A couple of years ago, I volunteered to produce and shoot this informational video for the STEPS to End Family Violence Re-Entry Program. This is a non-profit organization that works with families dealing with incarceration. Please check out this important group doing important work in our community and support them however you can.
To find out more about STEPS, go to their website at: http://www.stepstoendfamilyviolence.org
Cameron Russell’s recent TED talk about beauty, being a model, and perhaps not being a role model (http://www.ted.com/talks/cameron_russell_looks_aren_t_everything_believe_me_i_m_a_model.html) compelled me to want to add to this discussion about notions of beauty. For me, the first question that comes to mind is, why do we care that this successful and beautiful model has thoughts about this subject? Moreover, why do we care that a male photographer has a response to it?
Quickly for the record, I have worked in the industry for many years, but I have never worked with or met Ms. Russell.
During my first year in the business, a photographer I assisted once told me that our industry, fashion and photography, was the last bastion of openly-sexist behavior in the workplace. He said it jokingly but the message was clear: members of the industry, both male and female, manage to be more tolerant with language and actions that foster stereotypes of social roles based on gender (not proudly, myself included). This is true both in front of the camera and behind the scenes of image making.
In the mainstream media, the fashion industry gets bashed quite often for perpetuating unrealistic beauty ideals, particularly when focused towards young women. But did industry types create these ideals or are they just perpetuating multi-generational notions of beauty based on internalized superiority and oppression related to physical appearance?
Beauty ideals have evolved over time but has not really changed in media. There is a consistent pattern of a type of woman, lighter-skinned with “western” features, red-lipped, more svelte or skinnier than the average, being the archetype, EXCEPT in very specific cultures around the world. And, given the extensive range of mainstream media today, these ideals reach places they never would have before, creating a flattened, “global” sense of “beauty” where there used to be many different iterations.
Ms. Russell’s talk gets a lot attention due to her admission that she is a model because she won the “genetic lottery.” However, I’m even more impressed with her use of the term “legacy” as it pertains to her beauty. The questions I have posed mostly addresses this part of Ms. Russell’s talk. For instance, how much does our powerful culture of consumerism contribute to the perpetuation of this “legacy?” I would say it greatly contributes to this in ways that are obvious and unobvious. Many years ago, I assisted on a job for a client whose products targeted “plus-size” women. I wondered to the client why the models for these products were not “plus size” as well (recognizing that they were labelled as such from an industry perspective). Her reply was that their customers did not want to see plus-sized models in the clothes they were about to buy. In other words, customers wanted the images of their clothing to fulfill an aspirational beauty ideal, albeit one that excluded the customer themselves.
Far from being any expert on this subject, I am a male photographer insecure about his own position in the industry. If Ms. Russell’s talk was aimed at women, it nonetheless made me consider my own role. As an image-maker hoping to eventually be influential in the industry, am I an innocent or a perpetrator? Is it possible to be wholly one or the other? If so, can I get away with trying to pass as a helpless accomplice? To the latter question, I say “of course not”, but how does one bring about change in an industry where long-standing traditions of fantasy-construction and exclusivity based on ingrained beauty ideals are a source of pride and income? How does one bring about change when this industry is at the mercy of the all-powerful consumer, a consumer whose commitment to ingrained beauty ideals seems to run even deeper than that of the image-makers? Is the industry no more than a reflection of a society in deep denial about the “hold” of superficiality and beauty ideals?
It will be interesting to see how Ms. Russell’s honest reflections will be received by industry professionals who have already used the manipulation of stereotypes in constructed fantasies to pave their own paths to success. It was not clear to me in Ms. Russell’s talk how even she feels about this. Owing to the time-limited nature of TED talks, Ms. Russell was only able to scratch the surface of this loaded topic (I’ve only just done the same here with this post). In any event, Ms. Russell is part of an interesting and seemingly tiny minority: that of pretty, white women willing to publicly dissect the truths of their own successes, especially as these successes are tied to their personal and physical identities.
Again, why is this necessary and why should we care? This is a difficult, complex topic that requires ongoing discourse if change is to happen, and currently, there are not enough of us willing to talk about it because it’s uncomfortable to do so. This is precisely why it is necessary and why we should care. Ms. Russell, recognizing her own role as an industry insider and with a healthy dose of self examination, was willing to start the discussion.
We’ve all seen the horrible images of Sandy’s destruction this past week. And we’ve seen the great efforts of many New Yorkers doing what they can to help. Today, my girlfriend Ered and I went down to Red Hook unsure of how we could do our part, but determined to do so regardless.
We made our way to the Red Hook Initiative and got assigned to bring prepared meals to the sick and the elderly living in the Red Hook Houses. The second largest PJ in NYC is still completely without power and some buildings are 14 stories tall. I know because we trudged up there through pitch-black and narrow staircases and hallways to deliver what little we had so that those who could not make it down on their own could eat, have water, and request necessary supplies. We found extremely grateful, yet exhausted and terrified people who needed this help at least three times a day.
Later, we helped unload and dole out rations in Coffey Park- barely edible MREs, water, thin gov’t-issued blankets, diapers, etc. Some of these folks also needed help just to get their stuff home. As the sky darkened and the chill deepened, an unsettling reality set in, especially as those who showed up too late to get blankets expressed their frustrations and absolute fear, that the worst was still coming. Others were too defeated to say anything and quietly walked away. I wanted to punch the fuck out of someone and weep at the same time. Until the power comes back to this area and some dignity is brought back to these already marginalized people, the situation will be even more dire. And yes, I KNOW Red Hook is not the only area suffering terribly.
I haven’t wanted to write a post about being a photo assistant prior to today. I always looked at this little blog as a place to be a photographer talking about photography, inspiration and the like. Not the hassles and headaches of trying to follow the path of the photographer. But, I was reminded of the struggles and hassles while on a shoot recently. Then I came across this great post on A Photo Editor. (Read that post here.) And, that was it. Time to cast aside the fluff pieces and obits for a moment and try to contribute something to the current dialogue about having a career as a photographer.
It’s a brave new photography world and anyone entering this world should be prepared to have multiple income streams (not my term but it’s a good one).
Many of today’s young photographers are multiple threats in the industry already. They can tech (one income stream), assist (freelance or salaried), retouch, work at a studio, and occasionally even shoot (sometimes an income loss, especially if it’s a small, indie magazine editorial).
Then the day may come when they start to shed one of these income streams. That is, actually volunteer to stop making money from working in a certain area of the field. Why would they do such a thing? Because they feel they’re ready to shoot full time. And they’re hoping that this one income stream (shooting) will amount to more at the end of the year than what they earn when they were making money five different ways.
If you aren’t a photographer, this would probably sound really ridiculous but this is exactly what we do. It’s why we tech, assist, and all the rest to begin with. It’s the path that many of us have to take.
I currently only have two income streams. I don’t tech (thankfully), but I do assist often and I get to shoot often as well.
And, I too am looking to jettison one of my income streams! Not just any, but the one I’ve relied on the most since I entered the industry in the late 1990’s as a total outsider (I use the term outsider as someone who never studied photography formally and never started as a studio mop boy).
So, what next? Well, there’s so much work to do—develop the brand, promo, continue to shoot personal work, go out and meet people, etc.
Becoming a full time photographer is all I see myself doing regardless of what it earns me from one year to the next. When I stop assisting, I may or may not have to find another income stream. Maybe even in another industry altogether. And yes, I know full well the economy has been awful and jobs across the board are hard to come by.
But, the economy has been bad for a few years now, digital has expanded the talent pool, maybe even diluted it quite a bit, but it hasn’t stopped several of my very dedicated friends from continuing to produce great work, landing clients, getting repped –the great triumvirate.
The rough economy certainly slowed me down and I’ve had to freelance photo assist much longer than I expected (Good thing I still get something out of it. More on this in another post).
And very importantly, I truly love the photo industry and I’ve come to embrace all the hassles and headaches. Encountering the difficulties means I’m somehow still in the game. If you don’t like playing, then consider a different career. This is not for you. There are so many negatives for someone who doesn’t want to throw everything at this. And, you’re probably in the way.
So yes, a payday in photography can be like playing lottery. Except, maybe we have a cheat? The cheat being the work. You don’t put the backbreaking work in, you don’t consistently produce good images, you don’t develop new relationships in the industry, then play Powerball or hop on a bus to Atlantic City. Crappy buffets but your odds of making a sustainable living are better.
Note: This post was written by someone who’s worked as a freelance photo assistant (in NYC) for many years and only just started landing quality clients in the past two to three years. So, it’s just one perspective and the only one I have for the moment. Is assisting for everyone? Definitely not, and I do plan on posting more about being a photo assistant as well as the some of the toils and travails of trying to be a full time photographer with the goal of having my main income stream come from behind the camera.
Lovely piece about the amazing Lillian Bassman over on the Lens blog. Check it out here. Pulled me out of my blog hibernation. The world lost another amazing talent these past few weeks.
Lillian Bassman. 1996.
Hard to believe this year marks the 25th anniversary of this incredible album. When did I fall in love with hip hop? 25 years ago.
“When times is hard, people can hear a rapper that inspires them to do what they supposed to do.” –Rakim, 2011.
Rakim / EPMD / FunkMaster Flex
When: Sunday, August 21, 2011 at 3:00PM
Where: Central Park/Mainstage
A couple of weeks ago on KCRW, I heard a great acoustic piano rendition of The Pixies’ “Where Is My Mind” by Maxence Cyrin.
While I normally can’t stand most acoustic instrumental covers of pop songs, especially the kind found on Youtube, one can easily hear that this person is more than a serious amateur sitting in front of a pop music sheet book.
So, I looked Cyrin up and found a bunch of videos he’s posted on Youtube, many set to beautifully edited clips from old films, including his “Where Is My Mind.”
My favorite of these is the piano cover of Daft Punk’s “Around The World.” Utilizing scenes from the incredibly produced 1934 Busby Berkeley musical Dames, the music and editing makes the synchronized swimming seem even more surreal while perfectly nailing the patterns (musical and otherwise) that influenced Daft Punk’s original video by Michel Gondry. The choreography by Bianca Li is dynamite. I loved this one when I first saw it.
Check out both below.
Piano cover by Maxence Cyrin. Numbers created and directed by Busby Berkeley.
Music by Daft Punk. Directed by Michel Gondry. Choreographed by Bianca Li.
Inspiration can come from some very unexpected places. Not sure how this popped up but I recently stumbled across this clip of the late Willi Ninja taken from the great documentary Paris is Burning.
Willi Ninja was one of the leading and most respected practitioners of voguing. If you don’t know what I mean by that, go back to whatever you were doing before you clicked on this blog.
I was just a teenager when Willi Ninja was the mother of the House of Ninja. Never mind that I was too young to enter clubs, not gay, not black, and my neighborhood of Jackson Heights, Queens was a world away from Harlem. But, I heard much about Harlem’s drag ball houses from some friends and was made to understand that what was happening inside was original and exciting way before Madonna borrowed their style and music.
I started clubbing soon after this movement hit, but the rave scene I somehow fell into while in college in Boston mainly consisted of white middle class kids from the suburbs and one did not vogue at these get togethers. And by the time I rented this documentary as a sophomore, voguing was almost only done by white middle class kids from the suburbs. And, only during high school dances I bet.
Still, dancing is dancing and some are high practitioners. Willi Ninja wanted to be the best voguer out. “Hit hard, hit fast… and come out to assassinate.” Like him, with whatever it is that we’re doing, we should strive to be on top. I know I’d like to be known worldwide someday.
Sadly, Willi Ninja died of AIDS-related heart failure in New York City in 2006 at the age of 45.
Paris is Burning. Directed by Jennie Livingston. 1990.
The film “Encounters At the End of the World” is a beautiful and moving documentary directed by the great Werner Herzog. Opening with an otherworldly image of Herzog’s friend floating underwater beneath a thick ceiling of ice, Herzog turns his lens towards the people, the “dreamers” who travel to the southernmost place where all lines of the map converge in search of science, truth, and the meaning of our existence.
In Antartica, Herzog finds really hardcore travelers and adventurers full of thrilling stories, are thirsty for true freedom, and have the unreal fortitude to survive under difficult conditions.
There are encounters with scientists who dive deep below the ice shelf, ecologists who study seal milk, volcanologists who stand at the edge of lava pits as well as philosopher/forklift drivers and former money men in search of their soul. The surreal underwater recording of the seals calling to each other is reason enough to see this film.
But, for all the raw, stunning imagery and meditations on nature, there is a dire warning about the fate of this planet and the place humans have on it. It may be cold outside here in New York City, but the scientists and realists in even colder Antartica are absolutely clear about the consequences of global warming.
Despite that, I felt a bit of optimism about our future while watching the people who work and play in this harshly rugged environment committing themselves fully to the realization of our humanity.
It took me a while to get around to seeing this film, but now that I have I’m ready to see it again.
Photo by Lyle Owerko. The Boombox.
On the eve of my my birthday, I was struck by the title of a mixtape I’ve had on repeat recently.
Classic Rap Vol. 1 is, as the dj duo puts it, “an attempt to combine rap nerd scholarship with DJing craftsmanship.” As a big hip hop head since my teens, it strikes me as curious to see names like Kanye West, Mos Def, Andre 3000, Nas, and others on this one.
As an owner of several “classic” hip hop compilations, I’m more used to seeing Nucleus, The Sugarhill Gang, Audio Two in the liners. Hell, even Krs-One and LL Cool J qualify. Looking at that second list, knowing I heard those acts on the radio when their singles dropped, there’s no denying that in trying to identify with the different eras of hip hop I’m looking to define the era to which I belong. Or, maybe just sprung from.
Nobody wants to be called old school unless you’re a young hipster trying to impress an even younger crowd. But for me, classic rings too much of Mad Men or sun saturated Ralph Lauren ads. I love watching Mad Men, but if I ever ran into one of those male characters in an alley only one of us is coming out. And, I was always more Lacoste than Polo.
That said, I’m happy I can fully appreciate the classics, even reminisce over some old school joints. But, please don’t call my tastes classic or old school until you see me at my grand daughter’s wedding rocking white shoes with a dark blue suit banging my head to some Fugees and yelling, “Yeah! That’s my jam!”
For now, have a listen to this crazy dope mixtape by Macabee and Verse. And if you’re like me and can relate to this one, check out their other tracks here.
Classic Rap Vol. 1. ITS Overture!
Semi-Automatic 