is so intrinsically ‘you’ rather than being inspired by that painting” (or something along those lines). And I really had to think about that, because sometimes inspiration can get tangled. It is very true, I adore doing shots in the creek, I love the murky water, I love the reflections I get in there. I also love photographing death and the process of dying, or the sentiment. I also shoot mostly women. So this image is so close to something I might create on my own that he questioned my inspiration. This makes me question where inspiration comes from.

Was I inspired to recreate this painting because I was truly struck by the painting as an incredible piece of art that I saw as a challenge, or did I choose it because it so closely resembled something that I might think of myself? Am I drawn to this style of art because I feel a connection with it on a personal and creative level, as though I might have been (or tried to be) a Pre-Raphaelite painter given that I lived in that time period? I have never thought of inspiration in that way before. I think that inspiration, for me, comes from a place where my personal style of art comes across in some way through another artist. For example, if you look through my favorites on flickr, a lot of the shots showcase people showing a lot of skin because that is what I like to photograph myself. All of the paintings I research have similar themes and sentiments. I am never drawn to something that I would not want to create myself. I know that there are people out there who love art because it is so different from who they are. I suppose I do not fall into that category.

If you go to dictionary.com and type in “inspiration”, one of the definitions you will get is “the drawing of air into the lungs; inhalation”. I found this to be the most accurate definition for me, because that is exactly the feeling I am trying to describe. Inspiration does not come from places that I cannot connect with, it is as natural as the air I breathe. It is something so connected to who I am that I confuse it with my own personal style. We breathe in our inspiration, for me the Pre-Raphaelite paintings, and when I exhale I produce a new mixing of chemicals, a reinterpretation of that inspiration. What we do with our inspiration is the exhalation.

2010 04 28 Brooke Shaden Inspiration Comments (2) Permalink