The reviews are in!

The first run of the Art of Self-Critique Online Workshop was a smashing success.  Here’s what some of the attendees had to say:

One of the best things I’ve done for myself EVER.

On the second day, I already knew that this workshop had exceeded my expectations. CJ covered a huge variety of topics from processing to composition to light and how to use these skills and your own vision to assess your own work. I’m a hobbyist who mainly shoots my own child, so I often have that dreaded question in the back of my mind – is it mommy goggles? CJ helped me trust in my vision and skills. She literally spent hours with each workshop attendee. I felt like it was more like a week long mentoring session, but instead of her telling us what worked and what didn’t, she helped us to decide for ourselves. I recommend this workshop to anyone from beginner to pro, it was probably one of the best investments in my photography, I just wish I had done it sooner!

The workshop was simply amazing. Eye-opening. Enlightening. I have a much better vision for my work now. I’m inspired and invigorated, and I feel like I know where to go next.
But the best measure of success is that nine of the ten attendees have signed on for a Part 2 workshop, covering even more techniques and assessing and directing their photographs and body of work.
Because demand is so strong, I’ve just announced several more opportunities to take this course, which you can view in the post directly before this one.  I hope you’ll join us for an amazing learning experience!

The Art of Self-Critique, Online Workshop

If you’ve followed me for any length of time, you know how passionate I am about thoughtful, insightful critique.  It’s critical to every artist’s development, and helps keep you motivated and challenged.

Just as important, however, is the ability to step back and really see your own work.  So often, the photographers I work with are feeling frustrated or stuck, second guessing themselves, not sure where there work is at both technically and artistically, and therefore not sure what steps to take to grow in the right direction.  While an outside perspective is invaluable, knowing how to spot your own habits, perspective, aesthetic preferences, strengths, and weaknesses is absolutely necessary.  If you’re like most photographers, you spend a lot of time beating yourself up over your work; let’s turn that into a valuable, positive skill set instead!

This workshop is designed to give you a clear method for critiquing your own work in an objective and logical manner, to help prevent frustration, and to allow you the skills to build confidence in your own work.  The course will run five days, Monday through Friday, and is absolutely appropriate for every level of photographer.

This truly might be the best investment you’ve ever made in your artistic development.  Let’s do it.

Upcoming dates:

June 24 – 28

August 5 – 9

August 19-23

September 23 – 27

Limited to the first 10 attendees

$300

To register, please email cjnicolai08@gmail.com

underwater

underwater

Critiques

Good news!  CJ is getting a raise!

I’ve kept my online critique rate at $150 since I began offering them several years ago. I adore giving critiques, however with more opportunities and demands on my plate than ever before (I’ve taken on the role of Managing Editor for Focus Magazine!) it’s time to adjust that rate a bit. For the next seven days, if you contact me to schedule your critique, you can still get the $150 rate; after April 4, the rate will change to $175, and promotional specials will be rare. I have been honored to critique some of the best in the business and art world, and I’m looking forward to working with you!

For details and information on how to book, please click the critique tab to the right.  Thanks, and happy shooting!

 

 - CJ

All Women Are Beautiful! Online Workshop

All Women Are Beautiful! That’s what I’m calling my next online workshop, scheduled for March 25 – April 6 (UPDATE!  This workshop will run again June 3 – 15.)   Whether you should portraits, families, seniors, maternity, or boudoir, this workshop is about using lighting, posing, wardrobe, angles, and other elements to create the most flattering photograph possible — without faking it in Photoshop! (If you didn’t read my recent rant, please read my previous blog entry.  If I’m going to rant, I should do my part to counteract the trend!) This workshop will include critique, lessons and assignments, lots of examples, and discussion, and will be a whole lot of fun in the process. We’ll all talk about incorporating a woman’s natural characteristics and your own personal style to go WAY beyond standard, cliched poses. Let’s truly celebrate every woman’s shape, and learn how to make women look and feel their best! For more info, please email cjnicolai08@gmail.com, or simply reply below. I do expect this one to fill quickly, so now’s the time!

March 25 – April 6, 2013

June 3 – 15, 2013

$500

Registration is first come, first served, and is currently nearly half full.

Orchid Mei

Orchid Mei

Let’s be honest…about boudoir photography

I was in the gym this morning sweating out a week’s worth of bar food and bad habits (because I’m human.) I love to go to the local rec center, where I don’t feel I have to wear a full face of makeup and designer yoga pants with flashy letters across the bum to feel accepted.  I work out looking like early morning death, with lots of sweet little old ladies.  It’s great.

I found myself watching the few younger women who were there, particularly the ones who looked strong, thin, toned, and in the kind of shape most of us want to be in.  And I reminded myself, as I often have to, that not even those women have perfect bodies.  They don’t.  And if you told them they did, they’d laugh at you and tell you exactly what is wrong with them, and why they’re “fat” or “soft” or “awkward” or “droopy.”  Because that is what we women do.  We criticize ourselves to death and never truly believe a compliment.  I’m 5’8” and 115 pounds and I work hard to be in the best shape I can be, and I still walk around most days feeling chubby and flabby.  I’m just like nearly every woman on the planet, holding myself to an impossible ideal and struggling against feeling unattractive.  It’s insanity.

I worry, like every other mother out there, about my daughter, who has always tended toward being overweight and who would prefer to just be a couch potato most of the time.  At twelve, she’s finally started to understand that in order to be healthy and happy as an adult, she needs to stay active and eat healthfully.  But I worry about things like anorexia, peer pressure, teasing by girls who are shaped differently than she is.  I worry that her generation will be as obsessed as my generation is over numbers on a scale and imaginary or perceived body “flaws.”

I see constant posts and threads on Facebook and other social media along the lines of “real women have curves” and “all women are beautiful” and “beautiful women come in every shape and size.”  And we readily repeat this mantra, yet none of us seem to want to be the woman who is that shape or size.  We can appreciate that a certain curvy woman is truly beautiful, but those same curves viewed in the mirror are simply “fat.”

Where is this insanity coming from?

Well, we love to blame “the media.”  We rail on about ultra-thin models, magazine cover retouching, TV shows that only cast the genetically gifted, all of those things.  And yes, those do contribute, however that altered reality persists because the public pays for it.  So, yes, we also are nearly as quick to blame “society”––that of course being a code word for “everybody but me.”

It’s time to address this––particularly if you are a photographer like me.  And particularly if you are a female photographer (although men, this all applies to you as well.)

I started out photographing children, and then families, and gradually shifted toward adults.  I absolutely love photographing people of all ages, but lately I’ve been particularly drawn to photographing women.  I love it.  I love working with them, I love laughing and joking around with them, and I love the process of lighting, positioning, and styling the female form.  I love putting a woman so at ease during a session that she nearly falls asleep.  I love showing them photographs that make them tear up a little, and see themselves differently and more positively. As a film photographer, I’ve never developed much in the way of Photoshop skills, so I’ve always been forced to get it right in camera.  I’m extraordinarily grateful for that, more now so than ever.  Why?

Because the more I look around at this genre called “boudoir” these days, the more irritated I’m becoming.  The concept is wonderful: take an “average” woman, whatever that means, and make her feel beautiful and sexy, to celebrate her curves and uniqueness. That is a wonderful goal, and I think every woman should do it at least once in her life.  The trouble is, the industry on the whole is not helping women embrace their bodies; it’s teaching them that a Photoshopped, liquefied version of them is much more pleasing to the eye.  Got a little softness in your abdomen?  Don’t worry, poof, it’s gone.  Have hips?  Well, you shouldn’t have that much, we’ll subtract that.  Have a roll or two because you are a healthy woman who actually eats?  Well, not anymore.

We, as a whole, are not celebrating women.  We are celebrating our ability to fix them in a digital representation.

When we digitally alter a woman’s body in a significant way, we are telling her that she is not good enough as she is.  That walking around in her every day life, she has flaws that are objectionable to the eye.  And we’re feeding the disconnect that every woman has between how she thinks she looks, and what she sees in the mirror.  We’re teaching women not only to want to be digitally distorted into an impossible ideal, but to expect it.    Because seeing themselves photographs as they actually look is just too unpleasant.

Part of the problem is that photographers have become lazy.  It’s just easier to ‘fix it in post” than it is to actually flatter our subjects in camera.  Who needs careful, thoughtful, effective posing, lighting, and wardrobe when you can just use the liquefy tool?  While we’re at it, why even learn how to create flattering work on our own that really, truly conveys that woman’s personality, when you can just buy a posing guide and insert your latest subject (of course using Photoshop as instructed to fix the issues the original pose caused.)

Look, I am not anti-Photoshop, and I’m certainly not anti-digital.  I have the utmost respect for people who know how to do amazing things with either and/or both.  When I see an amazing photograph, I fully appreciate it and the work that went into it, regardless of the medium in which it was created.  And I have no problem cloning out a zit that would probably be gone tomorrow anyway.  I really don’t care if Photoshop is used to change colors, add crazy effects, remove objects, add backgrounds, anything like that.  I don’t even have a problem with minor adjustments when a neck wrinkle or a slight bump or lump here or there detracts.  But “fixing” a woman is wholly different.

And yes, I do realize that the old Hollywood retouching artists were certainly not above using that retouching machine to slim hips and nip waists, although the difficulty and tedium involved meant it was more minimal and certainly not on every image.  But it’s back to the old “just because you can do something doesn’t mean you should.”   By creating these heavily altered, body distorting “portraits,” we are creating “records” of someone who never existed.  We are perpetuating the myth that all women should be perfect.  We, female photographers, are bringing this on our own gender.  We applaud the Dove ads featuring average-sized women, while we Photoshop-melt off the pounds to make our clients artificially happy with themselves.

It’s time to hold ourselves accountable, on both sides of the camera.  Focus on lighting, posing, and styling a woman to look as good as she possibly can, without falsifying her.  Let’s make her look like she does on her best day, without going overboard with mind-bending fakery.  Let’s develop the eye and the skills to create something flattering and beautiful without trickery.  And when you find yourself on the other end of the lens, remember to apply that same philosophy to your own photographs. There is true beauty in imperfection.  Maybe if we start letting women look like themselves, we can all start seeing that we really are beautiful in every shape and size.  And maybe things will be a little bit healthier for our daughters.

 

Letter to a Shy Photographer

If you are photographer who could be described as “shy, quiet, reserved, introverted,” these are some points that you need to hear, if you haven’t already.

You do not have to transform yourself into an extrovert.  You don’t.  There is nothing wrong with you — and in fact, there is a great deal right with you.

You are a skilled observer.  Because you aren’t at the center of the room, drawing the attention and energy your way, you understand how to watch.  By observing, you learn how to anticipate.  By anticipating, you develop a sense of timing that enables you to quietly record moments that others miss.  The “decisive moment” is yours for the taking.

shy girl

Shy girl

You have the ability to blend into your surroundings.  That means you can choose whether to guide your subjects, or whether to let your presence quietly disappear into the shadows while you document.  Whereas extreme extroverts like me can tend toward being the portrait equivalent of a bull in a china shop, you are naturally gentle and unobtrusive, and therefore, your images can be, as well.  Or, if you so desire, they can be brutally honest and candid.  Blending is a skill, and it makes you particularly good at genres like street photography and weddings, where you can absorb emotion rather than being required to create it.

You are capable of getting just as much from your sessions as the extroverts are; you’ll just go about it differently.  Where I’ll start loudly and quickly, you’ll take your time to warm up and allow your subjects to do the same.  I’ll guide the session to gradually become more focused and quiet to get those serious, connected images; you’re more likely to do the reverse.  As you get more comfortable with your subjects, each session will gradually loosen and become more relaxed and fun.  Those serious, big-eyed, soulful expressions that you capture so easily require a concerted effort for me to elicit.  Neither is better than the other.  They are just different.

Shy photographers can be just as confident as extroverted photographers.  Being shy does not mean you don’t know your stuff, and it doesn’t mean you don’t have a beautiful style all your own.  And if you’re still working to develop confidence, consider that, in my experience, extroverted photographers who lack confidence are frequently more easily flustered than their shy counterparts.  No matter what your personality, learning to take a breath, collect yourself, and start fresh is invaluable.  It helps you maintain your composure when a session isn’t going as expected, and allows to you a few moments of mental space to assess whether you need to do something differently.  It keeps the session from running wild and dragging you behind it.  And, shy photographers, you are just as capable of directing a session when necessary as are the extroverts.  A quiet, firm suggestion is just as effective as a loud, demonstrative one.  Remember that, in the end, clients need to trust that you are capable of making them look good.  Quiet confidence and a strong portfolio go a long way toward that.

The truth is, no matter what your personality is, embracing it and working with it is the key to your success and happiness.  If you know it will take you some time to warm up at the start of the session, simply convey that to the client before the session.  (“We’ll take a few moments to chat before the start of the session to allow everyone to feel comfortable and at ease.”)  People, particularly children, can tell when you aren’t being “real.”

So whatever you are, be it, without apology.  Embrace it and use it to your advantage.  It is so much more rewarding than spending your time trying to be something you’re not.

Confidence

What is it that makes a photographer great?  Is it stunning use of light?  Is it great composition?  Is it pure creativity that makes you scratch your head and wonder how he or she thinks these things up?

Is it the ability to relate to people, or to gain a subject’s trust?  Or simply the ability to get access to people and places that are off limits to the rest of us?  Is it crazy processing skills?

These things are all important.  They’re concepts and skills that you, the professional photographer, have to master in order to fulfill the expectations set by both your client and yourself.  But there is one more thing that is at least as important that often goes overlooked.

It’s confidence.

Confidence is what allows you the ability to try and fail and then learn from the experience.  It lets you explore concepts and techniques, not because you’ve seen them elsewhere, but because you haven’t.  It lets you embrace emotions and experiences and build them into your work without fear of what people will think.  It allows you to listen to critique, process it, and disagree with it when it makes sense to do so.  It keeps you from second-guessing your photographs when they don’t get the rave reviews you expected.

And so often, confidence is the difference between being a photographer, and being an artist.

Confidence is a habit.  It’s a balance between believing you’re great, but accepting that you’re not perfect.  It’s trusting your instincts, while understanding that sometimes our instincts are wrong.  Confidence isn’t loud and confrontational; that’s arrogance, and it’s usually masking a cracked foundation of insecurity.  Rather, confidence quietly tells the viewer, or the subject, that you know yourself, that you know your technique, and that you will stand proudly behind your art.

So how do you get confidence?  If you’re very lucky, you might have been born with it.  Some people are naturally self-assured in everything they do, which the rest of us usually find both irritating and enviable.  For most of us, though, confidence is a skill we have to learn, just like lighting and composition.

The key to learning confidence is letting go.  When you can truly let go of what other people think, and accept that what you love and value is in every way as valid as what other people do, you’ll find it much easier.  And then you can stop comparing yourself.  If you’re truly guided by your own unique voice, comparing your photographs to someone else’s is like comparing apples and sardines.  They simply have no bearing on each other.

And then comes the really fun part: learning not to nitpick every last thing you do.  It is one thing to have high standards.  It’s an entirely different thing to be such a perfectionist that you can never appreciate your own art.  Look up sometimes.  Step back and view your work from ten feet away instead of from inches away with a magnifying glass.  Literally, enjoy the big picture.  When you do that, you give other people, both viewers and clients, the permission to do the same.

Confidence is, to a great degree, the one area of photography in which you really can “fake it ‘til you make it.”  You must take the time to learn your craft, to understand focus and composition and light, all things we’ll be talking more about.  But confidence is a habit, and good habits are formed by intentional, conscious choice.  Develop confidence in your work, and you’ll find it spilling over into the other areas of your life.  Consider it “art therapy.”

Enjoy the process.

Deb Schwedhelm on the other side of the lens

Deb Schwedhelm on the other side of the lens