For more of Noah’s work go to his website, and his blog
We asked students from this weekends workshops with Noah if they’d like to share any images and thoughts from their sessions and here are the results!
Mark Sherratt“I had been feeling a little uninspired recently, and doing the workshop made me want to go out and take more pictures. I thought Noah was great, super laid back and very helpful and happy to tell you all his techniques and photo secrets! All in all, inspiring and lots of fun.”
www.heatherbuckley.com “Noah was natural and easy and shared detailed information about how he set up the lighting and the equipment he used while showing us his work. He allowed lots of time for taking pictures which is always good. It was great fun; I really enjoyed both days and could have happily done another two.”
We are continuing to shoot our guide to Studio Lighting at the minute, and its looking really good, a lot of great info and examples and we are still only on one light. We have shot a range of models, and now after 3 full days (spread over the past 4 weeks) of showing ‘mistakes’ and modifiers we are working on the polished 1 light set-ups with Josh. Its been a month down the line so far though, which is the problem with running so many other courses, studio hires, and our own shoots, but we are really confident you won’t ever need another Guide than this one. Worth waiting for we hope.
We will keep you posted. Lets hope the other Photographers don’t kick us out of the equivalent of the magic circle…
I am looking for new models based in or nearby to Brighton for personal work/projects. Some of the work may be paid but mainly it will be for exposure etc.
Please note I am pretty specific about what/who I shoot, so please have a look at my work first. I am not wanting to shoot any tattooed girls, (very minor ink is okay), but no chest pieces, hands etc I am also not looking for anyone that wants pin-up shots or to copy images that already exist. That may sound a little harsh but its much better to be upfront about these things. If you think you have what it takes, and that extra something then please get in touch direct Kevin@garage-studios.co.uk it would be great if you can link to a headshot and bodyshot, they don’t need to be pro shoots, ideally no make-up, and please no photoshop. For this current work I am looking for both male and female models approx 18-30yrs old.
Noah Kalina has been at Garage studios over the weekend, starting with a talk at the Lighthouse on Friday night, and continuing by running a series of fantastic portrait & lighting workshops on Saturday and Sunday here at the studio.
The sessions included a discussion of Noah’s work and techniques and some time in the studio, progressing to exploring his distinctive methods of mixing natural and artificial light sources.
It’s been a great weekend, and we’d really like to thank Noah, and everyone else involved, for making it such a success. For information about upcoming events and guest photographers at Garage Studios email or call on 01273 609600
One of the Creative Photography students, after displaying some beautiful images of light transforming an everyday scene, a bedroom, asked how do you go about finding a subject. Its a very interesting question, and one that must have a myriad of answers, so we would like to know your thoughts on how you choose to shoot something, and then why you shoot it in a different way.
Looking at Flickr, you could say in some respects it is the unruly or unfocussed offspring of Stephen Shore’s American Surfaces, a work that at first glance (and to many people at every subsequent glance) is a book of pointless snapshots of strangers in the street, motel rooms containing nothing, and meal after meal. In fact the shooting ‘my breakfast, lunch, dinner’ is a phenomenon that can surely, in terms of modern visual language be attributed to Shore and is now mimicked by thousands on flickr.
Despite embracing the ‘snapshot’ aesthetic for American Surfaces Shore has allegedly said of Flickr “I went on to Flickr and it was just thousands of pieces of shit, and I just couldn’t believe it. And it’s just all conventional, it’s all cliches, it’s just one visual convention after another.” Stephen Shore
Where are the great pictures on flickr?
Digging a little deeper into the background for this quote, I found this on Alec Soths blog
it seems that the quote caused an outcry, even several years ago when Flickr was surely less homogenous than it is now, and Shore responds directly to Alec Soth’s mail with ,
“Thanks for bringing this posting to my attention and thanks for giving me an opportunity to respond. I was beginning to compose my response when I saw that you posted the full context of my comments. I think that helps clarify my meaning and I appreciate your posting it. That said, my original comment was a glib generalization that was unfair to a collection of images as heterogeneous as that on Flickr.”
Its worth clicking the links to see the full debate, and it certainly raises many questions. Playing Devils Advocate for a second it is hypocritical for Shore to shoot snapshots, make it into a large body of his work, and then dismiss others for doing the same. Perhaps because they don’t post rationalise their work in terms of the art world, or come up with the theory to match the images, does that make their picture less valid. In Shore’s eyes the answer seems to be yes.
But the idea of content, or subject is key here, does a photographer need to be interesting, or fresh, or even new? Is it even possible to be any of those things, I have more photos on my iphone than my parents generation had in the whole house. Has ‘picture making’ become so immediate that as soon as an image is shot and uploaded it gets lost in the visual noise? If so, why are these sites more popular than ever. I know many photographers who ‘flickr bash’ and I certainly hold my hand up to that on numerous occasions, but many of those photographers, even those full time agency signed pro photographers seem to have a flickr, or at the very least continue to look at the site. Are they drawn in for the spectacle, or the visual noise, or the sheer joy of finding some true natural talent which can be found on the site.
There are numerous inspiring quotes on looking for subject matter, or how it reveals itself to you and to you eye, and I’d recommend searching for interviews with Mary Ellen Mark and Diane Arbus, two photographers whose work we looked at later in the Creative Course session. As with all great Art, in photography the search for subject seems to come from within, somewhere deeply personal, but then must transcend that and use a visual language that is universal, that a picture should at first work on a purely visual level. But subject- how do you get to that strong visual image without a subject? I’d be keen to know your thoughts on this- how and why you shoot what you do, whether its a body of work, or individual images- how do you end up finger poised over a button, waiting for that moment to make something entirely new- because don’t forget, no two pictures will ever be the same. What makes your photography unique, and as unique as you are as an individual, different from me and everyone else, how do you choose that subject, that instant and then that frame from the edit? How I guess, do you find your visual voice?
If you haven’t visited the good people at Coachwerks yet, here’s a really good reason to get down there. All you need to take for the workshop is yourself and your enthusiasm….
You are welcome to bring B&W negatives, interesting objects, and/or old cameras and boxes for turning into pinhole cameras, but all materials will be provided.
There are only a couple of places left so follow the link to the Coachwerks site to book before they’re gone
We were asked to shoot some source images for a Bench LookBook and Campaign last summer, and here are some of the Polaroids, I only found them again as I have been digging through the crates so to speak, to find Sally Reynold Polaroids for the book that is coming out. So I thought I would post a few here, I really miss Polaroid film, all shot on 1200.
Assistants Natasha Alipour-Faridani and Vic Lentaigne.
Matt is on location today and Kevin has a full day studio shoot with a class tonight- so we most likely won’t be able to answer the phone today but we will get back to all mails-so if your enquiry is urgent please use firstname.lastname@example.org