Last weekend was such a blast. Bill & Marie are the most wonderful couple, so very much in love, and I was so excited to share their wedding day. We began around noon with the girls getting ready together, the ceremony at a local Catholic church in the center of town, and a beautiful reception at Rocky Neck State Park. It was a gorgeous day, and everything was perfect. Congratulations guys!
After taking a bit of a blog hiatus, I’m back to posting, however less frequently. I plan to post once weekly because my schedule is increasing in busyness! Such is the beginning of the school year =)
And now onto the fresh pics: A couple of weeks ago, Marie, Bill, and I had an engagement session in Downtown Mystic right around sunset. While the clouds covered the potentially colorful sky, we were able to experiment with soft, diffused lighting and have some street lights to play with. This was an incredibly giggly session, and these two are so in love. I’m so excited to have the honor of photographing this beautiful couple’s wedding tomorrow, and it’s going to be a gorgeous day. Looking forward to it!
Tonight I flexed my non-existent culinary muscles and re-worked some leftovers we had. I knew that we had a leftover hamburger, some wraps, and not much else, so I put an Asian spin on an American classic. I’m new to the food photography scene, but I thought I’d give it a try.
I began with the side for the meal, a cold ginger and soy noodle salad, which was really easy. My years of watching the Food Network have taught me great shortcuts. Confession #1: I used those Asian noodles you can find in the grocery store. You know the type – the ones you add water to? Yeah..BUT I did make it my own by adding a little grated ginger and soy sauce to the cooked noodles. I then tossed it all in a little bit of olive oil and sushi vinegar. I left it in the fridge for a few minutes to cool down while I started on the wrap.
I mixed up a sauce consisting of spicy red bean paste, soy sauce, finely grated onion & ginger, olive oil, a splash of sushi vinegar, spoonful of honey, and a few drops of toasted sesame oil (it can be pretty strong), and I finished it with some sesame seeds. Confession #2: I’m kind of in love with salt, so soy sauce is one of my favorite seasonings. I use it kind of like how ketchup fiends use ketchup.
I drizzled the sauce onto a roasted tomato wrap I found in the fridge, then heated up the leftover hamburger. I sprinkled the meat over the sauce, then topped it off with fresh iceberg lettuce. I added a tad more sauce to moisten everything before wrapping it all up to put in the panini press. A few minutes later, the wrap’s all nice and crispy, and we’re ready to eat! Confession #3: I fell in love with pressed wraps at my college pub; who knew college food could inspire a meal two years after graduating?
Yay! I love cooking something different to make life more interesting – it all makes me so happy.
Aside from photography, I also work at a church with youth, and we have this amazing musician who’s recently joined our staff; he plays almost every instrument you can think of. My immediate thought is to call him the organist, because that’s what we’ve always had as musicians in the church, but he’s so much more than that – from guitar to hammer dulcimer to cello, he’s so incredibly gifted. Richard passed his talent down to his children; Hannah Schenk is not only in a pretty awesome band (see: The Friendly Ghost), but she also works with her sister as the Artistic Director of the New London-based Lobster Players: a community of actors, writers, and directors ranging in age from 15 to 25. Marie Schenk is the Producer, and Founder Galen Danskin put this all together back in 2008. They’ve held an Annual 24 Hour Theatre Festival for the past three years (this year being the fourth), and I had the opportunity to spend some time with the cast and crew of the Festival. Life has a way of making connections through some pretty unexpected places, but I love when my two worlds of church and art collide into something much more beautiful than one or the other in isolation.
The Lobster Players Cast, Crew, Directors, and Writers
This year’s Festival theme was an ode to Eugene O’Neill and his most famous (or one of his more famous) plays, Long Day’s Journey Into Night. Six writers came together and began their quest at 8 PM this past Saturday, writing furiously for the next twelve hours. The writers each wrote their own entry, six different ten-minute plays and had a few prompts to give them direction. The playwrights were required to include the line, “They kept going on about the fog.” A bonus line could be added as well: “Ah, wilderness!” The writers had to include at least one of the following props in their pieces, and most used more than one: a suitcase, a giant bow, a watering can, a stuffed dinosaur, and a hairdryer. The finished scripts were printed at 8 AM the next morning, and the actors and directors were called into action, reading through the pages of dialogue, rehearsing, blocking out the scenes, and costuming their characters. Technical rehearsal followed with lighting cues at 6:30 PM on Sunday, and by 8 PM, the curtain rose without a hitch.
The first play in the series was The Truth Is Out There, written by Mike Hinton and directed by Danielle McGuire. Based on sarcastic humor and the cosplay world, you might think that the piece wouldn’t be deeply emotional. But at the end of the first scene, elemental trust and expectation surface, and it becomes clear that a more serious issue is at hand.
Written by Darcy Bruce, Long Ago in the Deep Dark Woods was the next to follow, directed by Andrew Guay. As the title suggests, this piece is more shadowy and mysterious than most. The plot is murky, and I found myself coming to conclusions without fully knowing Bruce’s intentions. But this is what makes it interesting: the play becomes interactive for the viewer, and they can interpret the story line for themselves based on their past experiences and preconceived notions. Definitely one that’ll make you think.
The Most Important Lesson of All rounded out the first half of the show, written by Josh Kelly and directed by Noah Todd. This gorgeously written and directed play was my favorite of the night. A commentary on the writing process, this beautiful narrative of two fictional characters weaves around the writer’s attempt to keep them from falling in love. Just as the characters’ hearts intersect, the writer realizes just how awesome love can be, if we allow it. This piece was absolutely breathtaking. I’m in love.
Following a short intermission, Noah Bogdonoff’s Sprung was directed by Victor Chiburis. This tension-filled drama was crafted with precision by Chiburis and his incredible actors, Siobhan Reddy-Best and Alex Bone. Unfortunate circumstances bring two characters together at a police station, only to discover they’re there for the same reason. Sprung was about as real as it gets with its intense emotion and honest exploration of social issues.
Director Leah Doroski brought humor and sci-fi themes to Ben Leatham’s The Mystery of Cotton-Eye Joe. Two high school girls and a college-aged sister brainstorm a science fair project that quickly turns into a time-machine meltdown.
Director Zachary Scovish capped the show with Alfonso Giansanti’s Lucky Toss, a perfect piece to end the night. Four characters wait in awkward silence for a bus that never comes. Throughout the course of the play, we come to realize that the connections between the commuters exist for the purpose of bringing people together – one pair united purely by accident, the other by mistake.
This was such a beautiful day to spend with artists from all backgrounds, and these connections are so incredible. I’m looking forward to the many more great productions of The Lobster Players. For more information or to get involved, join their Facebook Group here.
We’ve all been to concerts, weddings, events, or shows where the photographer sometimes ends up being the center of unwanted attention. Whether they block your view or obnoxiously push you out of the way to get that “award-winning shot,” here are some tips to ensure we don’t become one of those photographers.
THE CLIENT(S) hereby assign(s) and grant(s) Fretless Photography and its legal representatives the irrevocable and unrestricted right to use and publish photographs of THE CLIENT(S) or in which THE CLIENT(S) may be included, for editorial, trade, advertising, or any other purpose and in any manner or medium; to alter the same without restriction; and to copyright the same. THE CLIENT(S) hereby release(s) Fretless Photography and its legal representatives and assigns from all claims and liability relating to said photographs. It is agreed that Fretless Photography may display and use the photographs taken for advertising, display, website and internet promotion, photographic contests, public display such as in malls, photography books, photography instructional books, store fronts, window displays, studio display, television advertising, magazine advertising, and any other purpose thought proper by Fretless Photography.
If you haven’t been hired by the venue or sponsor of the event, be sure to ask permission first. This might include going to upper management at a concert hall (most require press passes, which are notoriously hard to get), or speaking with the band directly (or through their manager). The last thing a staff member wants to deal with is a random photographer who no one knows; if they weren’t notified that you’d be there, you automatically become a distraction. So while it might be tempting to forgo asking and apologize later if an issue arises, it’s better to get permission before your camera is confiscated and you’re questioned Law & Order style blinded by a desk lamp. Bottom line: be courteous and respectful, even if the answer is “No.” Then simply enjoy the show, uninhibited by the camera in front of your face.
Photographing an event and staying discrete doesn’t require camouflage and black paint under our eyes, but it does ask a bit of common sense from us. So don’t be that guy.
Taking my own advice, I’ve tried something new with some prints I had from the darkroom. Here’s the result, in a series of three. Kind of the mantra I live by.
The doodles were drawn in Illustrator, and the photos were put together in Photoshop.
I have a friend from college who has been working in NYC with Lively Productions, and I had the chance to see one of their shows this weekend. Lively is an innovative theatre company that explores the connection of humanity and technology. Blogologues, their newest project established in 2011, dramatizes internet content shared through Twitter, Craigslist, Yahoo Questions, and many other sites. Since its inception, Blogologues has combed the web for material in their thirteen shows, ranging in topic from the seasonal (Rocktober Blogologues: It’s Freaking Fall) to internet memes (Blogologues Technoganza: Like a LOLcat Watching Itself on YouTube). They’ve been featured on Mashable, The Huffington Post, Time Out New York, and many other media outlets.
They’re currently running their fourteenth production, New York F#cking City (If I can tweet it there, I’ll tweet it anywhere). This hilarious production is a conglomerate of sixteen posts plus tweets sprinkled throughout, all reaffirming the existence of unique, interesting, and sometimes downright strange people that inhabit the City. Posts entitled “Is it Normal to Burn Cockroaches” and “Craigslist: For Men Making 500,000 or Over – A Question From a Real Woman” were among my favorites for Blogologues’ depth of character development. Because written content on the internet is often anonymous and faceless, the actors can create personalities that border on the extreme.
Physical comedy manifested itself through highly energetic characters and musical dance numbers (NYC is the home of Broadway, after all). This is an awesome show packed with humor, and throughout the hour-long production, I had to keep reminding myself that these posts are real. They are actually online, written by an actual person.
“See, This is Why People Hate Vegans”
“What Tourists Need to Know About NYC”
You can try to act these out yourself, with your cat as an audience, or you could just go and see it for yourself! Tickets here for $15 or $20 at the door. Show runs through August 24th.
I vividly remember the first time I stepped foot into a darkroom. The sharp smell of the chemicals and the damp chill was intimidating at first; I only had a printed set of instructions to guide me through what seemed like a very complex process. I stumbled through developing my first roll of film to find that, hey, it’s really not all that difficult. Still, I followed the directions to a T, and eventually became much more comfortable, probably because I had memorized the worn piece of paper. I’d spend hours there, neglecting (what might have been) more important homework, but the darkroom transformed from a cold cave into my personal sanctuary, turning my love for science into an art form. The darkroom experience was part of a basic film photography class, which helped me to get an understanding of creating exposures and shooting in manual mode, as well as developing my own film and printing using an enlarger. The following year, I grew more adventurous, designing my own directed study in experimental darkroom photography. I explored double exposures, overlays, montages, and negative blending, and the darkroom became my playground for new and different techniques. I realized that this wasn’t just a class. This was something awesome.
Jerry Uelsmann was my inspiration for this directed study, and his gorgeous works continue to take hold of me. His pieces of surrealism are all done in the darkroom; none of these are digitally altered. These mind-blowing prints are the result of days of shooting, developing, and exposing, standing at the enlarger and planning out the piece. You can check out some of his work on show at Lanoue Fine Art in Boston from September 14th to October 12th.
Jerry Uelsmann: Untitled, 1982
Jerry Uelsmann: Untitled, 1991
Jerry Uelsmann: Untitled, 2000
Jerry Uelsmann: Voyager, 2008
So how is this done? Here are four steps that can lead you there, but don’t be married to these directions. It’s art, after all – your spin is what makes it unique.
For this one, I sandwiched two negatives together in the same negative holder, and exposed both at the same time.
Negative Sandwich
This one is just a single negative, but while the image exposed, I used a template made of heavy matte board to cover most of the image except for the squares. I exposed the main square for three seconds longer than the regular exposure for the image, then dropped the cutout square back into its hole while the other two shadow sections exposed for five additional seconds.
Altered with Burning
For this one, I used two negatives. I exposed the face first while dodging around the outside because I knew I wanted to use water as the background. Then I exposed the water, dodging around her face.
Dodging
I exposed the flower first for 16 seconds, then added just a hint of texture by exposing the water for four seconds.
Using Textures
Give it a try. Maybe this could be the start of something awesome.
I’ve never had much interest in photographing still life, but in using a tabletop studio, I’m intrigued by just how much I can do. It’s very exciting. Here’s some new work, just playing around with different backgrounds and lighting styles.
Glass and Pewter, lighting from both sides
Pewter, lighting from both sides and underneath
Horse Hair Vase, lighting from behind and underneath
Horse Hair Vase, lighting from the left
Since graduating from college in 2011, I’ve been reading like I’ve never read before. For whatever reason, becoming free of required texts has brought me even deeper into the world of books. I’ll read just about anything, from non-fiction to psychologically rich novels, and yes, sometimes even chick lit. Let’s just say that I’m very glad the library is closer to my home than the bookstore; my wallet would be perpetually empty otherwise. Some people in my generation find themselves in the same predicament, only it’s not because they spent their money on all the books their hearts could desire. Rather, it’s an issue of economy. And Riva Froymovich delves into the reasons Generation Y is at risk in her book End of the Good Life: How the Financial Crisis Threatens a Lost Generation — and What We Can Do About It.
Froymovich begins with her own story, a story of success for her parents, but within it, there are questions for the vast majority of 20- and 30-somethings who are unable to find employment. We invest so much into our education, and we tirelessly search for something, anything. We don’t even care if it’s in our field anymore. And sometimes we take unpaid internships because we’ve bought into the idea that months and years of experience will get us somewhere, even if we can’t pay our bills. When will things turn around for us, for everyone who is unemployed and underemployed?
While the future sounds bleak for the US, Froymovich reminds us of our neighbors in other countries. Europe, in particular, is struggling more deeply than we are. Froymovich provides staggering recent statistics, which is what makes this book so relevant. Published in April of this year, we’re able to see things as they are, now. And globally, things are tough. It’s not just us.
Borrowing ideas from other countries that are actually excelling, Froymovich explains how we might just be able to dig ourselves out of the debt we didn’t plan to find on the other side of education. She suggests simple yet incredibly effective educational reforms, such as earlier career planning in public schools as well as a partnership program with local businesses. These businesses would be able to train high school students for their particular field, and apprenticeships would allow teens to get their hands dirty in a field they might want to pursue in the future. For those who have already passed through the school systems, Froymovich suggests that entrepreneurial training is a great way for us to create the jobs that just aren’t there.
This painfully beautiful book uncovers the truth about our economy; the honesty with which it’s written draws me in as though I’m talking with a mentor, telling it like it is. With every chapter, I feel validated; I’m not alone in this, and neither are my peers. We’re all struggling, unsure of job security and uncertainty of what will happen when we reach retirement age. But in End of the Good Life, Froymovich offers practical solutions for the future, solutions that need to include policy change. If Generation Y comes together, we’re loud enough. We just need to be heard.
You can purchase your copy here, or if you’re like me, just check out your local library 😉
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