Well, it’s done – we took the weekend and moved into our new house.
Despite some bumps and bruises, and a run-in with the local utility, we’re all moved in and getting settled. Luckily, we had a lot of help from friends and family, so we got most of it done on Saturday.
Moving is a stressful time for me, as it is for most people. Mostly, I try to focus on the task at hand and get the job done. From here, I’ll worry about making this new house feel like our home. It’s all the little things – finding the new morning routine, or the location of my shoes (where DID I leave those?) – that trips me up.
I first learned about Barry Phipps’s Iowa photos project on Feature Shoot, and, as a fellow Midwesterner, could hardly contain my excitement – it’s my kind of project, full of story and place and changes.
Where are you and what do you do?
I’m in Iowa City, IA. Moved here four years ago from Chicago, where I lived for 22 years. I’m a working photographer and artist.
How did you get started in photography?
I studied photography at The Kansas City Art Institute in the late eighties. I’m old, so we were taught how to shoot, develop, and print film.
What do you like about your photography?
I’m very hard on myself, so it’s hard sometimes to say I like my own photography. That said, I enjoy a means of communication that isn’t blatantly about me. It’s more impersonal and less directly emotive than, say, making music. I’m a former musician who finds it gut wrenchingly difficult to listen to a song I’ve recorded and released where I’m singing, but have no problem digging through old photographs and finding enjoyment doing so.
You cover weddings and portraits along with your Iowa series. Where do you get inspiration for your style/ideas?
I enjoy weddings and portrait work. I still shoot film and approach it in the same way as my Iowa Photographs series, and tend to work for artists, photographers, writers and the like. I don’t really look much at other wedding photographers for inspiration. My studio portrait work isn’t really influenced by other work. I’m inspired by Richard Avedon and kind of jealous of Terry Richardson. I like looking through Vanity Fair and those types of magazines as I’m waiting to get my hair cut. I’d love to do fashion stuff, but not going out of my way to make that happen. I do live in Iowa, after all.
I like that your photos, especially your Iowa series, have a sense of place and purpose. What kinds of themes do you explore with your work?
Thanks! Actually, I feel the Iowa Photographs series gave my photography a sense of purpose, focus, and direction. I photographed lots in Chicago, but moving to Iowa four years ago really gave me a sense of direction. I’m really drawn to this place. I initially just started taking day trips in every direction from Iowa City, just to see what was out there. It was exciting to be in a new place. I assumed I would live in Chicago for the rest of my life. Chicago can be a challenging place to leave. You can drive for two hours and still be in the city sometimes. Here, it’s liberating to be able to just get in my car and drive in any direction and be somewhere new in just a few minutes. Iowa is populated with a million small towns, most never more than six or seven miles from the last one. Iowa was mostly populated within a few years, mostly by European immigrants. So, these towns formed, thrived, peaked and later declined as the original purpose of servicing farming families dried up. There’s a consistency town to town, but also a uniqueness. I’m always surprised by what I find.
Any upcoming projects or shoots you’re working on?
The Iowa Photographs series will continue, but I have wrapped up my initial phase of the project. I’ve photographed every county in Iowa and have accumulated what I consider a fair representation of the state of the state. I’m currently putting a book together of the best stuff from this phase. It will be published by The University of Iowa Press around 2019.
Heather Nash is a photographer in southeast Michigan I’ve been following on Instagram for almost as long as I’ve been on Instagram. I love her unique view of the world, and the way she captures it.
Where are you and what do you do?
I live in Ypsilanti, Michigan and I photograph people, places and weddings.
How did you get started in photography?
I went to school for photography and received my BFA in 2-D studies/Photography. I learned with film, mostly black and white, some color. The transition to digital came later but I still shoot a bit of film here and there with an old Canon AE-1 that belonged to my grandfather. I love black and white photography, specifically the work of Sally Mann.
What do you like about your photography?
I like watching the evolution of my work. I feel like I’m constantly refining my style, honing my technique and improving the way I utilize light in my images. I’m always reading and trying out new ideas. It’s good to keep learning!
I like how you capture your world, and the people around you. Where do you get inspiration for your style/ideas?
I do draw inspiration from other photographers and visual artists, and I’m often inspired by nature. I also love to people watch and observe daily life as it’s happening. I’m very curious and kid-like at times!
You do some paid gigs as well. How do you balance professional vs. personal photography?
I always try to leave room for personal projects, like portrait work, where I can try new things and challenge myself creatively.
Any upcoming projects or shoots you’re working on?
I just returned from a trip to Bali, an island in Indonesia. I took a small Fuji travel camera and documented my whole trip with the goal of putting together a small show this spring. It was an amazing experience to say the least!
Almost six years to the day, I’m saying goodbye to my first home.
We’re getting a weird spell this winter, in late January and early February, where the weather is warmer than seasonally appropriate. Foggy, rainy, or in the 60s. Not your typical Michigan climate.
The upside is that we’ve enjoyed a few play days outside. This past weekend, I even had a chance to take down our backyard swing set – much better than trying to unscrew frozen bolts in the bitter cold. Hopefully the warmer weather holds once it’s time to move.
I’m doing my best to capture this place before we head out. Not that it’s been a problem before, but there’s an extra sense of urgency lately.
I first discovered Neil Thain-Gray’s work through Self Publish Be Happy. His photo book, Personal Space, was right up my alley: urban landscapes in the Eggleston/Shore tradition, but more up close and personal, with nods to design and patterns. And the colors! So good.
Where are you and what do you do?
I live in Glasgow, Scotland with my wife Rachel and our seven year old son. I earn a living working in Learning & Development for a national charity. Photography is my creative outlet that I fit in between work and family life, whenever the Scottish weather permits.
How did you get started in photography?
Both of my parents have a background in the arts, and my dad as a photographer encouraged me to get to grips with an SLR in my teens. However, I didn’t really connect with photography until after I had graduated from art school when I found myself without access to studio space or equipment. I picked up a camera just to stay creative and suddenly photography seemed to fit into my life.
What do you like about your photography?
I like walking with a camera without any particular purpose or direction, especially wandering somewhere new, even if it’s just a short cut or side street. I don’t drive, so I’m always walking or on the bus or the train. Photography helps me to be attentive and open to the world around me. On a nice day, with nowhere in particular to be, having a camera is just a great excuse to exist.
I love your use of color, your consistent style, and your view of urban spaces. What kinds of themes do you like to explore with your work?
Thanks! I don’t know about themes and I don’t really have an idea of where my photographs fit in the world. Any sense of style probably comes more from a consistent process than any intent. I shoot with the same camera, the same lens, the same films. I am generally just looking for interesting light, shapes, and colours to make a composition with.
You recently put out a great little photo book. What inspired you to do that, and how has the experience been for you?
Thanks, glad you like it! I’ve been buying self-published photobooks for a couple of years and figured I should publish my own. The process of editing and designing was challenging, but I learned along the way. Setting up an online store was fun, too. The biggest hurdle has been the marketing, but it has been great to mail copies out around the world, to get feedback and a sense of connection.
Any upcoming projects or shoots you’re working on?
I am trying to pull together funds to self-publish my next photobook. There are a few drafts in progress on my desktop! I recently gave a talk at a photobook event at Streetlevel Photoworks in Glasgow and FfotonWales have posted videos of the event online. I will be trying to sell some copies along with postcards and prints at GlasgowZineFest in April so the next book better be ready!
Otherwise my camera will always be on me whenever I have some time to spare.
Thanks for inviting me to take part Dave, it’s been fun! Happy shooting all!
It’s that time of year again – time to get our annual photo book featuring pictures from 2016.
Making a family photo book is one of my favorite yearly rituals. Each holiday season, I gather up the photos from the year and assemble them into an album, usually 8″ x 10″ and 20-40 pages. The cover image is always something from our summer vacation.
This year, I went with a Blurb book instead of Apple’s Aperture/Photos options. Here’s a tip: Follow Blurb on Twitter to get periodic discount codes. At 35% off, my photo book was a good deal.
Keep your story going long after you pass away, or your hard drive dies: print your photos. Make a book of your photos. You’ll be glad you did.
Success is really an iceberg. On the surface you see the rewards and accolades, but underneath it is nothing but blood, sweat, failure, hard work, frustration, set backs, disappointment, and resistance.
Among the urbex/abandoned community on Instagram, I try to look for photographers who do it well, and have a personal style that’s recognizable. James Joyner is one of my favorites, and we’ve collaborated in the past on each other’s work. Jimmy’s style has really grown into its own, and I love seeing the locations he finds on his adventures.
Who are you and what do you do?
My name is James Joyner and I’m a radiological aide at a local hospital in Maryland, USA.
How did you get started in photography?
My parents got me my first “real” camera, a Nikon 35mm N2000, back when I was a junior in high school, where I first started really learning how to compose photos and work the controls. For my high school grad gift, I got myself my first DSLR, a Nikon D60, where I really started coming into my own and learning what I liked to photograph.
What do you like about your photography?
That’s a tough one… I guess if I were a third party looking at my photography, I’d say that I really liked the way I try to channel a scene’s darker side. I’ve always been a fan of darker styles of photography… I believe the shadows can add to a photo just as much as the light does (if not, more). In a sense, I like to work the lighting in a scene to enhance the darkness.
I’d also say that I really like that I shoot abandonment, but in the context of the surrounding landscape and scenery. I think there’s a deeper and a sadder story to tell about an abandoned house when you add elements such as the sky and the overgrowing grass around it.
Where do you get inspiration for your style/ideas?
I get my inspiration for my style and ideas primarily from the music I listen to, films/shows I love, and from other artists whose work I follow on Instagram.
Films/shows that really inspire my work include ones like I Am Legend, The Road, War of the Worlds, The Walking Dead, and other post-apocalyptic pieces such as those. I have a huge obsession with that genre… Sometimes when I’m editing a photo I’ll think something like, “I want this house to look like a scene straight out of The Walking Dead. I want the viewers mind to race when looking at this house, thinking thoughts such as ‘what happened here? Is there anything lurking in those shadows? Is there something written in blood on the walls inside that house somewhere?’” I want to create those thoughts in people’s heads.
Your work focuses on on a lot of spooky situations and abandoned properties. What excites you about shooting in these situations?
The story behind why a place is abandoned. The unknown of what I’ll find upon investigation of the place. Getting that ONE shot that makes the entire shoot worth doing. Getting caught by either the angry owner/the police on a property for which I haven’t necessarily gotten permission to shoot. All things that are racing through my mind while on shoots.
Honestly that latter thought tends to occupy my mind a little more than I’d prefer… but that’s all part of the game. It makes getting that one beautiful shot all the more rewarding.
What kinds of themes do you like to explore with your work?
The major theme I like to explore is Life After Humans. The History channel did an entire series on what happens on a grander scale if people were to vanish tomorrow, and I like to channel that on a little bit more personal level with my work.
Any upcoming projects or shoots you’re working on?
I’m working on a project at the moment for a @pr0ject_uno story takeover on Instagram. They have been doing it with some amazing artists so far, and it’s an absolute honor that they thought of me for this. My theme is going to be rural abandonment. Make sure to keep an eye on their account and their story for the takeover!
As for shoots… that’s the part that’s so cool about shooting abandonment the way I do. New shoots present themselves every time I go out and randomly drive around or explore a new spot. It could be tomorrow that I find the coolest house I’ve ever come across.
There’s an abandoned middle school I plan on hitting soon very close by… I just got a brand new Sigma 20mm Art lens, so that will be my saving grace inside that place.
I try to think of my photography as a daily practice. Even if I don’t make a photograph every day, I still do some action involved with the art.
One of those practices is to upload a photo (or two) to Flickr every weekday. Just one will do, although Flickr shows at least five of your recent uploads in the People section. One photo says, this is a thing I do every day.
To keep track of my daily Flickr photo, I have a bucket of photos to upload in Aperture (and eventually, a Lightroom catalog). Each morning, I select one of those pictures, and send it off to Flickr. After the upload, I pick an album, and then add it to a few relevant groups. If I missed any keywords, I’ll add those in Flickr, too.
After doing this for a few years, a few trends pop up.
For one, the best photos seem to get uploaded the soonest. Maybe I’m excited to share them, or maybe the photo follows a theme. Then, the not-so-good photos drop to bottom of the Flickr bucket. Maybe I’m less excited about sharing those. The system is self filtering: eventually, all those photos at the bottom of the bucket get purged.
Two, to keep it interesting for myself, sometimes I’ll assign theme days to my upload. Monday can be for film photos, Friday is for iPhone photos, etc.
And three, while it’s not an end goal, making Flickr’s “Explore” listing is a fun accomplishment. You can learn how to game the system, but for me, earning an “Explore” requires a great photo shared with the right groups. That’s it. Before I upload a photo, sometimes I’ll think, “This is an ‘Explore’ photo,” but it doesn’t make the listing. Other days, a photo I paid little attention to earns “Explore.” Some of it’s luck, but a lot of it is the quality of the photo.
I still love Flickr, and I’ve made it a daily ritual to support the site and share my work. My system keeps it easy for me to keep the daily practice.
But the truth is, a lot of “old” models are still very much worth the attention, especially considering how much less expensive they are than their newer siblings.
Don’t feel like you need to get the latest and greatest. Wait for sales, refurbished models, or the used market. Naryškin has a good list going.
Fifty here. Thirty six there. Even my modest Canon 6D has 20 megapixels. Any of these photo sizes feel too big for my creaky old 2009 21.5″ iMac. Editing a 6D RAW image, especially in Photoshop, always grinds my system to a halt.
You know what doesn’t? Photos from my classic Canon 5D. At 12 megapixels, my aging editing system has no problem processing those RAW files. It’s one of those hidden benefits of using an older camera: processing and editing is a snap. Even DP Review mentioned what a breath of fresh air the “small” file sizes of the original 5D were.
Yes, eventually I’ll upgrade my Mac. But bigger megapixels will continue to be a thing. When others upgrade, downgrade.
Ask anyone who’s had to promote a project – a book, a gallery showing, a performance – and they’ll probably tell you how exhausting it can feel. Especially if the project is close to their heart, and especially if the person tends toward introversion.
It feels like you put your heart and effort into something, and then you have to put your heart and effort into making sure enough people (a) care and (b) hear about it to be interested. Yelling is tiring, even when it’s about yourself.
Some people are pretty good at this. But when I think about it, usually those folks are speaking to a big enough audience that cares. They hit (a) and (b) from above every time they promote something.
My projects started small: a portrait project here, a documentary there, each with a modest built-in audience. They cared. Over time, the number of people who knew about me grew.
Organic growth means taking the long view. Person by person, project by project, you’re increasing the number of people who know what you do. It takes patience, and planning, and a bit of humility. But I love the process.
Dampen your expectations on the first few projects, because it’s going to take time to reach people that care. Start making stuff that people might have an interest in (that’s the first part) so that, for the next project, they’ll hear about it (the second part). Each time might just get easier.
Last weekend, we saw a lot of photos of people taking up the fight. This weekend, too (side note: is this the new normal?).
I have a feeling that what moves us more than those big crowd shots of people marching down avenues are the photos of individuals who are affected by government mood swings. When I’m faced with a group of women from Flint, Michigan, representing the tragedy of their situation on a national stage, it brings the whole big affair home.
If you make stuff – write, photograph, film, dance – now’s your chance to feature those individuals. Tell their stories. Express their fears. Make their voice heard. Do more than take crowd shots. Take on City Hall.
It’s easy to ignore a “Photoshopped” crowd shot of protestors. But it’s harder to dismiss our neighbors (or refugees) face-to-face.
For me, tackling big, life-changing projects like this means a lot of other things take a backseat – photography included. I can only fit so many to-do lists in my head at any one time, especially during stressful situations.
If you’re like me, you probably have to resize photo files a lot. I’m constantly adjusting picture sizes to share with others, add to the blog, or post on Twitter.
There are apps that resize photos – tons of them – but I’ve found the easiest way is to do it with a right click right in the macOS Finder. I have this little Automator script set up where I can right-click on a photo file, go to Services, and resize a photo to either 1000 or 2000 pixels wide (above).
Often, I’ll duplicate the photo file and then resize the copy to preserve the original file’s dimensions.
Preview does this. Little apps here and there does this. But I like simply clicking and picking my size, and letting the operating system do the rest. You can do this easily within Automator (a great, time-saving little bundle of joy, by the way), but I’m making my two little Services available as a download.
Download the 1000 pixel version and the 2000 pixel version as a ZIP file. For installation, Brett Terpstra has a how-to on adding system Services in macOS (under “Move the File”).
