inFocus: Artist Allison Trentelman

This week’s artist is a bit of a departure from those featured thus far. She’s probably not yet a household name but she sure is talented and she has a very clear photographic style. Without further ado, I’d like to introduce you to Allison Trentelman.

Allison is a fine art photographer from Maine. A few years back, I interviewed her for Professional Photographer magazine and, since her work reminds me of spring and Easter, I thought she’d be a lovely choice for Artist of the Week.

artist-of-the-week-allison-trentelman

Because Allison speaks so eloquently about her photography, I’m going to let her do all the talking this week, too.

KW: Allison, how would you describe your style?

AT: My work has always been inspired by the natural world.  There’s a peaceful feeling I find in nature that borders on the magical that I think many people have forgotten about, or grown out of, in our modern lives. When I moved up to Maine, I fell in love with the simpler, more natural lifestyle up here and rediscovered the joy that I used to find in nature as a child.  I try to convey that joy and wonder in my photographs.

Acadia National Park by Allison Trentelman

Acadia National Park (c) Allison Trentelman

AT: Lately I find myself creating images more than capturing them.  I’m an avid gardener and I find a great satisfaction in growing my own plants to use as my subjects.  I like to dive into big projects where I can do many variations on a theme.  I love to work in series, often grouping my collections together by color.

Botanicals by Allison Trentelman

Botanicals (c) Allison Trentelman

Purple flowers by Allison Trentelman

Purple flowers (c) Allison Trentelman

KW: In terms of your approach to photography, what is the most important element for you? How does post-processing fit into that?

AT: Color is easily one of the most important elements of my work.  I’ve found that people really respond to a unified color scheme and carefully thought out colors in a print.  I don’t consider an image to be successful unless it’s appealing on several levels, but it’s extremely important that the colors are right.

In post processing I’m able to change the not-quite-right colors in a shot with relative ease.  It really frees me up creatively, to be able to look beyond the literal and create something interesting in post processing.

Forest Floor Portfolio by Allison Trentelman

Forest Floor Portfolio (c) Allison Trentelman

KW: How do your post-processing choices reflect your overall style?

AT: Post processing gives me the ability to fit my subject into my own style and create a really specific color scheme, which for me is usually a palate of delicate pastel colors.  Most of the images in my portfolio wouldn’t be possible back in the film days.  Post processing allows me the creativity to create the image that I have in my head.  I love the fact that if I can dream it, I can create it in post processing.

Tufted Titmouse by Allison Trentelman

Tufted Titmouse (c) Allison Trentelman

KW: How do you approach post-processing – is it something you plan in advance or something you decide on after the fact?

AT: Post processing is an integral part of my work.  As I’m shooting I try not to limit myself.  If I like a shot but one element is off, I know I can still work with the image in post processing.  Since all of my images are post processed in some way, it is an extension of the way I shoot.  I use Adobe Photoshop but initially I do a fair amount of adjustments in Lightroom. Once I have the image in Photoshop I continue tweaking with adjustment layers, and experimenting with masks and blend modes.  For me the greatest fun of creating an image is in the nuances you can add after the fact in post processing.

Dahlia by Allison Trentelman

Dahlia (c) Allison Trentelman

AT: I will sometimes use plug-ins like Alien Skin Exposure or NIK Color Efex Pro to apply a custom preset to my work, but I find it’s best to keep it subtle and not let the post processing overwhelm the work. When I am working on a series, sometimes I will create a preset and apply it to a whole series to give it a more cohesive look.  It can really help to tie things together.

Orange Flower Set by Allison Trentelman

Orange Flower Set (c) Allison Trentelman

So, there you have it. Allison Trentelman’s beautiful botanical and nature photography along with her views on style and post processing, in her own words. To view more of Allison’s work, please visit her website and Etsy shop.

Happy Easter, everyone,

Kate Watson

 

Kate Watson - Thanks for your comment, Cassandra! Yes, isn’t Allison’s work beautiful?

Cassandra Rae - YOWZA! What incredibly beautiful images. So inspiring. Love them.

On Choice and Making Time

One of the other gals in our Artist’s Way group shared last week that her husband didn’t think our practice was worth her time. He sees it as “woo-woo, airy fairy, and good for nothing,” she relayed. Of course, when he said that, he wanted her to do something else with him so he may have been a tad biased. In response, I said:

It doesn’t matter what other people think is best for you. Only you can choose.

I then told a story about my college boyfriend, who mocked me for reading romance novels. Every time I picked one up, he gave me crap about how they’re poorly written and cheesy and a waste of my time, and eventually I stopped reading them…until we broke up. But the funny thing about it is that giving them up served no one: I was more stressed because I’d lost an escapist relaxation tool and, let’s face it, I felt less amorous toward him because there was little to no romance in my life. Just the cold, hard reality of work, television news, and school.

It’s funny how often the advice we give others is the exact thing we need to hear ourselves. If you read my post a few weeks back, you’ll know that I’ve been trying to honor my own wisdom instead of soliciting others’ advice. So to the advice I gave my friend above, I’d add the following for myself:

Abstaining from choice or soliciting others’ opinions is just another choice.

making choicesThroughout the Artist’s Way, a lot is said about choice and making time for your inner artist. It follows the logic that you must put your own safety mask on before helping others, a truism that women—and particularly moms—often have trouble following. But if we’re NOT making time for what we need, whether it’s alone time, exercise time, or time to pursue a passion, how well-equipped are we to care for others?

I know it’s easier to say this than do it. One of the other members of our group is a single mom and, having been raised by one, I’m aware of the situation’s demands and struggles. But I also believe this:

We all do the best we can with where we are at this point in time.

Here’s a little reminder for the road ahead, from last week’s reading:

Quote by Toni Morrison

Anything you need to remind yourself about this week? Please share in the comments.

Cheers,
Kate Watson

 

Artist of the Week: Phil Borges

I really enjoy social documentary photographer Phil Borges (b. 1942). He’s one of those artists whose work is instantly recognizable. That’s why I featured him as a ‘Photographer with Style’ in my Art Aligned guide for photographers and now as Artist of the Week.

Kinesi, 6, Kenya - (c) Phil Borges

Kinesi, 6, Kenya – (c) Phil Borges

Phil grew up amidst the hippie subculture of San Francisco’s Haight-Ashbury but went the practical route for college and studied orthodontics, which he worked in for 18 years. Meanwhile, he pursued photography as a hobby, traveling to study indigenous and tribal cultures around the world.

When his son was born in 1986, Phil recommitted to photography. Two years later at the age of 45, he sold his practice and started a commercial photography business in Seattle. Phil began working with the Tibetan Rights Campaign in 1992, creating his first photography show and book from that material:

Tibetan Portrait by Phil Borges

Tibetan Portrait by Phil Borges

pemba-4-phil-borges-tibetanportrait

Pemba, 4, for Tibetan Portrait – (c) Phil Borges

Tempe, 40, in Dharamsala, India - (c) Phil Borges

Tempe, 40, in Dharamsala, India – (c) Phil Borges

Botok, 76, and Tsangpa, 78 (c) Phil Borges

Botok, 76, and Tsangpa, 78 (c) Phil Borges

That first gallery show sold out, a turning point in his photography career.

Phil initially created his signature on-location portraits with a Hasselblad 6×6 film camera and studio lighting. He has since converted to Canon digital bodies—1DS Mark III and 5D Mark II as of 2012—with which he uses light-gathering lenses and a 580EX flash unit when required.

Fahima, 38, Afghanistan - (c) Phil Borges

Fahima, 38, Afghanistan – (c) Phil Borges

In addition to an interesting look of hand-colored individuals against expansive monochromatic backgrounds, Phil takes a unique approach to his work with subjects:

“When I approach someone,” he says, “I…believe that I am about to give them something. It isn’t every day that someone comes up to you and asks if they can photograph you. You don’t even have to be able to speak to the person. If you are thinking it, they will be able to read it in your body language. They can read if you hope to make their day or if you are just trying to get something from them.”

Adjoa, 38, Ghana - (c) Phil Borges

Adjoa, 38, Ghana – (c) Phil Borges

To learn more about Phil and read the stories behind his portraits, please visit his website or view his TED talk.

If you could ask Phil Borges any question, what would it be?

Cheers,

Kate Watson

Why I Quit Photography

Before we left for India, my friend Amanda warned me, “India has a way of pushing you up against issues you need to face within yourself.” I thought she was referring to personal space limitations or economic disparities and thus I was totally unprepared for what really happened, something that cracked my heart open and forced me to acknowledge that I still hadn’t fully healed from the reason I quit photography four years ago.

why i quit photography

The realization had nothing to do with India per se except that it happened while we were there. Instead it pertains to something that happened seven years ago, something that was thrust back into my consciousness when I read Jessica Swift’s memoir in her e-book, Jump Trust Repeat.

In the book, Jessica describes “the most horrible experience of [her] creative career to date,” when a friend accused Jessica of copying her work and that of other artists. She says that, while she defended herself, the experience destroyed her spirit and that, “it’s a miracle [she] continued creating art after that.”

Oh how well I know what she means.

The Impetus: Why I Quit Photography

I’ve talked before about my creative burnout. But what you probably don’t know is that it was precipitated by one event:

On April 12, 2007, my husband’s and my wedding photographer—and a woman who’d once acted as a photography business mentor to me—sued me. Among the nine pages of complaints she levied were that I’d “intentionally and maliciously” engaged in unfair competition and defamation, interfered with contracts, and basically copied everything from her photographic style to her marketing materials. She claimed damages of just under $100,000, asked them to be tripled due to some legal technicality, and sought additional punitive damages. Her husband was the attorney of record, and my attorney later told me that this was not the first time he’d filed suit on her behalf. But this post is not about them. It’s about me.

While the lawsuit was going on I was running a busy photography business, trying to keep a full slate of 30 wedding couples and twice that many portrait clients happy. It was without a doubt the most stressful period in my life.

The lawsuit lasted six months and cost me $50,000 in attorney’s fees. Really it took that just to get the plaintiffs to the settlement table. When we were there, my attorney offered to cut his fees or take the case on contingency so we could continue the fight but, by that time, I just wanted it to be over. It no longer mattered to me who was right; I just wanted to be happy again.

We signed a settlement agreement and never saw each other again.

The Aftermath: Quitting Photography

It’s hard to explain how the lawsuit affected me. People who met me the following year said my rage was palpable. And I thought I was holding it together!

I lost my heart for photography and didn’t know how to get it back. Still I kept trying. My husband and I moved to the San Francisco Bay Area. I thought a change of scenery would help, but I never recovered the initial joy I’d once had at being able to create beautiful and meaningful imagery for a living.

In my mind, the world had became a more hostile place. I didn’t trust other photographers. I had trouble trusting anyone. The stress of defending myself while simultaneously maintaining a full client roster had been debilitating. I began to resent everything about photography, even with clients I loved. So I quit.

In 2010, I put my photography business on indefinite hiatus and went traveling.

I made a lot of progress over the intervening years. I no longer bear the plaintiffs ill will. Our wedding photos have come out of the closet they had to be hidden in for a while. I rediscovered my lost creativity in the form of watercolor painting and other art forms.

However, as I wrote in my 2013 recap, early last year I realized that I’ve been playing small ever since. There was a part of me that viewed the lawsuit as punishment for being successful—I still believe that was its intention—and that part of me has been afraid to try too hard at anything since. That realization was a big breakthrough, but India showed me there was still work to do.

Looking back at her own experience, Jessica says she now sees it as a test of her dedication to her path and an opportunity to “deepen [her] trust in [herself]…and to listen closely to [her] intuition.”

I am sad to say that I didn’t take the same, wise lesson from my experience. Instead, I committed the ultimate in self-betrayal: I began to believe the bad things said about me and lost confidence in my abilities.

I should have known something was wrong when I didn’t want to use my cameras anymore. I sold one, gave away another, and locked the last in storage. I thought I’d just moved on and put that interest behind me. But now I see my inability to shoot as a symptom of something deeper, some piece of the issue not yet fully resolved.

That’s where I was when we returned from India.

The Recovery: Returning to Photography?

In the couple of months since, I’m happy to report that I’ve made significant progress. I sought the help of a counselor and I’ve had tremendous breakthroughs:

  • I shot two portrait sessions, one for a new client.

  • I persevered through a major miscommunication with said new client—and still want to use my camera!

  • I’ve opened my heart and mind to the idea of shooting professionally again.

  • And suddenly I’m filled with all kinds of ideas related to photography.

There is still progress to be made, of course. I’m holding on very loosely to the idea of photography and staying attuned to my feelings during each step of the process. But I finally feel capable of making work that matters for clients…and work that I myself love.

So I felt like it was time to tell my story—although part of me worries I’ll be sued again for writing this.

But I preach authenticity in Art Aligned and felt that I needed to share this story to be authentic with you. For me, this is another step in the healing process.

As Brené Brown says in Daring Greatly, “If you own this story you get to write the ending.” Thanks, Brené, that’s exactly what I’m doing!

I hope you never have to go through something like Jessica and I have. But, if you do, I want you to know that you’re not alone and you can—no, you WILL—recover. On your own schedule.

Here’s some inspiration for anyone who feels a bit uncertain or lost today, from Adelaide Anne Procter, a poet who lived and wrote in the mid-19th century:

We always may be what we might have been

Big hugs,

Kate Watson

My First Watercolor Show » KateWatson.net - […] also been very careful to keep painting personal, to avoid commercializing it in any way lest it go the way of photography. After a few week’s consideration, I decided to give it a go—and I’m glad I […]

Kate Watson - Thank you, Susan! So happy you were moved to read and comment. 🙂

Kate Watson - Thanks, Corinne! I’m grateful to you because you’ve been there through this whole process. You’ve seen the anger, the grief, and you’ve been a constant and accepting friend throughout. Thank you!!!

Kate Watson - Thanks, Jess! It’s funny how just telling the full story has shifted so much inside me. I feel more relaxed and confident (and no longer obsessed with how others may respond). 🙂

Cassandra Rae - Of course I read this post at the exact right time for me! This week in practitioner training we are focusing on trust. Your article is all about trust. Trusting yourself as well as the creative voice within that is still wanting to be expressed. Good on you for listening and gathering your courage as you take those steps forward. What an honor to be a part of your inner circle of peeps who believe in you. Go Kate!

Sally Rorer - Your photography is brilliant and through your personal soul searching you have no doubt helped and inspired others who have had doubts about their genius and passion. Never quit what you love. We need to remember that those who try to push us down are the ones with the problem(s), not us. The watercolor is awesome.

Meghan - Beautifully written and so very authentic. Proud of you for opening up and sharing your story with others. I know this will help so many.

Brenda Hewlko - Thank you for sharing this…I enjoyed reading this learning for
yourself. As a coach I too learned, and even more so as another
human being. So many life lessons, that one only learns through
experience and the willingness to listen to your soul and another
testament to the power of working with another professional that
can led the way to untangling a whole mess of feelings and fears and making sense of it all…and most importantly as you stated,
owning it! All the best.

susan schwartz - Kate,
thank you for sharing your difficult and inspiring story.

While most of us don’t have the challenge you have, it seems
that coming up against doubters, deniers and dismissers who are
threatened by our creativity is a significant part of the journey.

Kudos for you for coming thru it and inspiring others to do the same!

Corinne - Kate, I am so stoked you decided to go public. As Jessica says, very brave. Not all women get to stand up and use their voice. We are often silenced and kept silent. I met you right when you moved from the East and I agree, you could sense the anger, even see the steam rising from your head. Healing is powerful – and I have always believed you would do, in time.
Thank you for sharing this, thank you thank you thank you.

Jessica Swift - Oh KATE. This is so brave. Brave brave BRAVE. I’m so thrilled that you’re beginning to work with your camera again!! I hope you’re feeling lots of joy and freedom (in addition to the fear of getting sued again) from sharing this here. Much love + creativity to you! xo

Artist of the Week: Lois Greenfield

Recently I was pondering what my first-ever photo book was and I’m pretty sure it was Lois Greenfield’s Breaking Bounds, first published in 1992. I was in high school at the time and an avid dance student so, of course, I was interested in all depictions of dance. Still am, really! For that reason, I chose Lois Greenfield (b. 1949), who is best known for dance photography and particularly her ability to convey motion through still images, as this week’s artist.

Lois Greenfield

Lois began her career as a photojournalist in Boston. A few years in, however, she had the opportunity to photograph a dance rehearsal and she switched focus to capturing dancers in her studio, “investigating movement and its expressive potential.”

When Lois talks about her work, she shares that she uses strobe lighting with a short flash duration, shooting one frame at a time. When you look at what she manages to capture in that one frame, I think you’ll see how extraordinary that is.

Amy-Marshall-Chad-Levy-Photo-by-Lois-Greenfield-2008

Amy Marshall and Chad Levy (c) 2008 Lois Greenfield

Lois Greenfield 2002

Pacho (c) 2002 Lois Greenfield

“The goal [of the work] is to confound and confuse,” she says, “and the images are hyper-real because there’s no Photoshop. It’s all just 1/2000th of a second or 1/250th…

Lois-Greenfield-2011

(c) 2011 Lois Greenfield

Aspen_Santa_Fe_Ballet_1_Lois_Greenfield

Aspen Santa Fe Ballet (c) Lois Greenfield

“It’s such a split second that we can’t register those moments. People who come to the studio and watch don’t see the moment. I don’t see the moment but, after all these years, I think I’ve trained my eyes to see the moment.”

Patrick Thompson & Irene Joyce by Lois Greenfield

Patrick Thompson & Irene Joyce by Lois Greenfield

Dancers by Lois Greenfield

Tracy Vogt, Odara Jabali-Nash, Erin Barnett & Teneise Mitchell (c) 2007 Lois Greenfield

 

Lois Greenfield

Lois Greenfield

“The ostensible subject of my photographs may be motion, but the subtext is Time,” Lois shares in her bio. “A dancer’s movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.”

Traditionally, Lois shot on film with a Hasselblad (medium format). She says doing so provided the opportunity to shoot 12 images and then pause for a moment of reflection while changing her film roll. Now that she shoots digitally, she monitors the results via computer.

Many of her early images weren’t even cropped, which include any images with a black background or with black borders.

In addition to working directly with dance companies that include Martha Graham, Paul Taylor, Merce Cunningham, American Ballet Theatre, and my personal favorite, Alvin Ailey American Dance Theater, her work has been featured in numerous ads and exhibited worldwide.

Raymond Weil ad, shot by Lois Greenfield

Raymond Weil ad, shot by Lois Greenfield

To learn more about Lois and her work, please visit her website or check out the video below, in which she discusses her inspirations, style, and process, and the anticipatory nature of dance photography:

What do you think? Is this your first time encountering Lois Greenfield’s work? Any revelations from the images or video?

Cheers,
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