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Alumnus Doug Eng's New Exhibit – On Fertile Ground

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Exhibit through December 4, 2014

“On Fertile Ground: The Wing Lee Yuen Truck Farm”

Lufrano Intercultural Gallery for Peace

University of North Florida

Jacksonville, FL

The Importance of Personal Projects – By Doug Eng

“We de-prioritize personal projects due to lack of time, commitment, or guilt about working on something that doesn’t generate income or Facebook “likes.” It’s easy to make a great snapshot or prioritize paying work, and hard to find personal projects with depth and meaning. In 2007 my family’s farm of 70 years was being sold and I struggled to find the motivation to photograph the vacated buildings and family houses. Fortunately curiosity overruled and I reconnected with a lifetime of memories of monthly trips to the farm. As I walked through the property with my camera, vague memories were brought into clear focus through the act of photography. Each space, object, and smell, triggered a recollection of my past and realignment with my own origins. The images sat on my computer for several years. In 2010 I received a grant to create an exhibit for the public. I used a framework provided by JP to bring the body of work to a completed state for exhibition with great success. In late 2013, the Lufrano Intercultural Gallery for Peace at the University of North Florida provided another opportunity to exhibit the project. I decided to re-visit all of the images, both content and process. I was surprised to find the difference 4 years made in my own interpretation of the images. Photography is a wonderful medium that allows us to continuously evolve our message. Only after I began to write about the project several years after the images were made and the land sold and cleared, did I realize the importance of creating the only visual record of this American story. I am reminded of a quote by Emmet Gowin: “There are things in your life that only you will see, stories that only you will hear. If you don’t tell them or write them down, if you don’t make the picture, these things will not be seen, these things will not be heard.” It may not be obvious to you why your personal project is important, but it is. Work on it now, before your “farm” is gone. “

Lean more about the On Fertile Ground project here.

Lean more about Doug Eng’s photography and projects here.

View more Alumni Success Stories here.

“Unlocking The Secrets Of The Creative Process – Part 2” A Conversation With Photographer Eric Meola

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Photographer Eric Meola and I share our insights on the creative process in this three-part conversation. In the second installment, we share our influences from photography to poetry. I also discuss my fascination with and the influence of quotes.
EM: How long have you collected quotes? You seem to have hundreds if not thousands at your site.
JP: At an early age, I started noticing that most of us use quotes in our daily conversation and even in our internal dialogs. I really want to know what’s influencing my thinking and why. Sometimes we know who to attribute them to, sometimes we don’t, and sometimes they really are unattributable or anonymous. Often we paraphrase them, less frequently we use them precisely. I still marvel at people who can quote paragraphs and even pages, word for word. I haven’t learned that skill. Currently, I’m limited to a few phrases. But that’s OK. I prefer quotes that are short and sweet. Like haiku poetry, short quotes can almost instantaneously create a powerful impression with just a few words. These highly distilled packets are both impactful and memorable.
Often the idea behind the quote is linked with its author. Proper attribution is important. It’s good form to give credit where credit is due. It helps you understand what, when, and why something has been said. It helps you clarify sources, including yourself.
Sometimes these ideas become so common that sources are forgotten and we hear them paraphrased. Have ideas like this been repeated so frequently that they’ve become a part of the fabric of our minds? More recently, I’ve also become interested in how these ideas echo through the ages. Here’s one example. “We don’t see things as they are. We see things as we are.” Is this Confucius, The Talmud, or Anais Nin? Do we default to the earliest source? Or are there some ideas that are pan-cultural or even inevitable?
There are so many great books to read that I figure no book is worth reading if I’m not interested in making marks in the margins; one mark indicates a quote I want to be able to retrieve.
I used to collect my favorite quotes in folders filled with photocopies. Now I collect them digitally. Sharing quotes in social networks has further stimulated my activity—it’s interesting to see who reacts to what and how, and even what people don’t react to. You can find more quotes, almost daily, in my Twitter and Facebook feeds.
I wish I had a photographic memory. I’d love to remember them all—precisely.
EM: What are some of your favorite quotes?
JP: “The only real voyage of discovery consists not in seeking new landscapes but in having new eyes.” That’s from Marcel Proust.
“Let the beauty we love be what we do.” — Rumi
“Be the change you want to see in the world.” — Mahatma Gandhi
Here’s a link to a fuller set of my favorite quotes.
And here’s a link to a set of your favorite quotes.
Also, here’s a link to sets of other photographer’s favorite quotes.
A Japanese proverb says, “When the character of a man is not clear to you, look at his friends.” I think of the quotes we remember as the mental company we keep.
Read more of Part 2 here.
Read Part 1 here.
Read my interview of Eric here.

20 Questions With Photographer Jay Maisel

Photographers - On Photography, Photographers - Q&A  Comment
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Jay Maisel provides quick candid answers to 20 questions.

How do you know when an image doesn’t work?
It doesn’t move you in any way.

How do you know when an image is good?
It moves you emotionally.

How do you know when an image is great?
You don’t’ have to think about it, it just does.

What’s the most useful photographic mantra?
Be open.

What is your greatest fear?
Blindness.

Read the rest of Jay’s Q&A here.

Read more 20 Questions With Photographers here.

Read Jay’s favorite quotes here.

Read a collection of quotes by Jay here.

Find out more about Jay Maisel here.

New Book – NY In The 50's – Jay Maisel

Books - Photography  Comment
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Jay Maisel’s new book New York In The ’50s offers a unique window into an iconic city by an iconic photographer. Know primarily for his color work this book offers a rare glimpse into his early black and white photography. Photographer Sean Kernan said it brilliantly, “It’s all the wit you’d expect from Jay with none of the color.”

Here’s what Jay says about New York In The ’50s.

“I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.” After studying painting and graphic design at Cooper Union and Yale, Jay Maisel began his career in photography in 1954. While his portfolio includes the likes of Marilyn Monroe and Miles Davis, he is perhaps best known for capturing the light, color, and gesture found in every day life. This unique vision kept him busy for over 40 years shooting annual reports, magazine covers, jazz albums, advertising and more for an array of clients worldwide. Recently, Maisel has gone back to his archive of early work, and put together a collection of black-and-white images he made as a young man in the 1950s, evidence of a lifetime’s pursuit of a craft and a special talent, one of the best-kept secrets in photographic history. “New York in the ‘50s” is a beautifully-produced monograph that will be equally appreciated by Jay Maisel’s followers, and anyone who has stepped inside his muse, New York City.”

Find out more about Jay Maisel’s New York In The ’50s here.

 “Unlocking The Secrets Of The Creative Process – Part 1" A Conversation With Photographer Eric Meola

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Photographer Eric Meola and I share our insights on the creative process in this three-part conversation. In the first installment, I share the influences of my parents and meetings with many remarkable men and women including Eliot Porter, Ansel Adams, and Georgia O’Keeffe. Then we discuss the power of words.
“Words can be powerful tools. Think of all the things you can do with words. Generate ideas. Clarify a response. Determine a goal. Frame a question. Evaluate strengths and weaknesses. Make comparisons and contrasts. Identify an influence. Select an approach. Test a theory. Explore alternatives. Identify what’s missing. Solve a problem. Advocate. Motivate. Evaluate. Find a new direction.
No matter what discipline you’re in, why wouldn’t you use these powerful tools we call words? Try not using them! Can you? So why not use them well and unlock as much of their power as you can?
Many linguists have explored how language influences thought, going almost as far as saying language is thought. Benjamin Whorf said, “Language is not simply a reporting device for experience but a framework for it.” If a culture has a lot of words for something, it indicates those people have a highly developed relationship with it. If a culture doesn’t have a word for something, it indicates either a very different relationship to a subject or a blind spot. Certain tribes in the Amazon jungle have many words for green, but none for blue. The Inuit have dozens of words for snow. We currently have too few words for photography. (At best, we amend the word photography with other words—photojournalism and photo illustration.) Look at all the words we have for various kinds of writing: fiction, non-fiction, poetry, prose, journalism, journaling, interview, biography, autobiography, screenplay, short story, novel, trilogy, epic, lyric, etc, etc, etc. The photographic community and culture at large would do well to repurpose many words drawn from our literary traditions and use them in our visual traditions.
The question is not, “Should I manipulate a photograph?” Since the invention of photography, all kinds of things have been done to photographs. The question is, “What happens when I do or don’t manipulate a photograph?”
Limited language wastes time and results in less productive debates and diverts attention away from more productive discussions. One of the fundamental things I’m trying to address through my work is complicated by limited language. Our culture often talks about people versus nature; we use words like “us” and “it.” We draw lines and take sides. Our current use of language psychologically distances us. This makes it harder to describe people as parts of nature. If we enter that mindset, we think about ourselves and act in our world differently.”
Read the rest of Part I here.
Read Part II here.
Read my interview of Eric here.

14 Essential Tips For Night Photography

Magazine - Digital Photo Pro, Technique - Exposure  Comment
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The high ISO capability of today's new camera models is a true game changer. It opens up a range of light previously unexplored in the history of photography. Fearing noise, many people unnecessarily limit themselves to the lowest ISO setting and never explore this incredible range of light with all of its unique qualities—and surprises. (Don't fear noise. Instead, read my series of articles.) Try night photography, and you'll quickly realize the camera eye now can show you more than the eye can see. There have been many times now when I make exposures just to see what's out there. Practice the art of night photography, and you'll learn to see in new ways.

What settings should you use when making exposures in low light or at night? Use a tripod and cable release, set ISO to 800 (or higher), open up to ƒ/5.6 or wider, focus at infinity, and keep exposures below 20 seconds. While this is a good starting point, that's all it is, as you'll need to modify settings based on the specific light(s) in a location, the equipment you're using and the effect you want to produce. Instead, ask yourself what concerns do you need to be mindful of, and what points of control do you have when making low-light or night photographs? Develop your sensitivity to these factors, and you'll know why and when to improvise and even what more you can explore. These tips will give you a solid foundation from which to begin your explorations in low-light and night photography.


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