Homepage

Spent a few hours tonight updating and cleaning up the look of the homepage, checking links etc.
If anyone would like to contribute to the "little White Book" (see the link on the bottom right of the home page) please feel free to submit to Patrice or I. I think that many of the reasons that we get B's & G's is that they feel like we are actually helping educate them about the event instead of just taking their $$ and running. going to sleep now, . . . 2 a.m. . . almost

Phojo vs Docu

A question that we are often asked, "Can you shoot Photojournalistically?"

The short answer is, "yes".   The long answer is that
there is a fine line separating 'photojournalistic'  and what is actually a 'documentary' style that is often blurred by circumstance and subtle intention. The commonly used (and often misused term), 'photojournalism' has currently been relegated to the position of a 'popular marketing catch phrase', that appeals to customers who are actually interested in a very candid but none-the-less 'documentary' recording of their event.

Photojournalism requires an instinctual anticipation, a realization of the precise moment to capture an image that may communicate with the viewer in a personal, intellectual or spiritual way.  Good photojournalism can illicit feelings which lead to actions that may cause a change in the point of view of one person, a community or society as a whole.  It involves an extremely minute and subtle amount of manipulation of the subject being shot, so little, that for the most part the subject remains unaware.    It is rather like a dance with a partner who does not know that you exist.    As soon as the subject becomes 'aware', the images stop being instinct and anticipation and instead on some level, though they may be outstanding and meaningful, become choreographed and controlled.

Documentary coverage of an event will always benefit from the experience and the instincts of a good phojo shooter.   If an event is to be 'documented' and comprehensively captured, there are going to be situations where subtle coaching and direction are necessary.  The difference between coverage that looks contrived and artificial and that which appears natural, relaxed and spontaneous is dependent upon the experience, creativity and confidence of the photographer.  They must be a definite presence and must be sensitive to the dynamics of the subject matter in order to create meaningful images and do justice to the documentation of the event.

WELCOME, . . . again, . . .um, getting the bugs out

Here it is, an official ASp BLOG. All of you are are listed as blog team members, so you can post, respond etc. at will.

Hope you will use this and we will see where it goes

We can post fav shots of recent assignments, news of upcoming seminars, rants, gryps, anything, great experiences, unique art, etc, . . .

This is an image from a recent engagement shoot that we did for Andi & Eric. We started out at Union Station, (security booted us), Went to Whole Foods Market (security booted us again) and then Powell's Books where one of the employees noted that some of the poses/images might be inappropriate for younger readers, . . .
Ended up with a great shoot that we are turning into a guestbook / sign-in book for the B & G's new years wedding. In this image I placed Eric in the image as a reflection.

Random musings

Those of us who capture and manipulate light and shadow by carefully thought out compositions and perspectives have long realized that 'photography', far from being a 'soft' or 'psuedo' artform, may in-fact be the ultimate art. Our canvas is not fabric or pigment, stone or clay it is in fact the entire world in which we live. That statement is validated not only by what we 'produce' but by what we 'induce. The image, the visual revelation, is only a small portion of the canvas. It is the 'fabric' to which the pigment of memory, emotion, awareness and reason are applied. In some respects it is the most abstract and yet meaningful of all artistic forms. For to be completely realized, the image must be accompanied by the memories and feelings concurrent with the image itself. It is in essence an entirely unique and original work to each person who encounters it. Photography is an incredible resposibility for someone who takes it seriously. There is the portential of so much emotion and so many possible perspectives to explore. The images captured at any given moment may induce memories for years, decades and generations to come. Each person will experience the image in his or her own way. The artist that is 'aware' may produce a visually stimulating image but it is the perception of the person viewing that image that makes it complete.

The realization of this symbiotic relationship between the artist and the subject / observer as truley 'experiential' and not simply 'static' elevates the quality of the experiance and the creation of the art. The 'relationship paradign establishes a minor though significant contradiction to the common school of thought that the artist is 'in control' of the production and instead presents the premise that we are no more in 'control' than we would be if we were flying a kite. The artist, who is holding the 'string' may 'direct, exert and suggest' but when it comes right down to it, is at the mercy of their own experience and expertise, the design of the kite and the whimsy of the wind.