Holidays in the main plaza in San Miguel de Allende, Mexico
As the new year rapidly approaches, all of us at TCI wish you a happy, healthy and prosperous New Year. We will be bringing more courses and fascinating information from the ever-changing photosphere in 2011.
Perhaps now, more than ever…[we] need to get beyond the stereotypes and dramatic images and instead allow people to tell their own stories in a humanistic way. Photographer Ami Vitale in the Forward to Connections Across a Human Planet
This year marks the 55th anniversary of the opening of what has been proclaimed “the greatest photographic enterprise ever undertaken.” On January 24, 1955 the Museum of Modern Art in New York City opened the epic The Family of Man exhibit curated by legendary photographer, and at that time, MOMA’s Director of Photography, Edward Steichen. The show’s scale and impact were massive with 503 images by 272 photographers from 68 countries.
What a seminal moment it was in the history of photography. For the first time humanity could look at itself through the language of photography. And millions of people did as The Family of Man travelled around the world.
Now fast forward from January1955 to the next century. It is April 15, 2010. The place is the University of California Berkeley School of Journalism Library. A new collection of images from around the world have been gathered, first through publication on the Photojournale website, and then into the pages of a new book about to be launched: Photojournale: Connections Across a Human Planet.
John Horniblow. Editor and Founder of Photojournale speaks about Photojournale and the book Photojournale Connections Across A Human Planet at the book launch UC Berkeley Graduate School of Journalism Ed note: The video is shaky for a moment and then well worth watching
The selected works are as varied and complex as those who created them. The photojournalists are global citizens.They may reside in two countries and be shooting in a third, they may be native to the culture they are shooting or they may follow the typical assignment route. In every instance the images and stories, like those in The Family of Man, reflect a deep concern and passion for the human condition. Unlike the earlier work, the book’s content is a shade less romantic, a shade more reflective of reality, but nonetheless equally as hopeful for the future of our “human planet.”
John Horniblow, Photojournale’s creator and the book’s publisher intended the entire project to serve as a testament to and a test of current ways of working in the digital environment. The book was a team effort designed entirely through the magic of cyberspace and can be previewed in its entirety here. You will see beautifully reproduced color and black and white photographs side by side and here it works quite well. Recently I ordered the book and the more I peruse it the more it grows on me. It is a beautiful piece of work in all of its dimensions.
As the holiday season unfolds, it is a special time to celebrate and experience Connections Across a Human Planet. I think Steichen would agree and more than that: he would be awestruck at the evolution of the new possibilities for photography today.
This week one of the most poignant photography-oriented stories to cross my screen comes from the Australian Sydney Morning Herald. Reporter Linda Morris states in the November 12, 2010 edition:
“Neil Burgess stepped forward two months ago to call the death of photojournalism at ’11.12 GMT 1st August 2010. Amen.’ The former head of Network Photographers and Magnum Photos and twice chairman of World Press Photos lamented that ‘we owe it to our children to tell them that the profession of photojournalist no longer exists’.”
Like the proverbial old soldier, the old model of magazine and newspaper photojournalism assignments hasn’t really died; it’s just fading away. Meanwhile dynamic new models for creation and delivery of social and multimedia environments are coming to the fore.
As the story, Tweets, shoots and leaves a golden age, points out, already an app for the IPad only Latitude Magazine, has been developed by a collective of over fifty top-notch photographers, including TCI faculty member Lisa Wiltse The article also highlights the stunning Reportage Festival, a multimedia exhibition of photo essays by some of the world’s leading photographers.
Indeed it seems that the world of the web is a natural fit for this form of storytelling and with the addition of sound and movement can bring life to stories in ways never imagined in the “good old days.” TCI is positioned to offer several courses to develop skills and approaches to visual storytelling. At the core is a solid course to provide a strong foundation: Photojournalism – Telling the Story with a Camera with David Bathgate.
David has produced a powerful multimedia photo essay of his time in Afghanistan. which can be seen here and from a slightly different context as Sides of the Wire/Afghanistan hosted on Photojournale, TCI’s partner in The Emerging Photographer Program
“Since 2002 I have traveled Afghanistan covering its unfolding saga of war and civilian struggle – as a photojournalist and as I see it – for the international press. This is a “brief” of my feelings, impressions and experiences there.” David Bathgate
Let us know what you think. Is photojournalism dead?
The Pack Rat from Window Peeping Series
Not so long ago, the Holy Grail for gaining recognition as a fine arts photographer was the gallery route. The practical reality, however, is that exhibits require making prints, matting and framing: all very expensive especially when there is no guarantee for a sale.
To share her views and experience on the subject, we turn once again to fine arts photographer and TCI instructor, Gina Genis
How do you feel about the current importance of galleries and are there other more cost effective ways to keep your work before the public?
The changes in technology have revised our society into one that is an open exchange of information through the internet. The need to print your photographs has diminished. You can post images on your personal website, Facebook, or any number of photo hosting sites like Flickr. They have the potential to be viewed by thousands of eyes. I never print my work unless it is going to a show. There is currently a trend in galleries to not frame the photographs. This is probably due to the collapse of the economy. Less work is selling, so more cutbacks are being made to keep expenses down.
It used to be that a museum or gallery was the only venue the public had to seeing works of art. So are they now obsolete? I don’t think so. A museum serves a purpose to set the standard for choosing the best of the best work to display. It also is responsible for recognizing changing trends that define a shift in the direction of art history. The role of a gallery owner is to match collectors with artists. We still need these systems in the fine art world.
Museums and galleries are putting more effort into showing exhibits online so they can reach farther than just those living within their geographical location. This leads to more opportunities for artists. They have greater clout to bring important collectors to their websites than an individual artist does.
It is essential for an artist to have their own website as well. The first thing a curator asks is: “What’s your web address?” Your website is your business card, and it is the cheapest way of showing the public who you are. My fine art website is http:// my.photoshelter.com/ginagenis
In the venues away from your home base, what is your approach to having your work selected to be exhibited?
I am asked on a regular basis to show my work in different parts of the country and even the world. Having an exhibit away from your home is a very expensive ordeal. Therefore, I carefully check off a mental list of requirements before proceeding.
1. Who is the curator? Is it someone with a proven track record of excellent shows? If it is a new curator, what is his or her background? Is there potential for him/her to go on to larger galleries or museums, and hopefully, show my work there at a later date?
2. What kind of reputation does the institution have?
3. What amount of costs will I incur?
4. What is the potential for damage to my work as a result of shipping and installation?
5. How will this show benefit my career? If the answers are positive, I do the show.
What else do you do to promote your work?
In today’s world, one must be involved with self-promotion. I use all available avenues to keep my name and work out there. Using the internet, I post one item per day on Facebook, tweet a few times a week, and write a blog story a few times a week. I also teach in-the-field workshops (www.ginagenis.com), and online courses through The Compelling Image.
Lecturing to college students allows me to guide new talent, and creates interest in my work. Jurying art competitions is a fun way to be in contact with new people who may buy my work or take a workshop from me. And most important is the face to face contact of showing up at gallery and museum openings. Even with the world getting smaller, and having hundreds of “friends” you have never met on Facebook, personal contact is still the best means to building relationships that lead to exhibits and sales.
What many people do not understand about being a fine artist is that it is an 18 hour a day business. I normally sleep only 6 hours per night. Actually making photographs is just a small portion of what it takes to be successful. The majority of it is networking, bookkeeping, and self promotion. An extremely disciplined work ethic is essential. I was once asked by a business person what I did all day without a job. After taking a huge pause so as not to react to the implied insult, I explained a typical day hour by hour. By the time I was finished, the person was flabbergasted at how much more work I did compared to him. I was able to leave him with a new found respect for artists and a convert to the world of museums and galleries.
Any advice about this for beginners?
1. Find a mentor. It should be someone you admire as a person and an artist. He/she has walked the road before you and can help you avoid the mistakes he made. She can also introduce you to other people who can help your career.
2. Develop a plan to structure your time. You need to accomplish many things each day, so make a list of most important to least important and work through the list until it is finished. Don’t procrastinate. Every day unexpected deadlines pop up and you need to readjust your priorities. If you push too many things onto the next day, you can easily get overwhelmed.
3. Get involved in the art scene. Go to gallery openings and introduce yourself to the gallery owners. They appreciate your support, and are more likely to show your work if they know you.
4. Make sure you have a clear vision of the work you are doing and be able to explain it to others. If you can’t articulate it, how can anyone else?
5. Gather other artists together for a monthly critique group. Artists tend to work in a vacuum and you need to get feedback, to take a pulse of the reaction to your work.
6. Don’t get discouraged. You will face a wall of no’s before the yes door opens.
7. Strive for perfection in your work. When you think you are finished, push forward one more step.
8. Be professional. Be on time for meetings. Deliver what you promise.
9. Above all, remember that being an artist is important. You work is leaving a record of humanity for the future. If anyone tells you to “get a real job” ask them this: if art is so unimportant, why is it that the first thing an invading country does is burn the books, and destroy or steal the art to remove all traces of the existing culture, a clear acknowledgment of the power of its art.
California photographer Gina Genis teaches three courses for The Compelling Image: Macro Photography – It’s A Small World, Landscape Photography, and Fine Art Digital Photography – At Its Best.
Every Day Holds A Secret. Tunnel Series
This month Gina is exhibiting in Field of Vision, a group show at Notion Fine Art, Laguna Beach, California and at the Orange County Center for Contemporary Art. Earlier this year she exhibited in Slovakia, at the Laguna Art Museum, had a solo exhibit at Gallery 825. and has been in many group exhibits in between.
Gina generously took precious time from her work to share her abundant knowledge and experience as a fine arts photographer in today’s rapidly changing art world. Part One looks at Genis’s range of work and involvement in the arts community while Part Two will look at broader issues in the evolving fine arts world today.
It appears that you have a busy exhibition schedule in the Orange County and Los Angeles art scene in California. Is this your main exhibition locale?
I live in Orange County, California, so geographically; it is easiest to connect with the art scene here. Attending gallery openings and meetings with curators and critics is a matter of a short drive. I am active in the larger scene in Los Angeles as well, a 70 mile drive from my home. To stay current, I usually go there two or more times a week. It is not uncommon to drive 300 miles in one day to cover everything I need to do. I get burnt out commuting all the time, but consider it part of the job. I have a very demanding boss–me.
Where else have you exhibited?
I have exhibited my work in galleries and museums in New York, Los Angeles, San Francisco, Miami, Orange County, Kansas, Wisconsin, Minneapolis, Baltimore, Slovakia, and more.
Tell us about this current exhibit. Why is it important to you?
The first reason the Field of Vision exhibit is important to me is because there are not very many venues for photography in Orange County. It is rare to see a show dedicated completely to photographic images. I was excited to be invited to display my work in a gallery filled with photography.
The second reason the Field of Vision show interested me is because the Tunnel Series is different from the rest of the fine art photography I am known for. I normally shoot what I have labeled Voyeuristic Documentary capturing scenes of life as a removed observer without staging or major manipulation in a software program. This work always presents a social or moral question to the viewer, and can be quite discomfiting to look at. One example can be seen in Window Peeping.
Contrarily, the Tunnel Series is quite pleasing to view. I used a specialized lens to create a diffused, mystical look to the tunnels. There are still questions posed, but they tend to be of an emotional and spiritual nature rather than social or moral one. For instance, are you afraid to go into the tunnel? Does the dark scare you? Do you see the light at the end of the tunnel as comforting? Does it create a spiritual pull implying life is better on the other side? Each person can react to the images in their own minds. I was curious to see what public reception to this work would be.
How about your next exhibit? Tell us a bit about that one.
August At Inspiration Point: Kala Series
My next exhibit will be at MPLS Photo Center in Minneapolis, Minnesota. It is an international juried exhibition titled Urban View/Rural Sight, and runs from January 7 – February 20, 2011. The juror was David Travis, who has a much respected curatorial history. The MPLS notification letter said there were thousands of entries, and only 80 were selected, so I am humbled by being included. The photo in this show is titled “August at Inspiration Point”. It is part of the Kala Series, shot over a six month period in the mountains of my former home of Idyllwild, California. The theme of man’s relationship to the environment is the question posed in this series.
Even more than my own work, I am most proud of a large undertaking in progress. I am curating a photojournalist/videojournalist exhibit called Wide Angle View to take place from February 3 – March 26, 2011 at the Orange County Center for Contemporary Art. I have gathered 17 award-winning photojournalists from around the world. Some of them are Pulitzer and Emmy winners. The theme of the show is to contrast the photographer’s assignment work with their personal work. What does a photographer who is sometimes placed in the most life threatening situations choose to photograph on his or her own time? The images are spectacular, and it is shaping up to be a compelling show. This is the first time an exhibit of the type and magnitude has been held in Orange County.
Next post: Gina Genis will address basic marketing issues and sound advice for those looking to have a career in fine arts photography.
One Student's View of the TCI Learning Experience
This week, take a look behind the dashboard of the TCI experience. Our multimedia story highlights a sample lesson and accompanying photographs, assignments, and critiques.If you have ever thought about jumping into the online experience, this inside look could answer some of your questions.
Speaking from my experience as a student at TCI, I felt that the assignments motivated me to go out and shoot with a clear purpose in mind. In my case, I have been involved with photography for many decades and have taken numerous workshops. Still I felt I needed a push to go to the next level: I needed to know that someone with a high-level of expertise was waiting in the wings to interact with me and my work. This I got from my instructor, David Bathgate.
The determining factor for me, however, was the cost-benefit ratio. The tuition alone of some of my other workshops was easily four to five times TCI’s…before travel expenses. While the other workshops were very valuable, I could not afford the time and the money to do many of them. On the other hand I could afford several of TCI’s courses, all high-quality offerings taught by professional photographers based all over the planet.
With new delivery systems and tools evolving all the time, online learning opens portals to untold possibilities. TCI offers over forty courses designed to allow you to take your photography to the next level. All you will need is your drive, determination, self-discipline…and the love for photography that we all share.
To view the presentation, click here. Presentation will open in a new window.
Student photograph for TCI course: People Pictures with Impact and Emotion
This week’s post features an interview with David Bathgate, TCI founder and the man behind the TCI vision. Future posts will feature interviews with other TCI teacher-photographers, as well.
What inspired you to start this venture? What was the “aha” moment?
I saw the need for an alternative to increasingly more expensive “on location” photo workshops, offered nationally and internationally. Scheduling time for it all and shouldering travel costs, room and board – well, for most photographers such just isn’t possible. The internet, as I saw it, is the leveling force that could conveniently and cost-effectively deliver this same quality learning experience to a much broader community of photographers at a much, much lower cost, the world over.
The “aha” moment came when I searched the net to see if anyone else shared my thoughts. That was 2005 and there was at that time one or two online schools of photography in existence. What they offered, however, was either not interactive in any sense and/or geared to the complete novice, with no curriculum in which to grow as a photographer. I saw the potential and knew it could be done better.
With all of your assignments around the world, how do you personally make it work?
My assignment work often takes me to out-of-the-way kinds of places – even conflict zones like Afghanistan. Yet one would be surprised just where internet connections can be found around the world. In fact, on the road I have never been in a situation where the internet couldn’t be accessed for more than two days at a time. Airports are no problem with their WIFI hotspots and even when I’m embedded with the military, I have always arranged to get connected for enough time to keep my online students happy and moving forward.
Teaching is something I really enjoy, so a daily return to “the classroom” is never an issue for me. I always find a way to make it happen.
Why are TCI photographers so willing to help aspiring photographers? What drives the commitment?
That’s a good question and the answer has much to do with photography itself. Photographers – still as well as those using video – are self-expression types from the start. We are driven to tell our stories to others and we’ve chosen to use the camera to do this. Those in other professions often compete with one another. There isn’t a whole lot of sharing that goes on. Those using a camera tend to be different. I’m not saying that competition is nonexistent in the field of photography – for jobs, contests and the like, but there exists a sincere comradery among photographers, regardless of their level of achievement, that lends itself to sharing of experience, advice and information. This is what lies behind our instructors’ commitment to their students.
Some of us have no aspirations to have a career in photography; we just want to “climb the mountain because it’s there.” How does that factor into how you approach your instruction with this group as contrasted with potential next generation practitioners of the craft?
The majority of our students are keen amateurs and are content to remain so. Others do hold aspirations to at least dabble in the professional realm. What both groups share is their desire to improve – to become all they can as photographers. This is the element of both that is spoken to at The Compelling Image.
Our courses are always geared to both on an individual level. As instructors at TCI, we know there are skill differences among our students and we respond with a personal and individualized approach to these situations. If some students need extra attention, they receive it. If another is “already there” and warrants an extra nudge, we give that too.
The courses are interactive in a virtual sense, meaning that students learn not only from personal instructor attention and critiqued work, but from critiqued and discussed assignment work uploaded by fellow students in their course. Instructors are not exempted from this either. I oftentimes take something new away from teaching a course – a new perspective, a new direction for teaching – something I hadn’t thought of or viewed in the just the same way before. It’s exciting.
What is the most important benefit that TCI has to offer, other than anywhere, anytime learning? What sets TCI apart from others?
The quality of our instructors, the breadth of their experience and knowledge and that willingness to share all covers this question well. Our faculty is based throughout the world. They’ve grown up and worked as photographers in many different cultural settings. As a constellation, this represents an unbeatable context for learning photography and all its multimedia associations.
What are some of your observations on the success of your past and current students? Have any gone on to careers?
We often receive letters from students past, stating that they’ve won this or that photo award, have achieved something in their photography or video production pursuits that would not have been likely had they not taken our courses. All such feedback pleases us immensely, of course. Just in terms of my own students, one of them has become a photo editor with the NGO, “Doctors Without Borders,” and is an accomplished photographer in her own right. Two of our very own instructors were past students of mine and have gone on to become award-winning professionals. It’s a real joy to have these two back as members of our own faculty.
Can you give us a sense of what is going on right now with courses, students and instructors at TCI?
A lot of exciting and adventurous things are taking place in the moment. Starting with The Compelling Image website itself, our talented UK designer is installing a lot of new functional features – improvements that will make our interactive website much more versatile in terms of handling multimedia courses and existing photography courses, as well.
Another addition is our “Emerging Photographer” Program, being developed in conjunction with Photojournale, a cutting-edge presenter of quality photography and multimedia on the internet. In this program, consisting of two related and progressive courses and a portfolio review offered at a package-reduced price, students have the opportunity to advance to an exhibition phase with their work, show-cased on the Photojournale website for all (including a growing number of photo and multimedia editors) to see. Such exposure has already led to successful contacts with both print and internet publishers
New courses too are being added all the time. One most recently launched is “Life Style Photography,” taught by Australian photographer (based in Rome, Italy), Susan Wright.
What are your plans for the next year?
We have new courses slated to begin in the new year, too. One of these is Claire Rosen’s, “The Constructed Image,” starting in February. New multimedia courses will most likely start around that time, too. But it’s not only new courses and expanding internet associations and effectiveness that will define TCI’s future. Our commitment will always be first to our students. giving them the best that photography and multimedia instruction can be, all via the convenience and affordability of the internet.
An addition to an already great lineup of courses, The Compelling Image will soon be launching its Emerging Photographer program. Geared to serious amateurs aiming to advance their work and photographers with aspirations to the professional, this exciting new program offers the opportunity to develop and refine one’s photographic vision through a curriculum of progressive and related courses, personal Skype consultations and professional portfolio reviews by renowned TCI instructors. Upon successful completion of this multi-faceted program, participants will advance to the Exhibition Stage, where they will be given the opportunity to present their work at Photojournale, a key, high-standards player in the development and future of visual storytelling and photography publication on the internet.
How the Program Works
Students enrolling in the Emerging Photographer program choose between three storytelling tracks – Photojournalism, Video Production and Multimedia Production, with plans in the works to expand these creative offerings in the future. Upon successful completion of these track courses, a professional portfolio critique will follow and conclude the TCI component of the program, with editorial choice of student work at Photojournale, to follow.
What are the Benefits of the Emerging Photographer Program?
The greatest value of this program lies in the student’s ability to work closely with instructors – in a mentorship capacity. The goal is to produce high-quality photographic and multimedia work to be professionally exhibited to a worldwide audience, among which sits a growing number of editors keen to discover new talent and acquire creative and dynamic imagery for publication – both on and off the web. It’s an opportunity not to be missed if you’re driven by photography and the power of multimedia, today. And even more so, if turning professional in these fields tops your personal plans.
The Emerging Photographer package – two courses, personal Skype consultations and portfolio review – will be be offered at a 15% discount from the regular price of each curriculum component, alone.
Have questions or want more information? Contact us at The Compelling Image.
One doesn’t stop seeing. One doesn’t stop framing. It doesn’t turn off and turn on. It’s on all the time. Annie Leibovitz
I found the above quote by Annie Leibovitz on a wonderful website for photographers: PhotoQuotes. When you need a shot of inspiration, stop by.
Leibovitz’s words resonated with me. For a long time I dreamed of immersing myself in and photographing a culture other than my own. And then one day in 2004 I came to Mexico and virtually never left. Mexico is a photographer’s paradise. Life here is lived out loud and with great gusto. Mexicanos love on the streets, pray on the streets and eat on the streets. And the flavors of both the life and the food are spicy, vivid and pungent.
One evening not too long ago I sat on my roof terrace gazing at the beauty of the mountains on the horizon. I began to breathe in the aroma of taco stands coming to life for the night. I was drawn to the promise of mouthwatering goodness. I stepped outside and gingerly worked my way across uneven cobblestones to the small alleyway around the corner. There people lined the narrow street patiently waiting in front of the aluminum-clad food stand for orders of their beloved carnitas (pork chopped fine and served with tortillas, tacos and a myriad of condiments: finely chopped cilantro, radishes, onions, spicy salsa. and the ever-present fresh lime). I waited in line for a very long time, the only non-Mexican in the crowd.
Finally, a helper motioned that a place was open at one of the plastic folding tables inside. I greeted a couple seated at the table with their boy—maybe about eight years old. Soon they left. Immediately more people rushed to find a seat at the table, one a muscular chap in his 20’s wearing an undershirt framing his beautifully molded biceps. He quickly consumed 8 or 9 overstuffed carnita-filled tacos and went to the front stand to order more.
Suddenly sheets of rain pounded against the corrugated fiberglass rooftop sounding like a Chichimeca drumming performance. The TV droned on in the background, people talked and laughed and children squealed with delight as they always do here. We squeezed in closer as the people waiting in the street piled into the small space. The smells of the cooking hung in the air. I remember looking at a woman in a yellow top, drenched, entering from the street with its lights causing misty shadows through the rain.
All of this happened and I had not brought my camera. I could have had a little secret tantrum and suffered the loss, but to what end? Instead I turned it around. I knew that being there in the midst of the moment with these people was another step in knowing them. Already the experience had found its way into my awareness and vision. Because of moments like these, more authenticity, feeling and respect would be reflected in images to come. And of course, it wouldn’t hurt to have the camera at the ready.
