quickhand: I am extremely humbled and ecstatic to have been one of the 160 lucky photographers (out of 2700, what the what?!) chosen for the first New York Times Lens Blog Portfolio Review… i am so excited. If you were also chosen, drop me a line because i’d love to know some faces before April 14th! She said it as well as I could’ve, so I’m just going to reblog this. I am so thrilled and grateful to have been chosen. NYC, I will be back in you April 10–17! I can’t wait!
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quickhand:

I am extremely humbled and ecstatic to have been one of the 160 lucky photographers (out of 2700, what the what?!) chosen for the first New York Times Lens Blog Portfolio Review… i am so excited. If you were also chosen, drop me a line because i’d love to know some faces before April 14th!

She said it as well as I could’ve, so I’m just going to reblog this. I am so thrilled and grateful to have been chosen. NYC, I will be back in you April 10–17! I can’t wait!

I get a lot of questions about my process… what are things made out of, how big are they, etc… so I’m going to try to remember to take some shots from my perspective when I’m in the studio working. My table is 4’ wide and 10’ long, so that gives you some idea of how big this current setup is. When I first began doing sculptural scenes I made my objects very specific, and the scene only worked from one perspective. Gradually I’ve been trying to become looser with my objects, so they can be turned and reshaped and reworked as I go. This one is a large piece of photographic background paper at which I flung latex house paint mixed with ceiling texturizer until it looked like something. Then I’ve wadded it up, unwadded it, squished it around, and draped it over various things. I force myself to rearrange it after no more than 20 or 30 frames, even if I love the way it looks. If I’m not moving it I’m moving the camera, or the lights, or changing the color filters, or something. Photography is the relation between light, the subject, and the camera. I try to keep all three in flux at all times, because that is where the unpredictable magic happens.
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I get a lot of questions about my process… what are things made out of, how big are they, etc… so I’m going to try to remember to take some shots from my perspective when I’m in the studio working. My table is 4’ wide and 10’ long, so that gives you some idea of how big this current setup is.

When I first began doing sculptural scenes I made my objects very specific, and the scene only worked from one perspective. Gradually I’ve been trying to become looser with my objects, so they can be turned and reshaped and reworked as I go. This one is a large piece of photographic background paper at which I flung latex house paint mixed with ceiling texturizer until it looked like something. Then I’ve wadded it up, unwadded it, squished it around, and draped it over various things. I force myself to rearrange it after no more than 20 or 30 frames, even if I love the way it looks. If I’m not moving it I’m moving the camera, or the lights, or changing the color filters, or something.

Photography is the relation between light, the subject, and the camera. I try to keep all three in flux at all times, because that is where the unpredictable magic happens.

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