May 12, 2013

On Mother's Day

About seven years ago, I had to send a very difficult letter to someone I love very much. It was a letter asking them to not contact me anymore. For years, this person had been very hurtful to me - their words & actions selfish, cruel and very painful to be on the receiving end of. Blame, judgement, and manipulation that broke my heart on every possible occasion. The letter took me all day to write after a very heated phone call. It was a long time coming, this letter. I didn't want to have to write a letter like this one but in my heart, I knew that I needed to protect the parts of me that were not yet harmed by the actions of someone whose own hurt from a life of victim-thinking.

The person I wrote that letter to was my mother. It was the most difficult thing I've ever done. It was harder than laying my Granny (my favorite person in the world) to rest, it was harder than when my oldest son's birth father left me when I was six months pregnant, it was harder than accepting the fact that my brother's schizophrenia diagnosis meant that the ideal of my brother that I hung onto from childhood was gone forever.

But writing that letter was something that I needed to do out of respect for my own right to be treated well and to model to my children where the boundaries lay for what I will and won't accept in my life. However, I now do not have any communication with my mom. Not ever. But that means she's respecting my request. It also means that when I said "until you can treat me with kindness & respect, I can't know you," maybe nothing has really changed.

Today is Mother's Day. My husband brought me the prettiest breakfast in bed, my youngest son hugged & kissed me and wished me a  happy Mother's Day. My oldest (14years) is sound asleep still but when he wakes up, he'll have something nice to say. He usually does. I won't be hearing from my mom and I won't be calling her. Is it out of stubbornness? No. It is out of a sense of self preservation. Dont' think that I haven't given her thousands of chances. I have. I can remember most of them. Some dating as far back as my primary school years. That's not a great feeling to carry with you when thinking of your mother. I wish she was the mom who would send me flowers at random, or a pretty card in the mail (without the religious content being shoved down my throat), lunches together or special trips. Or, in truth, just a hug that felt totally sincere or a kind word like "you're beautiful" or "I'm proud of you" or on a day like today "You're such a good mom".

I accepted a long time ago that she can't be the mom I wish she was. I am entirely ok with that, I just wish she'd be willing to take responsibility for her part in our relationship and be motivated to take steps to fix it just a little. I would give it another chance if I thought she'd sincerely do some work on herself too. Seems fair.

But all that aside, she's not perfect, I'm not perfect. We may not speak and our differences may keep us from repairing the damage that the years have done. I don't know. But what I do know is that she's my mama. The only one I ever had. I do love her. I miss her. I just wish we could find some middle ground. Respect and kindness don't seem like too much to ask for. I hope she's getting breakfast in bed today from her husband. I absolutely love who I am and while that's due in part to years of hard work done by me, she DID raise me and for that I am grateful.

She taught me to be creative, how to make a humble home feel beautiful, how to make fabulous food for my friends & family, how to sew, a few botched attempts at driving stick in high school, about makeup, a few awkward conversations about boys and about friends. I have innumerable memories of a beautiful childhood. I hang onto that dearly. Happy Mother's day, mom.

Miss you.

Apr 15, 2013

What's in the Bag - Volume 4

The very first lens I owned. The Nikkor 35-70mm 2.8 lens which came with my original Fuji S2 (bought second-hand from a friend) was the only lens I had for the first few years as I got to know my camera. It was my first foray into shooting with something a little fancier than a point-and-shoot. It was a long road of trial and error but a journey I was quite happy to take.

While it does have a few limitations (the focal range isn't very long and the autofocus motor is getting a little loud) it will still do whatever I ask it to. It is no longer the first lens I reach for as I very much prefer the sharpness and color vibrance that I get with my newer prime lenses but this is still a winner. However, my exact lens is showing signs of age and is in need of replacing. It's the next lens on my to-buy list.

When my clients ask me for camera advice, I often recommend this kind of lens for a starter lens. Especially for those who want to photograph people rather than landscapes. You can't go wrong with a zoom lens within this range. I mean, you CAN shoot landscapes but the zoom isn't very significant. You'd be better off with a 70-200mm at least but that's for another post.

You can pick up one of these lenses for your own kit for a few hundred dollars. It is such a handy lens to have.

Do you have this lens? How do you like it? Is it a lens you reach for often or does it gather dust? Tell me what you think of this piece of gear!

See you soon,
Vanessa

Apr 1, 2013

What's in the bag - Volume 3

Alright, now that you know what I use for a camera body (read that post here), lets look at the different lenses. In my very first post, you'll notice that my list of lenses is pretty long. Only one of those lenses is a wide-angle and the rest are just fantastic for portraits. I have made my last few lens purchases very thoughtfully, with very specific kinds of shooting in mind.

The first lens I'd like to talk about is my Nikkor 50mm 1.4. This was my go-to lens for a very long time. I had the Nikkor 50mm 1.8 for about a year but knew that it had limitations that the 1.4 could easily overcome. When I shoot either in the studio or on my farm, there are fewer things in an image that make my heart pitter-patter like the buttery soft bokeh that only a 1.4 (or lower) can really achieve.

When photographing little ones, not being distracted by background elements is essential for how I shoot and I can best achieve this with my 1.4. I am also able to get quite close to my subject without losing focus or sharpness. Now, it is a prime lens (no zoom) so when I need to get closer or farther away, I “zoom with my feet”. I adore the image quality of this lens and the way it performs in lower-light environments when I'm relying on ambient (available) light.

When used on a full-frame camera, this lens closely represents images similarly to how the eye sees. This is another reason why I love this lens. Also, it's itty-bitty so when working in close quarters, its low profile is super handy. And for folks who are intimidated by being in front of the camera, this is a nice lens to start with because it is not as scary looking. Although, I do have to get all up in their grill a bit more without the zoom function but I certainly don't start a session that way. We ease into me working within their personal space – I ask permission to get close and I always respect their answer :) It's a privilege to be invited into someones “bubble” and it's something I take very seriously.

Trust is a hugely important element when photographing anybody- especially kids. This lens has always been a favorite and I can predict its abilities and limitations every time I use it. I have a new lens on my camera at the moment (I'll elaborate in a future post) but my heart really belongs to the 50mm 1.4.

Do you have a favorite lens? I'd love to know what it is and why. Is it the low profile that you like or is it the quiet auto-focus motor? Is it the way it rocks a long exposure when shooting the Northern Lights or is it how it allows you to get super close to a Grizzly bear without actually taking your life into your own hands?? Tell me all about it!! I want to know :)

See you soon
Vanessa

Mar 18, 2013

What's in the bag - Volume 2

To kick off this series of camera gear posts, I will state that I sort of “fell” into being a Nikon loyalist. I am familiar with it's functions, button placement, areas of excellence and have remained in the Nikon camp due largely to the fact that the investment in lenses is so significant that I can't rationalize switching. So this will not ever be about Nikon vs. Canon. I use Nikon and that's why I'm featuring all the products that I am.

So for starters, I am currently shooting with a Nikon D800. I started out with a Fuji S2 which is a dinosaur by current standards. In its day, it was the Ferarri of cameras and cost a fortune when it was new. I came to own mine when a fellow photographer was unloading old gear and I was in the market for an SLR (Single Reflex Lens) camera. It was a great deal, came with a couple of lenses and it was all downhill from there.

For the past two-ish years, I've been faithfully using my Nikon D700 but after our house fire in March of last year, I lost my backup cameras so replaced them with the D800. It has a super fast recording speed, the sensor makes me very happy when dealing with super-fine detail on extra large prints and the bonus (which currently remains unused) is the video function. Full HD, lots of versatile uses for that function but I need to spend a little quality time with my manual to get a grasp on that one.

This camera is pretty hardcore and requires a faster CF card than I was using with my D700. At first, I thought my new camera was broken or had a faulty shutter button when it crapped out during a shoot. I picked up a new, faster card and we were cookin' with gas! (PS- always have a backup camera body if shooting for-hire. I called my D700 back into action in this situation! Never know when you're gonna need it!)

A little tech talk about this body – it has a full-frame sensor which means the sensor is roughly 24x36mm (similar to a 35mm camera from the film days) and doesn't crop what the lens sees. A non full-frame sensor will crop by 1.5, thereby reducing the amount of image that fits into your frame and affecting how your lens sees. For a good explanation of crop factors, see this article.


I've used this new camera on less than 30 sessions but despite being a smidge heavier than the D700, I quite like it. Can't wait to get it out of the studio once the weather improves and start to ROCK the outdoor scenes.

What do you shoot with? Are you using a point & shoot or are you using an SLR? If you shoot with an SLR, are you on “P” or A or are you brave and adventurous shooting in full manual? Tell me what you shoot on and why!!

See you soon
Vanessa

Mar 11, 2013

KTY | Day 12 Part 2

In my last KTY post, I left off with homework for myself to write a piece on a topic that I want to write about but that I'm not currently writing about. I chose to address a topic that is one that I can speak about forever - finding your voice as an artist. I want to hold workshops for creatives to work thru the blocks that interfere with giving oneself permission to use their creative voice but that cannot happen before finding that voice. This piece addresses that process. (sidenote, the assignment was to write a couple hundred words. I ended up at 1088 words)

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So often, I hear from friends & clients “I'm not creative” or “I just can't do the artist thing”. I don't know who ever told these beautiful people that they aren't creative. I also don't understand why there's an assumption that creativity and artistic are synonymous. Every single human being has the ability to be creative. And I'm not speaking of just artistic definitions of creativity. Every time you've had to solve a problem; whether it's fitting your 4x4 pickup into a parking space designed for a Smart Car or turning that blank sheet of paper & water color paints into a masterpiece, you are using the creative part of your brain.

But considering that most peoples' definition of creativity relates to the arts and their desire to gain clarity in their own 'voice' as an artist, we'll stick to that assumption for the sake of what I want to share with you.

Your voice as an artist is unique to you. It cannot ever be replicated. It might be emulated, mimicked or even outright stolen but unless it is original work generated by your individual point of view, it will always be missing 'something'. Every artistic medium deals with this and it is most often seen in work generated by artists just starting out. New artists try to figure out what it is they want to say with their art and during that process, they look to other artists who inspire them. They will look at the work created by those artists and attempt to recreate their unique works or borrow many themes & techniques. This is where most creatives begin. And it is OK as long as this isn't where you stay. It is a part of the process and there is a much more rewarding place beyond this one.

Of course, finding inspiration in the work of those whose creations speak to you is a valuable part of the creative process, it can be a slippery slope to copy-catting. This is a very grey area and can lead to the creation of a body of work that is flat, uninspired and missing the connection that drew you (the artist) to the original piece. The most important part of looking to other artists for inspiration is to pay attention to what elements resonate with you and how they make you feel. It is then your responsibility as a unique creator of compelling work to focus on those qualities in your own pieces.

If the tone of a piece of music makes you feel melancholy and introspective, these are the qualities to bring into your own work rather than copying the melody or lyrics. If a painting exhibits texture and energy that makes you feel happy & alive, this is where you focus ought to be when creating your own painting. Same goes for photography. If a certain light setup or location evokes a sense of mystery & wonder, those qualities ought to be where you concentrate rather than shooting in an identical location and recreating the light setup.

Copying is boring and it always looks like copying. It is also not sustainable. Duplicating the work of another artist is a drain on your creative well. Generating original works is fulfilling and will ensure that your creative well never runs dry.

For me, as a mother and as a woman who has experienced loss & grief in some of my woman-to-woman relationships, I bring that emotion to my work. I lost my mother in an arguement during my brother's hospitalization right before his Schizophrenia diagnosis. She is still very much alive but so full of selfishness, pain & victim-thinking that having her in my life is very toxic. So she and I do not speak and haven't for almost a decade. Also, I lost a baby when I was 19 and that raw pain is with me to this day. I have experienced painful things that motivate me to celebrate the relationships that my clients have with their children. I stop time for these mothers who are expecting a child, whose children are growing up too fast or whose little girls are on the cusp of becoming women as they graduate high school. These relationships are the most important thing that I focus on when working with my clients.

My competitors may look at my work and may decide that they can recreate a scene or studio setup and that is probably true. But what they cannot bring to that shoot is me, my vision and my heart. The lack of those things will make their work fall flat. Every. Time.

To help you find your own creative voice ask yourself a few questions:
  1. what are my values
  2. what message do I want to communicate with my work
  3. when I am dead and gone, what will others say about me as an artist
  4. I want people to feel ___________ when they see my work

Looking at the answers found in these few questions will help you gain clarity into your own perspective and what makes your artistic expression unique. Take some time to really think on these questions and look into your own heart for the answers. They are there, but you must unlock them.

A singer may feel like the genre (folk, jazz, rock) dictates much of the message. A painter may use only still-life to be their subject matter and a photographer may choose to only shoot landscapes. Every one of those artists has something to say with their art. They may communicate joy, pain, loss, anticipation, loneliness, any number of things. Also doing something because you love it definitely factors in. But HOW you do it is influenced by the things you will learn about yourself in the above questions.

So while you may still be pursuing a clear definition of your creative voice, hopefully you see that you do possess such a gift, that it has value and yours is the only one exactly like it. You cannot be duplicated. You are beautifully unique and deserve every opportunity to express your wonderful, unique perspective freely. But once you can do it clearly & authentically, you will find your work takes on a deeper meaning, it communicates your message much more effectively and you will be more satisfied as an artist. Remind yourself of this often. It's an easy lesson to forget.

Go be unique, inspired, passionate and original. Go be you. You're the only one who can.

Mar 6, 2013

The Photographer's Mind

Winter is beginning to draw to a close which means that while the snow continues to fall, the temperatures are warming just a little. This is a sure sign that it's not going to be winter forever. The change of the seasons always inspires me to try something new. This young lady has been in front of my camera several times before. Her natural beauty is one of those things that keeps my creative mojo flowing like crazy.

Before my career in photography, I was a clothing designer so creating the long black tulle skirt shown in the image below was like waking up a part of me that has been patiently waiting for everything to be just right to come back into action.

I wanted to show contrast with the black wardrobe against the white environment as well as soft and romantic qualities in the cold, harsh snowy surroundings.


Nikon D800 24-70mm ISO200 1/160sec F9 flash at 1/64power

Although the cold winter wind was picking up and we were getting very chilly, the blue skies reminded me of how the Yukon summer can color the sky the most stunning shade of blue. It's like a promise of milder temperatures being right around the corner.

Nikon D800 24-70mm ISO200 1/160sec F9 flash at 1/64power

Mar 4, 2013

What's in the bag - Volume 1

For starters, I don't like to haul a hundred pounds of gear with me everywhere I go but sometimes, I just can't leave a lens behind so I bring it all! I also don't love all the boring dude bags. No army-green canvas or black nylon for this girl! No siree! I use an Epiphanie bag - the "Belle" in teal, to be exact. It holds a surprising quantity of gear and is as comfortable as any other. I chose this specific bag because of how many compartments it has and it came in a color close to one of my logo colors. It also has a gorgeous light colored interior which helps when searching for things lost at the bottom of the bag. Also all the dividers can be rearranged however you wish.

My bag is always a serious mess. I'm bad for leaving back-caps and lens caps off. Taking time to remove them during a session can cause me to miss the shot so they accumulate at the bottom of the bag. I get hassled by the hubster for my negligence. I don't encourage this practice but I suspect I'm not alone in my haste and laziness.

The rundown of the contents is as follows :
-Nikon D800 (main camera)
-Nikon D700(backup camera – not shown)
-SB900 Speedlight
-2 Pocket Wizards
-Sekonic light meter – which I don't use
-Lensbaby composer w/ assorted optics
-Nikkor 50mm 1.4
-Nikkor 60mmm 2.8 Micro
-Nikkor 35-70mm 2.8
-Nikkor 12-24mm 1.4
-Sigma 24-70mm 2.8
-Nikkor 70-210 4-5.6 (in desperate need of updating!)
-large reflector
-small reflector/diffuser
-small shoot-thru umbrella
-battery chargers
-assorted CF cards – all Sandisk


Studio gear::
-AB400 strobe
-AB800 strobe
-2 softboxes
-86” PLM (Shoot-thru umbrella)
-2 sets of backdrop stands
-asstorted light stands
-assorted rolls of seamless paper – white is my fave though
-assorted printed backdrops – don't use these much
-more props than I care to admit to.


Currently en route from a recent purchase::
-Nikon SB910 Speedlight
-Pocket Wizard
-gels (for the flash)
-sandbags
-light stand
-softbox for out-of-studio shooting
-gels for studio strobes

I will be working through this list explaining how I use each individual item and why I chose what I did. I am not going to bore you with specs and other lame details because lord knows there's enough reveiw blogs out there to bore you to tears, so instead I'll give you real-life stuff and my opinions. I hope you enjoy it and find it useful.

See you soon
Vanessa