Inceptive Notions

to fly

New project is up on my main site: click here.

Michael George :: Nov.12.2008 :: My Photography :: No Comments »

High Fiving Strangers - November 4, 2008

Click for a short series from last Tuesday. I won’t spill my passions from the past year, but I will say that I’ll never forget that night.

Michael George :: Nov.12.2008 :: My Photography :: No Comments »

Photographers David & Madeleine Spears just published a book entitled Unseen Companions: Big Views of Tiny Creatures. The pages are filled with extraordinary microscopic images of insects, which reaffirm the limits of our natural optical perception. One of the images I found particularly terrifying is described as “a group of dust mites foraging for human skin on a bedsheet” (see above). I don’t want to believe these creatures exist.

On another note, there’s one thing I’ve never understood about this type of photography. Where is the variance in the colors? The images look as if they were painted in a color-by-numbers…like the world is nothing but a pixellated image and, just as when you zoom in on a photo, it becomes a jumble of monochromatic objects. I have tried to research what cameras are used in the process but wind up empty handed. I can’t imagine rendering them in true color is terribly difficult. After all, Margo Herre, a friend of mine in the photography department, photographed cells and microorganisms under a microscope this past semester. Although they were mostly dyed specimens, they were rendered in full color. If someone can provide any answers it would be greatly appreciated. Or else I’ll just assume that we live in one very large pixellated image.

Reality?

Michael George :: Nov.06.2008 :: Miscellaneous, Photographers :: 2 Comments »

Awkward Similarity

TIME.com just posted a new photographic essay entitled “The Campaign from Obama’s Point of View.” The photographs are eerily reminiscent of the recently republished “RFK Funeral Train” series by Paul Fusco. Although, considering Fusco’s series is one of my all-time favorites, I must say the images are less impressive.

The similarities, nonetheless, are strange because the circumstances are so opposed. Waving hello vs. waving goodbye, the bus vs. the train, hopeful vs. empty… film vs. digital. I was also surprised to find the difference in time period is less obvious than I would have expected. I’m not really sure what to make of the juxtaposition, but I can’t imagine the editors were unaware of the likeness.

Michael George :: Nov.02.2008 :: Miscellaneous, Photographers :: No Comments »

Wisdom

Vanessa Redgrave - © Andrew Zuckerman

I always make sure to leave my cash at home when visiting ICP because I consistently find books I “need” to own in the adjacent store. This time I discovered Andrew Zuckerman’s project entitled Wisdom. A quote from Amazon sums up the concept quite nicely:

“Inspired by the idea that wisdom is the greatest gift one generation can give to another, award-winning photographer and filmmaker Andrew Zuckerman interviewed, photographed and filmed 50 of the world’s great writers, actors, artists, designers, politicians, musicians and religious and business leaders of our time. He posed seven questions to each of his subjects—all over 65 years of age—and their candid responses offer uniquely inspirational and often surprising insights.”

Clint Eastwood - © Andrew Zuckerman

If you visit the site you can watch short clips of the interviews, view the portraits, and flip through a sampling of the book. The images are reminiscent of the entry I wrote on “Faces,” but some take on a wider angle. In “the making of” you can see the small studio Zuckerman transported to each location to shoot the photograph and conduct each interview, explaining how this democratizes each historical figure. The myriad of attitudes, perspectives, and nationalities provides a very well-rounded commentary on our place in the world today. Although some of the words feel simplistically idealistic, sometimes that’s what we need.

Michael George :: Oct.20.2008 :: Miscellaneous, Photographers :: No Comments »

Spoken Word: Michal Chelbin

A few weeks ago I went gallery hopping with one of my professors and some friends of mine. We sought out the photography shows and slipped into Michal Chelbin’s exhibit of photographs from her “Strangely Familiar” series. Thanks to the crowded atmosphere I found myself face to face with large prints of these gorgeous square-format portraits. Despite having just returned from traveling, Chelbin was more than grateful to answer some questions regarding the series.

…And it just so happens she was named as one of PDN’s emerging 30 of 2008!

____

- I noticed in the series that you focus on a myriad of different people but the central figures tend to be children. I also noticed that, despite there being groups of older people in the book, none of these were exhibited in the show. What purpose does this selection serve?

When installing a show, many factors have to be taken into consideration, like to the size and shape of the space, how many works can fit in, what photographs work best together, etc. I agree that I photograph a range of ages, not just children, but in the end, that selection felt the right one.

- You say that you “search for people who have a legendary quality in them; a mix between odd and ordinary.” Your subjects are acrobats, contortionists, and mostly have bodily talents. Do you find this legendary quality manifests itself best in those with refined physical abilities? (as opposed to skills such as musicians, etc.)

Sometimes yes, but not necessarily. Usually the first thing I look for is the face and the eyes, so it is not necessary a matter of body. But definitely people who have bodily skills, can bring an extra layer to the final image. Sometimes it is because the body and the face (or more accurately, the gaze), are in contrast to one another.

- Can you elaborate on your preference for square format?

I like the Hasselblad very much. It is easy to handle and the lenses are superb. I also like it because I often try to address troubling issues and the use of this balanced / symmetrical format causes the form and the content to conflict, which is something I like.

- Would you mind discussing the technical aspects? The colors in the prints are extremely vivid which adds to the mystical quality. Do you have a favored film choice?

I almost always shoot with available light, which means sometimes shooting in poor light conditions. Therefore I shoot with high speed films, Kodak or Fuji for the color and Ilford for the b&w.
The color I print on Kodak paper, which I believe adds to the richness of the colors.

*The following questions were submitted by my friend Sasha Arutyunova
who also attended the show

- Do you think the struggle of the performers you photograph is often overlooked? What did you initially hope to find when exploring the tensions within that struggle?

In the Narrative, most of the people in this book are some kind of performer. Many of them kids, who, for example, have to put on seductive costumes when they are on stage. They mature very quickly. The glamour which is often associated with performers, is not evident in their every day life.
But I have to say that my interest is not topical or social. For example, In most of the images I think it is hard to tell what are the technical skills of the person in the image. Therefore, although the people in the images are very specific, my aim is to address universal themes such as the desire for fame, puberty, family issues. I find that these people and these settings allow me to do so.

- Most of the photographs were taken in Russia and in the Ukraine. What drew you to these cultures and what do you think their history lent to the project as a whole?

When I started to work on my personal projects in Israel, the majority of people I photographed were immigrants who came to Israel from the former Soviet Union. It was only natural for me to start going and shooting there. I am drawn to people from that region because they are full of contradictions- tough on the outside but very warm and friendly when you get to know them. And I also like their faces, especially of the girls, which remind me of a dark northern fairy tail. The countries are also intriguing – a strange mix of old and new, odd and ordinary. Again, I have to note that I don’t feel this work is a cultural essay. The location is hinted and supports the subject.

- What was your relationship like with the various young girls in the photographs? How did they react to your desire to photograph them, and in turn how were you personally affected by their stories? Did your project change as time went on?

I spend a lot of time with the people I photograph, usually several weeks, and I got to know them and their struggles. Girls usually like the attention of the camera and most of them enjoyed being photographed. Once we spent time together, they began to trust me.
Some of them had a difficult life, like broken families or even living in an orphanage, and joining a small acrobat group was their hope of a better future. I could sense their determination. Some of them really touched my heart and it was very difficult to say goodbye.

___

For more of Michal’s work please see her website or visit the Andrea Meislin gallery in Chelsea. The show closes October 18th.

Michael George :: Oct.02.2008 :: Interviews, Photographers :: No Comments »

Susan Meiselas and the Question of Context

This past Friday afternoon I had the pleasure of hearing Susan Meiselas speak about her work and present an excerpt from the film Pictures of a Revolution. She currently has a show up at ICP entitled Susan Meiselas: In History which I haven’t had the opportunity to go see but plan to sometime this week. Last year, in one of my introductory courses we read a piece from Harper’s Magazine entitled On the Rights of Molotov Man (which I encourage everyone to read, especially if you’re interested in the question of appropriation in the digital age). Hearing her fervently answer questions regarding the scuffle and reemphasize her view on the importance of contextualization of an image reminded me of the importance of such a discussion. Photographs are images and they, at least literally, say nothing. The fact that they can be interpreted in so many different ways is part of the magic. However, in certain situations taking them out of context is seen, at least to Meiselas, as a disservice to the people. The article cited above references a photograph of a man during the Nicaraguan insurrection of 1978-79. For an adequate breakdown of Meiselas’ position see Photographylot.

My reason for this post is not necessarily to discuss Meiselas’ position and whether or not she is correct, but rather to discuss the ways Meiselas’ dreams of consistent context might come true.

Digital photography leaves no negative. Images are easily appropriated and the industry is in a search to, at the very least, implement a way to track an image back to the original author. The first solution seen to this problem was MetaData. MetaData allows a photographer to encrypt his signature and any other copyright information into the data of the image. It also stores other information about the image such as the ISO, shutter speed, aperture, etc. For anyone looking to encrypt all their photos with MetaData, you can do so using Adobe Lightroom or most other organizational programs.

Now, if Meiselas wishes the story, identity, time, and place to stick with the image. Would it be right to find a way to incorporate all of this into an image’s MetaData? Or does this, somehow, ruin the merits of a photograph? The idea of viewer’s knowing that beyond the flattened facade there’s a wealth of information to discover about the image… I suppose if it’s the photographer’s intent then there’s no harm. I would say, however, that it should remain the viewer’s choice to divulge said information and I especially think such context is only necessary in certain circumstances. I’ll admit I do not know all of the logistics of MetaData but I suppose as technology progresses the information will be more easily accessable and harder to dispell from the image. Until then we just have to accept the fact someone viewing an image of a Nicaraguan may not have the slightest inkling as to who it is or whence it came. All of this reminds me of a scene from the beginning of the movie Along Came a Spider. Two children are in a computer class coding messages in photographs and sending them to one another over instant message. Maybe I should find out what (fictitious?) technology they were using.

Michael George :: Sep.29.2008 :: Photographers, The Industry :: No Comments »

Experimenting with Tilt and Shift

Trapeze, September 2008

I was in high school when I first became fascinated with a photographer’s work who shot in abandoned places using a tilt-shift lens. I didn’t understand how the focus was on a single spot, despite looking straight on at a flat surface. This is also when I learned the “smear vaseline on your lens and fake it” trick, which I fortunately never tried. It kills me that I can’t remember that photographer I revered so long ago, but I do know who stands out in my mind in this day and age. Vincent Laforet has used the tilt-shift in many sporting events, most recently the Beijing Olympics.

Michelle, September 2008

When I first arrived back in New York I got word that our department invested in some new equipment including a tilt-shift lens for Canon SLRs and on the first day of classes I rented it for experimentation. The various tricks you can elicit with a tilt-shift are many but they’re most commonly used to make objects and landscapes appear miniature. I also found, while shooting, that there’s a general dream quality to the images because of the smooth bokeh emitting outward from the focal point. I must admit, I don’t fully understand the difference between tilt and shift but that’s what Wikipedia is for.

Broome St, September 2008

My main goal while renting out the lens was to figure out what shots it was conducive to outside of what I already knew. I brought three friends to Pier 54 and attempted to shoot portraits. Unless you’re looking for wonky distortion, I would say stand back from your subjects. When shooting up close there was a mix of fish-eye effect and the liquify tool all going on within my camera. The shift allows you to shoot people to your side without them realizing the camera is pointing in their direction… Although you sacrifice anonymity for major distortion. I suppose the best way to describe the effect is that it bends the picture plane. It’s hard to resist going to the extremes of the tilt and shift (you turn a knob for each) but I would suggest subtle turns when combining the two. The last thing, and one of the most important things I should mention, is the drop in exposure. (This is an assumption and I could be wrong) but it seems to me that because the lens is bending and moving up and down, it cuts off some of the light that’s able to reach the sensor (or perhaps it bounces?). But alas, the point is that you will need to turn it to manual and drop your shutter speed / widen your aperture or you’re going to be looking at some very underexposed shots. I hope to take the lens out for a longer period of time in the future but for now I leave you with these basics.

Michael George :: Sep.20.2008 :: Miscellaneous, My Photography :: 1 Comment »

Photographing Surgery

Gall Bladder, 2008

This past summer I worked as the photographer for the Lee Memorial Health System, a team of six different hospitals / health centers in my hometown. My shoots encompassed every aspect of what goes on in and around a hospital (most of which I was completely unaware of). I was assigned to travel to patient’s houses and get follow-up stories with a video crew, interview doctors and take their portraits, document hospital care programs like computer classes and the Ronald Mcdonald House, and most intriguingly photograph live surgeries.

Untitled, 2008

There was a lot to learn about being in an operating room with a real patient during a real procedure and yet before I knew it I found myself tossing on scrubs and walking through the operating room doors. I’ve tried to break down the process to give you an idea of what it’s like, and what you should watch out for, incase you ever find yourself rushing into the O.R. with camera in hand.

The waiver - In most cases the doctor will need to okay your presence and the patient will need to sign a waiver. Always ask the nurse if she can take the waiver to the patient because a) The patient knows and most likely trusts the nurse and b) The patient should never actually see you with a camera (Mainly because it makes them a lot more self-conscious and they may back out). In the same token, after the patient has signed the waiver do not enter the room until the patient has been put to sleep. They’re already stressed out and don’t need to be reminded that they’re being photographed while unconscious.
Be careful - Operating rooms, depending on the surgery, are sometimes tight spaces. There’s a lot of equipment and a lot of loose tools. Before you move, take the camera away from your eye and be very aware of your surroundings at all times.
“12 inches from the blue” - The surgery table, the patient, and anything sterile will be covered in blue cloth. Always keep every part of your body at least 12 inches from the blue. This includes the edge of your lens, when you’re zooming in and out make sure you’re aware of where your lens is reaching.
Don’t bring a tripod - I made the mistake of bringing a tripod once and sorely regret it. All too often a nurse or assistant has to rush over and grab something or put something somewhere. A tripod will only make you more of a burden.
Know the danger zones - The anesthesiologist will always be stationed near the head of the patient. He/she will also constantly be checking their vital signs so make sure you’re never in this path. Also, the second most common path is from the patient to the instruments table. Nurses will be moving back and forth preparing needles, cloths, etc. I would say both of these paths are ‘danger zones’ so try to avoid them at all times unless you want to make the operating team unnecessarily stressed.
Ask about the procedure - There are always extra nurses on standby that line the edges of the room. Before everything begins, introduce yourself, and ask about the procedure. This way you know what to expect when, and one thing you’ll notice is that the best shots will almost always come at the beginning and the end of the procedure (It’s also like the best biology class you’ve ever taken). The middle is the longest and most uneventful time because the doctor has made his incision and is usually just working inside the body. Unless the surgery is really invasive (open heart) you’ll be photographing the same scene for a few hours.
Prepare for low light - Surgeries are like light shows. The doctor controls the lights in the room using a foot pedal. Whenever he needs to look at the monitor, make an incision, or do anything that requires further concentration he will shut off all the main lights. This usually makes for a hard situation as a photographer. Make sure you bring a low light lens and don’t forget to consistently change your ISO as the lights flicker on and off.
Stash the equipment - Because a backpack or bag will only add to your volume, find a place to stash your equipment (that’s accessible) as soon as you arrive. Usually the best location is the control room. It’s typically just off the room where the procedure takes place and doesn’t see a lot of traffic. Additionally, your movement may be limited by a large (and heavy) lead vest which is required attire when entering a room with powerful x-ray equipment.
Thank the doctor - When all is said and done make sure to thank the doctor before they run off to the next patient. After all, you just acted as an added distraction.

Heart Catheter, 2008

This is one place where “getting the shot” by any means necessary is not the best route. Any other questions - Leave a comment!

Michael George :: Sep.13.2008 :: My Photography :: 2 Comments »

Blogs by Others

Now that classes have begun I’m more inclined to write down my ideas for blogs and postpone them until the weekend. I would like to update during the week but I fear my post would resemble the transcript of a baby’s first syllables.

If you look at a lot of blogs, what will save your life? Bloglines. It’s an easy tool to read all of your blog’s feeds in one place. If you don’t know what a feed is, just read the Help section and get yourself organized!

For anyone new to the world of blogs I’ll show you the ones I keep up with which includes the “essentials” and some obscurities.

I’ve separated them into small categories:

- Photography blogs (informative and pictorial)

- Photography blogs (simply photographs)

- Other

- Non-feedable blogs

Here we go…

A) Photography blogs (informative and pictorial)

1) A Photo Editor - General commentary on all things industry by Rob Haggart, a former director of photography.

2) Chase Jarvis - The musings of a commercial photographer. Chalk full of insights into how he shoots.

3) Photography Contests - Just what it says. Although a lot of the posted contests are for certain citizens (e.g. Irish, British) only. Also, make sure to note the entry fees.

4) Joe Mcnally - Similar to Chase Jarvis but with a little more anecdote. See this entry.

5) Magnum Blog - Magnum Photo Agency’s blog.

6) New York Daily Photo - Learn something new about New York everyday. With Brian’s light style of writing you can’t help but enjoy it.

7) Ryan Pfluger - Keep up with the daily thoughts of an up and coming photographer. You’ll also get the added bonus of his opinions on the latest TV gossip.

8 ) Shane Lavalette - Discover fine art photographers and enjoy.

9) Shoot the Blog - Rachel Hulin’s (now departed) endeavor. She was the paid blogstress for PhotoShelter Collection which recently decided to shut down. The blog was updated so avidly it was hard to keep up but her personality and the posts were more than enough to keep me reading even if I didn’t have the time. Sort through the archives and then subscribe to her new independent blog: A Photography Blog.

10) Strobist - Learn everything lighting.

11) Vincent Laforet - Similar to Chase Jarvis and Joe Mcnally in content but of course a different perspective.

12) Visions of China - Another “deceased” blog but one that deserves a look through the archives. I’ve posted about this and Laforet’s before, but this one in particular is the sign of a hopeful future. I hope to see a lot more of this type of insight into news coverage.

13) The Year in Pictures - Run by James Danziger, the owner of the Danziger Projects gallery in Chelsea, The Year in Pictures always has interesting content.

B) Photography blogs (simply photographs)

1) A Walk Through Durham Township - Demonstrates Kathleen Connally’s ever improving eye for the beauty in nature.

2) The Big Picture - Finally, photographs in the (large and descriptive) format they were meant to be seen in. I have yet to look through a photo essay that wasn’t insightful.

3) The Narrative - always beautiful (and sometimes hilarious).

4) The Sartorialist - Fashionista.

5) Urban Views - New York street photographer Markus Hartel.

C) Other

1) Jeff Hussein Strabone - Political commentary (without the fat).

2) Stuff White People Like - just because.

D) Non-feedable blogs

These blogs, run by students in my department at NYU are not RSS feeds so they can’t be subscribed to. However, they usually provide a wealth of random photographs. If you’re interested in the everyday perspective of a photography student then give these links a go:

And now, you’re officially overwhelmed.

Welcome to the internet.

Michael George :: Sep.13.2008 :: Blogs, Photographers :: 1 Comment »