Being downtown during SXSW feels like being in a different city altogether, to me anyway. I have a theory that people coming in from all over the world actually make Austin “smell” different. Not in a bad way. Just different. 6th Street certainly takes on a new identity. I’m looking forward to next year’s transformation.
Mar 23
Kacy at Momo's
After a fun afternoon shooting new promo pictures for Tara Holloway, we went down to Momo’s to catch Kacy Crowley’s set. Incredible, moving music. SXSW is over, and everyone’s a bit exhausted, but Kacy still brings her best to the stage. Nice.
After an afternoon boudoir shoot, I went down to the Austin Music Hall to photograph The Black And White Years. Met up with their merch guy and poster designer, Betty and talked about his incredible poster art and the band’s beginnings.
Scott, The Black And White Years
The Black And White Years
John, The Black And White Years
Landon, The Black And White Years
Betty, merch, The Black And White Years
See more of my photos on the band’s official website.
And even though I love DEVO, I decided to take my camera down to Red 7 for some punk, baby. Checked out The Dollyrots in the patio. See, I venture off the beaten path sometimes. I love to get back to my roots.
Kelly Odgen, The Dollyrots, Red 7 Patio
The Dollyrots
The Dollyrots
The Dollyrots
Of course, there are the official SXSW events and showcases. Then there are the unofficial ones; showcases that just happen to be taking place during SXSW. Then, there are the virtually impromptu performances that happen where ever the people are. In the case of Katzenjammer, it was 6th street, for whoever would take notice and listen.
6th Street
Hitting the streets to advertise their next show
Katzenjammer
Brought to you by Austin Music + Entertainment Magazine.
Sometimes it’s easy to forget how the work of past generations has provided a foundation for what we do today. The amazing work of artists like Alfred Cheney Johnston, however, are being rediscovered by photographers, like myself, looking to the past to see what was possible before conveniently available film and digital mediums.
Johnston made his mark from 1916 through the beginning of the Great Depression photographing performers for Florenz Ziegfeld’s Ziegfeld’s Follies. Anyone interested in portraiture, especially that which features the female form, can learn a thing or two from his images. I’m just amazed at the sophistication of the technique and style he managed at such an early time in photography.
Hazel Forbes, 1928
Barbara Stanwyck, 1924
Caryl Bergman, 1929 (cropped for detail)
More images can be found online, including on flickr.
Your answer might be right here.
When people are asked what they’d try to save first if their house was on fire, many inevitably say, family pictures. There’s a reason for that. They are often the most treasured things we own. A connection to our past, who we are, who we were, and who was with us.
Mar 9
Drew Smith, Michael Lahrman
After the on-air radio performance and interview at KUT (see a previous post). Elevator. Michael is on the phone continuing his promotional efforts for the show at the Continental club later that night.
We did some planning for a video shoot. Visited Joe Hummel at the kitchen where he makes his ever-more-popular bagels for local shops. Fun times.
I didn’t end up going to the show. I was probably more tired than Drew looks here. I had to edit some boudoir work. I had to shoot early the next morning. I wish I’d gone.
Musicmakers spread in Rare Magazine
Did some shots with David Baldry and Allen Kirsh of Musicmakers for the March issue of Rare Magazine. The day I dropped by they were busy with calls, customers, and the general craziness of running a music store in Austin, Texas.
I told them I would setup three different shots, one at a time, and call them over for each one when it was ready. Once a shot was setup, they jumped in, we snapped a few pictures, then off they went ’til the next one. Efficient and smooth.
Mar 5
On Editorial Photographers, Doug Menuez, provides some advice for avoiding “being a burned out, bitter hack.”
But by defining what you show based on what you truly are and what you want to do, you create a self-selection process: you are not for everyone. You are different. Be courageous enough to show that you see in a way no one else does.
Art directors that actually get this will hire you. That’s a rare thing. That means someone actually values your voice as unique and sees how that can be useful for their magazine, or to sell a product or whatever. And unique is expensive, unique is a brand. It can be a small thing that sets you apart, but it’s a different tack nevertheless. You can build on that for a lifetime because you are now being paid to do what gives you great satisfaction. The serious risk is that nobody will grok your special talent. True indeed, yet without this risk there is no great reward, just stasis and keeping your head above the waves while jostling with packs of terrified competitors.
Read the whole article here.
via Chase Jarvis
There is no future for magazines that don’t challenge and surprise their readers with original sophisticated imagery. The internet has set the ground floor and if you can’t rise above it, you will disappear.
via A Photo Editor
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