MT: Karen, other than your amazing photography and writing, one of the things that we find so fascinating is how you ended up doing 'this here photography thing!' For our readers who may not know your background, would you share a little bit about yourself and your journey to becoming a photographer?
Sure! By education (and most of my career), I'm a lawyer; however, i Had been a photography hobbyist for over a decade. After working hours that kept me from seeing my family far too often, I finally decided to take the plunge to write and shoot full time about 16 months ago. I'm not a "photographer" in the commercial wedding/portrait sense of the word: I have done a few art photo exhibits, but mostly use my photography to enhance my writing for various publications, including my upcoming book, The Beauty of Different.
MT: THE BOOK! Ok, there is no way around it, the concept behind your book is just awesome! It is a perpective that we think everyone can relate to, but especially women and mothers because we as a group tend to be so hard on ourselves! Can you tell us more about the book? When does it come out? How did the concept come about? Any teasers?
Sure! The book, The Beauty of Different is based on the concept that the characteristics that make you different -- even those that you might be a bit embarrassed about, or were things that kids might have teased you about when you were a child -- are actually the sources of your beauty, and perhaps even the sources of your superpowers: the trick is to frame them as such. It's a heavily visual book -- about 50% photography -- but it features many ways that we can each be different, including essays and many portraits of individuals who live and celebrate their differences. My hope is that on reading the book, people will start to look at their own differences as characteristics of distinction, and feel really good about themselves.
The concept came about one day when I was mulling over something someone said about my blog -- they said "your blog is sort of nontraditional." While I was thinking about it, I realized that I've sort of heard this all my life: I never seem to fit what people think I'm supposed to be. I realized that the fact that I don't fin in many stereotypes has actually served me well. I suspected the same was true for others. In writing and shooting the book, I've discovered that I'm right.
Teasers: you can expect to read the stories of some really interesting people, and I think you'll be moved at how really beautiful the people are who allowed me to take their portraits. I know I was: these are people who, for the most part, just answered an open call to come sit for me, they're not professional models. And their faces are, without exception, stunning.
MT: Can you tell us a little bit more about your process when you approach a portrait shoot? Your work just exudes realness, and an authenticity that is so refreshing! What would you tell our momtographers about how to infuse some of this into their own family photos?
When I shoot someone, I never stop talking, and I never stop trying to get people to talk to me. I think the more I can get them to forget about the camera -- by making them laugh, by making them talk about something they love -- the more natural the photographs are. And then, when they laugh, or look away, or smile, I click really quickly -- a series of shots, sometimes 2 or 3 within a one second period, say. That way, I'm pretty confident that one of the images I collect is a natural expression.
MT: Do you consider yourself a photographer who has a "style"? If so, how would you describe it? Is there anything that momtographers should keep in mind when trying to find their own voice in their photography?
A friend recently told me that she can spot a "Karen Walrond Image" from miles away, which I took as a compliment -- I hadn't really considered myself as having a "style" before that! But I suppose that in general, I"m drawn to saturated colours, crisp focus and edges, and really shallow depths of field.
MT: Now that you're several years into your journey as a published author, what are some things that you have learned (or are learning) that you would tell others who are new to this whole thing?
I'm certainly not "several years" in the process, and my book isn't out yet! However, one thing that I fervently believe: if you do what you are meant to do, and work hard at it, success must follow. I mean, I wouldn't say that I've found success yet, but signs are good.
MT: We know you are the mom of a beautiful daughter, how is your photography inspired by your relationship with her? Do you approach photographing her differently than you do other subjects?
I suppose my photography is inspired by my relationship with her in that I started photography 15 years ago specifically in the hopes that I would one day have a family, and wanted to be able to take good photographs of them. That said, I don't really approach shooting her any differently than I approach shooting anyone else -- ultimately, I want really unposed, very natural images, and i do what I can to make the photographs come out as such. I will say, however, that since she's pretty much had a cmaera in her face since minutes after she was born, she's used to it and she's a pretty easy person to photograph!
MT: Okay, open forum. If you could say anything to the momtographers reading this what would it be? What's the number one tip you would give a momtographer to help take their family photos to the next level?
I'll answer these last two questions with the same answer: if you want to take your photographs to the next level, SHOOT, SHOOT, SHOOT, SHOOT, SHOOT. Seriously shoot every day. Shoot every thing. Notice how the light is falling in your livingroom, on your glass of water, whatever. Just pick up your camera and shoot every day. It is the only way to really learn the power of your camera, and to watch and critique your own progress effectively. And, of course, surf the web for photographers you love, and try to mimic what they do. It's what I do, every day, and I'm still learning.
Just shoot. :)
And as if this interview wasn't enough, Karen offered to share with us a recent post about how she uses Photoshop to "process" her photos:
Every now and then someone asks me, "Do you use Photoshop?" Sometimes, though not always, this question is sort of a test: if I am a Serious Photographer, Someone Who Knows Her Stuff, then the answer expected to come out of my mouth is something in the range of, "Are you kidding me? Of course not. I'm insulted you would even ask."
So you can imagine my questioner's dismay when I immediately respond, "Oh, HELL yes. With gay abandon."
Back in the day, when I first started shooting, I used to absolutely hate Photoshop. "Photoshop," I used to say, "is something for people who don't know how to take photos. Also? Photoshop is dishonest." And then I would turn on my heel and vanish in a choking cloud of self-righteousness, all the while secretly lamenting that every photo I took didn't look anything like I thought it would when I first framed it in the viewfinder of my camera.
Then one day, I was whining to an employee of my favourite camera store about how terrible all my shots were. "Like, look at that," I said, pointing to a large, framed photograph behind him. "Why can't my images look like that?"
"That?" he said. "Well, yeah, that's great shot, but you realize that's been Photoshopped, right?"
"NO!" I was horrified. "That is so disappointing."
"Why?" he asked, looking at me quizzically. "There's nothing wrong with Photoshop. It's just processing the image -- just like we used to do with chemicals before, in dark rooms. I mean, think about it: What makes Ansel Adams amazing isn't the fact that he took a photograph of a tree in Yosemite, but the way he processed the photograph -- dodging, burning, manipulating the chemicals -- to get the final result. It's his processing that made him great."
Right at that moment, I felt like the scales had fallen from my eyes: it was the first time I realized that digital processing wasn't necessarily about deception, but more about artistry. Photoshop is simply the modern day processing tool that photographers use to help convey what they saw and felt when they squeezed the shutters on their cameras. Digital processing can help communicate a photo's imprint.
Each photographer who digitally processes his/her images uses Photoshop (or preferred digital processing software) differently, which is why each photographer tends to have a different vibe to their images, or a unique style. There is therefore no right or wrong way to digitally process an image -- it's a matter of personal taste. Since recently a couple of you have asked how I process my images, I thought I'd share my very simple methods step-by-step with you today.
In my case, I actually spend very little time processing my images -- about 30 seconds to a minute on each shot -- so, obviously, I don't do too much to my photographs. Still, I do enough that each image sort of has my signature on it, I guess. In addition, I actually use Photoshop Elements -- sort of a cheap man's Photoshop -- and my version is years-old as well, making me somewhat pathetic, in a geek's world. No matter, it does the trick. Also, my main rule for myself is that I never delete pixels. In other words, I don't Photoshop out any imperfections, and I don't crop images, unless it's for the purpose of printing a hard copy to a standard photo size -- VERY rarely for the purpose of excising a mistake or distraction. I try to minimize any flaws by checking the background of my image, using the proper lens, getting my aperture and shutter speed right, and framing the image properly before taking the shot. My intent is to be mindful of the shot I'm taking, so I can minimize the need for post-camera processing as much as possible; doing it otherwise would make me feel like I'm using the software as a crutch. (Incidentally, this nonnegotiable Nondeletion of Pixels Rule has its risks: it generally pisses off my friends who ask me to take their photographs, when I refuse to remove a laugh-line or a mole, or shave off a few pounds. Still, I remain firm: we are all beautiful, and I figure my job as their photographer is to show them this, without having to resort to physically altering their likeness on "film.")
So let's get started. The shot you see above is an image of this year's Christmas angel, purchased at, as ever, Cost Plus World Market. The original shot, straight out of the camera and unprocessed, actually looks like this:
As you can see, it's a perfectly acceptable image; however in my opinion, it's a bit flat. More pointedly, it feels inaccurate: it doesn't actually convey what I saw -- or more importantly, felt -- when I framed the shot.
And so, to fix it, the first thing I do is sharpen the image, by using the tool "Unsharp Mask." Yes, I know that makes no sense to "unsharp" something when I mean to "sharpen" it, and it made no sense to me the first time someone told me about the tool, but trust me on this, it works. The "Unsharp Mask" tool makes it so that you can see the details of each strand of hair, say, or blade of grass a bit more precisely. It can bring out the texture in the image. In this particular photo, however, it didn't make a whole lot of difference ...
... but I did it anyway.
The next thing I do is use the Contrast tool to increase the contrast. I do this almost religiously -- in my opinion (and remember, when it comes to processing, it's all opinion, different photographers all have different philosophies), there is rarely a photo that can't do with a bit of contrast adjustment. So, when I upped the contrast here ...
... you can see that the image becomes a bit warmer, a bit more striking.
And then finally, I love the "Gradient" tool in Photoshop, which I use to help "burn" the edges of my photos -- in other words, make the colours of the image just a bit deeper, like the fire inside of the colours and the shadows at the edges have been turned up just a touch:
And then at that point, I pretty much consider the image done! Over time, how I process images has changed and evolved, and will likely continue to do so; similarly, the way I shoot and frame images has changed as well. But for now, this is how I process 90% of the images you see here on Chookooloonks. In addition, I'm constantly combing the internet for inspiration, bookmarking and revisiting the work of photographers who I think are masterful at using digital processing tools. In fact, here are some current favourites:
- Mark Tucker -- I think this photographer is masterful with his use of post-camera processing. Be sure to check out his "Portrait" and "Jack Daniels" galleries.
- Matt Hoyle -- Again, another great portrait photographer. I was mesmerized by his "Barnumville" series.
- Uwe Eischens -- My weak spot is landscape photography (which is why you see so little of it here on my site). This photoblog makes me want to REALLY try, though. Beautiful processing work.
Hope this helps, and answers your questions. Tomorrow, we return to our regularly scheduled December views. In the meantime, have a great weekend, everyone.
For more of everything Karen Walrond, please visit http://www.chookooloonks.com
