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Kiehl Withers: Perverse Artistry Cosmetics (pt. 2)

Other issues arose, such as the configuration of a new business website template.

Kiehl applying foundation before attempting to create a new look for social media promotion.

The result of the graphic liner attempt, illuminated by a UV light.

Kiehl adding the finishing touches on Haley's graphic liner look, with the lights and backdrop already set up.

Since moving back home after a year in England, Kiehl retrieves her belongings from "downstairs" into her new room: the attic.

Kiehl embodying and utilizing the coffee shop aesthetic (Verve Coffee Roasters, West Hollywood) while focusing on enhancing Perverse's site.

Kiehl jokingly frustrated about the never ending list of tasks she has for the day-- or rather, everyday.

Kiehl's hatchback filled to the brim with the over-packing of Perverse supplies to sell.

To sell, Kiehl attaches her Square Reader, where the prices are already set for easy customer transactions.

After her first pop-up, Kiehl is optimistic to make connections to continue to sell and leave her mark in the cosmetic world.

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Kiehl Withers: Perverse Artistry Cosmetics

Kiehl Withers, 23, is a licensed cosmetologist and entrepreneur, who recently launched her eyelash brand, Perverse Artistry Cosmetics. With the meaning of perverse being “contrary to the accepted standard of practice,” this is evident in not only Withers’ brand, but in her dedication to actualizing every innate desire-- a lifestyle, respectfully.

Launched on October 12th, 2021, Withers realized her dream due to her late grandmother’s financial legacy. Knowing that she had always wanted creative liberty in the cosmetic world, rather than catering to her clients’ basic, yet incessant, hair and makeup demands, she decided to transfer her artistic energy into Perverse.

With a total of 16 styles of vegan lashes, 12 colored and four traditional, she categorizes her range of colors and styles into three sections: The Classics Collection, The Lumiere Collection, and The Grandeur Collection. The range of colors, from neon yellow to auburn brown, allows a potential customer, avid cosplayer, or amateur makeup enthusiast to indulge in the color or style that pieces together their innovative vision.

Creating and launching Perverse has been no easy feat, but Withers’ dedication is admirable: from buying a domain and perfecting a visual layout, photographing and upkeeping her social media presence, organizing her products and statements, attending pop-up events that will allow Perverse to gain traction, and reaching out to influencers and experts, she does it all. Withers embodies the practice of being perverse, which will translate well into the success of Perverse Artistry Cosmetics in the near future.

Kiehl Withers, 23, and her sample products, pre-launch date. September 25th, 2021.

Perverse Artistry Cosmetics is composed of 12 colored lashes, from blue to neon pink, and four traditional black lashes.

Each box includes one lash. Seen here are a few of the 2,000+ inventory stored.

Along with the purchase a lash, each customer receives customized Perverse tissue paper. (Green bags are for in-person purchases at pop-ups.)

Kiehl implementing different techniques and lighting to properly capture her products for her site and Instagram page.

With product photography, comes scheduling Instagram posts for the busy entrepreneur. (Screenshot.)

Planning and scheduling, in accordance with affirmations and honesty.

Kiehl on her launch date, October 12th, with the major obstacle of a COVID-19 diagnosis. Photographed outside for cautionary reasons.

Any online order of Perverse lashes comes with a personalized note in a box decorated with Perverse stickers.

Kiehl creating a Chase Business account, but after a few unsuccessful attempts, she needed to go into a Chase branch to activate her account.

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Blog 10: Next Steps

I think one of the most important things that stood out to me in Chapnick’s Chapter 7 is that no two portfolios are alike. Photography, although saturated, is such a beautiful field to me, because despite two people holding the same camera in the same spot, they won’t produce the same exact images. People view the world differently, and that tends to be reflected visually in the realm of photography. The only difference is, people need to be aware of their photographic strengths to sell themselves properly. Chapnick also discusses how a portfolio is never truly finished, in which I could strongly attest to that. Photographs illustrate style and versatility, and in order for your photography to be a reflection of you, it must properly elicit the growth you encounter everyday, as well. In essence, you should let photographs speak for yourself, because you are what you show. If you feel the need to go into detail about artistic detail or defend your body of work, chances are it’s mediocre at best.

In addition, the field is cutthroat, as Chapnick quotes a workshop leader from University of Missouri: “People without the determination, guts, or roughness to survive in this business should get out.” However, even with the competitiveness, impactful images will always prevail and can even generate prizes in the long run. As Kobre mentions, one can stand out in the beginning of their photojournalism trajectory by being a part of local happenings, and utilizing social media, specifically Twitter, to post and engage with other outlets and publications. Another important factor in breaking into the field is internships, even if they’re unpaid-- despite it potentially deflating the ego, it gives a potential hire a chance to truly perfect the craft (if possible), and more importantly, gain experience. With every niche being filled with amateur freelancers, it’s important for photojournalists to take any opportunity they can to better themselves and stay committed to the art of visual storytelling.

I have never focused on photography contests, grants, or workshops, but after quickly searching, I found that Getty Images has editorial grants (although, they’re all closed or in the judging process, currently). But that’s something I’ll definitely keep my eye on in the near future. I also found the Eugene Smith Grant, which I believe was mentioned by Chapnick, but I had assumed was dated; there’s even the student grant. I just discovered the Howard Chanpnick grant, but I believe it is more focused on management than on photography. In general, I was more focused on internships, but I will focus more clearly on participating in contests, where I’ll not only challenge myself, but put myself in a position to observe the work of other like-minded individuals from around the world.

Here’s my portfolio, although I’m considering deeply taking a look at the formatting and content within the next month or two & reorganizing: habebamostafa.com .

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Blog 9: Fine Line

If there’s anything to take away from this chapter, it is that privacy and its relationship to photography is complicated. Kobre dissects the rules that seem quite subjective at first, but make more sense when given the right examples. What’s standard, though, is that photographers have the right to capture in public places, and their photos are subject to copyright if they didn’t take photos under assignment for anyone else. However, not every public space is fair game, where tribal lands can impose restrictions, along with people’s property. However, in the Cindy Fletcher case, the photographer was invited to take photos by law enforcement, and therefore was not trespassing. There are other nuances, such as if a fire or event takes place at a movie theater and you’re already there, you have permission to take photos since you were already at the place the event took place. However, if an event occurs and you are rushing for the sole purpose of taking photos, you could be denied access. Furthermore, you can never use anyone else’s photos, such as copying a photo on Facebook, unless you have permission from the owner of the image. In essence, one should always strive to get permission of any image they themselves have never taken.

A camera illegally infringes in four cases: intruding by trespassing, using a photo to sell without consent, unfairly causing someone to look bad (mismatch between photo and headline), and taking embarrassing photos, especially if they aren’t newsworthy. In the case of Bridget Moynahan, she is embarrassed by the nude photos taken of her, and is threatening action in case they are published. If there is a profit in selling her image to a magazine or advertisement, or creating an exhibition based on ticket sales, then she has a right to sue the photographer, Tiff Pemberton. According to Kobre, “the law holds that you cannot publish a photo of a person for commercial purposes without obtaining that person’s consent. This is generally known as the individual’s ‘right of publicity.’” Yet, If you are a freelance photographer “you have copyright protection of your work as soon as you take a picture and develop the film or save it to a digital file.” There is a thin line between what can be acceptable in this case, legally. Morally, I think releasing the photos that were taken in a private setting to be wrong, especially since the photographer admits that they were all a bit drunk. Even with the claims that these photos were taken in a professional studio, it still wouldn’t hurt to respect the subject and her wishes. In addition, even if Moynahan appreciated the photos, and posed nude willingly for another magazine, she still has the right to refute the action of her person images being published by Pemberton.

Here are a few of Pemberton’s other photos: 

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Critique 3

My main objective when working with Kiehl was to try and capture her working with other people, along with the details on her business (my incentive since the start).  We had been discussing finding models to photograph to promote Perverse,  and even with all of our busy schedules, we were able to work with Haley, pictured below (who is actually my friend from highschool). We were planning on working with others as well, but it’s been hard finding people who can give us a good chunk of their day, whether it's due to their work schedules, familial commitments, etc. As I had mentioned before, Kiehl and I try to meet every week, where we’ve developed a habit of working on other things, and if something arises related to this project, then I’ll capture it.  The flow has been great and easy going, and it’s been a great experience watching her develop her brand over the span of a couple of months.

There were a couple of obstacles we faced this month. First, since I was focused on capturing Kiehl working with other people, I thought it would be great to seize the opportunity of tagging along to her bank appointment, where she was opening up her business account. I had gone with her twice, where the first time she was told she had to have an appointment, and the second time I had asked the bank consultant if I was allowed to use my camera, in which she replied that Chase has a strong security system and is anti-photography.  I was hoping I would’ve been able to capture their interaction because I think it was an essential step in both her establishing Perverse and this project. I think the other issue I have is in trying to not repeat the same photos. There are many things that she has done, but they’re either on her laptop or phone (and occasionally, her camera). I don’t want to present the same style of photos repetitively, but they’re pretty essential in the development of the brand.

I don’t have many anecdotes this time, other than getting to know Kiehl and being immersed in this project; I think for both, it’s been great to really gauge the missing pieces and try and fit everything like a puzzle. There have been multiple times Kiehl has been frustrated (either with her website’s  template or  not having access to her seller’s permit-- but again, how do I capture that?), and watching her try and fix these issues and contact other professionals has made me really appreciate the depth of establishing  small businesses. The work is gruesome and tiring, and yet, Kiehl continues to persevere for the sake of her dream: it’s inspiring to watch her continue with the highs and lows, and I can’t wait to see the payoff in the future. Perseverance bodes well with Perverse.

I’m excited to wrap up the project. I’m thinking of capturing  photos of her shipping her products out to customers, or even of her scheduling posts on  social media. I would also like to include a photo of the photos she took on her own camera to promote seasonal sales. All in all, I would say I have accomplished everything that I had thought about since the beginning of the semester, and now I just need to find a balance in captioning the final few photos, gracefully, without overdoing it.

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Blog 8: Philosophy & Rapport

Chapnick discusses multiple themes that I think are essential in successful photography/journalism. First, while some photographs are known for their ambiguity, photojournalism should be the complete opposite. The audiences deserve the clarity and lucidity in the photos they come across. In addition, a photojournalist may have the art of photography down, but should always master the craft of humility. Arrogance doesn’t translate well into the best photos, but confidence does. One should always be mindful of one’s best work to present when need be, along with the techniques of shooting, such as “less is more.” Truly, few great photos happen on accident, and this is evident when considering if a photo should be in black and white to translate the richness of the capture: “Color photography too easily overromanticizes its subject matter, softening and beautifying the stark ugliness of pollution.” Finally, what can be said in a single photo and how it’s said is important; the relationship between the colors, composition, subjects, etc. create a compelling image, or even experience.

My current photography hasn’t been photojournalism based, but I think this philosophy is applicable to any type of photography: one should strive to build rapport with clients or subjects. Whether that’s through creating monumental photos, or having an ongoing relationship to capture future happenings and photo projects, the photographer should always do their best to make the subject feel at ease. By doing so, one will have better photos that reflect not only their creative work, but overall persona. One could do so by playing music, cracking jokes, asking about their lives, but mostly, complimenting them. In terms of photojournalism, one could  also ask about their lives, while validating their experiences, and giving them the indication that you’re genuinely interested in their stories, hardships, etc. By making the subject feel comfortable, you are now allowing for photos you may have never anticipated, in terms of posing or angles or other creative outcomes. I’ve been lucky to hear that I have made some of my subjects feel more comfortable compared to how they felt in the very beginning, and this is shown when looking through the collection of photos when editing. The latter photos almost always elicit more genuine smiles and comfortability. Also, I think framing is very important, regardless of the type of photography. Adding onto the question Chapnick writes about whether a photographer should be objective, I think a photographer should be subjective in the way they frame, but also mindful of what they’re producing, artistically. What’s in the background? Where is the subject standing? Does it matter?

Attached are a few of my favorite photos I’ve taken in the last couple of weeks.

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Critique 2

Objectives: Kiehl and I have been consistent in meeting, especially during the last few weeks of October. Usually we plan to meet on Tuesdays, and if something pops up, we’ll reschedule. Overall, I like this set of photos more than the first critique’s photos. I think they’re more artistic and I appreciate the lighting. There are a few images that I think might be a little redundant, especially when combined with the first set, but I’d rather take similar photos and choose the best later on. I’d say I’ve been successful in capturing details, but need to continue to focus on making the details look like an essential part of the process (which I think they are).

Obstacles: I had a couple of obstacles in trying to stay consistent this month. First, Kiehl was diagnosed with Covid-19 a few days before her launch date, October 12th. Luckily, I hadn’t seen her for a bit prior to her diagnosis, but I wanted to try and showcase her working that day. This meant I had to keep a large distance between us, so I had parked across the street, rolled up my window, and communicated with her on the phone. I’m not entirely sure about the image, but I feel that, at least for me, it illustrates her dedication despite the obstacles. I couldn’t capture a successful image of my phone and her both in the frame; the phone looked like a black blob, and she was too far. I had to use a telephoto lens. Also, Kiehl began working at a restaurant on the weekends at the start of October, so she has been a bit behind in her marketing. I believe that during November she will be more focused, and not have to deal with the struggles of balancing a new job, along with recovering from Covid. In terms of technical issues, I wouldn’t say I’ve had any; my main struggle more-so has been trying to make the most out of every interaction I have with her, and focus on details that she might not even recognize. 

Personal Anecdotes: As I had mentioned in the last critique, Kiehl and I have a lot in common (our birthdays are even a day apart). As I’ve gotten to know her better, I have had the chance to have amazing conversations with her. I believe working on this project has allowed us to embark on a new, refreshing friendship, where the hours we spend together has turned into a safe space of confiding and encouragement. We have effortlessly discussed everything, from religious upbringings, race, the dynamic of her marriage, the job market, and most importantly, our trajectories as artistic people. Coming from a family of engineers myself, not to mention the friends I have who are in dental school, nursing school, law school etc, it is very validating to have someone understand the struggle of wanting to succeed with artistic capabilities. Even as she’s launched her own brand, and I’ve worked on other personal projects in the past, she has encouraged me to do what makes me happy, because even if it “fails,” at least I’ll learn and improve in the future. (It’s cliche, but true.) Overall, I’m inspired by her motivation, and I hope I can capture her positive essence and overall dedication in these photos.

Looking Ahead: Between now and the next critique, I would like to focus on Kiehl marketing/ photographing her products, potentially capture her working one of her jobs, and just the overall process of how she ships and calculates her profits. I know there were also a couple of hiccups with her seller’s permit, and I want to focus on how she resolves these issues. Also, I had contacted another friend, who is a freelance makeup artist, in the slight chance I may not have enough content of only Kiehl. Alyssa openly agreed to be featured, and is even someone I’ve worked with on side projects before. The only issue I’ve had is in trying to not only find a date that works with her, but in having her clients agree to be photographed, especially since most of them are brides. I will see if we will be able to meet in the upcoming week or two.

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The Perspective of a Female War Photographer

War photography is evidently not a career path that many are capable of taking, for it not only requires the obvious avoidance of dangerous situations, but the skill set and overall navigation in knowing when to not proceed: when does the work stop and the protection of one’s life begin. Some journalists are “adrenaline junkies,” but others are merely interested in war photography for the telling of stories of other people who may never have the chance to have their voices heard. Nonetheless, despite the personal reasons of every photographer, there are precautionary measures needed to be taken to ensure the safety of those on assignment. First, no matter the prerequisite, every photographer needs to trust their gut instinct; Chapnick quotes Chris Morris, who states, “you rely on your instincts knowing how far and how hard to push.” Every photographer wants the winning shot and the call to fame, but as Chapnick states, “there’s no award for death or shrapnel in [one’s] body.” In addition, Chapnick’s safety list includes, if not speaking the primary language of the country, then knowing as much as possible about the native body language and gestures. Addario discusses this when trying to find an exit strategy during her time in Pakistan, in case the Taliban were planning to strike at any moment. Deciding that she needed a disguise, she bought a burka and rubbery shoes. One would think that’s enough, and yet, she needed to learn the proper way to walk in a burqa, to somewhat assimilate with the locals.

In addition, one who embarks on these photostories should study the country and be well versed in its history, be emotionally stable (which could be very hard, considering the toll of the physical environments and the violence that could haunt photographers for months, or even years), be physically equipped with the right materials (life jackets, proper coverage), and most importantly, be human. One should not demean those who are of different backgrounds that one isn’t familiar with. Addario briefly addresses this too, where she is suddenly exposed to the strong hatred women (and men) had towards America, and considered 9/11 to be a necessary retaliation; this is shown as she’s reflecting on the opinions and emotions the women expressed on their own. I thought it was clever of Addario to begin her chapter about wishing to be at the core of all that was happening in New York, and yet, getting a completely different perspective on something she may have never had the exposure to before. While 9/11 is an American tragedy, people in the Eastern World may, and do not, see it that way, and as difficult as it is, it’s important to understand why.

Overall, in the few pages I read of Addario’s book, I was inspired. Especially when she discusses her role as a woman in the field, and how she has to worry about misconceptions the Pakistani men had of American women. However, maybe she was able to use her gender to her advantage, having access to the madrassas and the voices of women who are probably undermined in these patriarchal societies. Lastly, here’s to this brilliant quote: “She tried to strip away the self-confidence we had spent years building up.” I can only assume being a female photojournalist, let alone a war photographer, requires a woman who is self assured and focused, and yet in this very instance, she has to adapt to the ways of the more submissive woman in order to ensure her survival. That, to me, is very powerful. Don’t even get me started on her haram lesson.

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Blog 6: Creativity, Time & Patience

Many people, especially those who aren’t well-versed in the art of photography, may assume that all that goes into capturing an image is pressing the shutter release button. Rather, photography is a field that requires skills that fall under the categories of: creativity, time, and patience. A photographer’s role is to not just capture, but to observe the subject and what they plan on eliciting in their images. As Chapnick states, “The photographer must practice the act of watchful waiting, of anticipation and instinct, which all develop through observing human behavior and refining one’s ability to see.” In addition, there are many nuances in an image that there’s a high chance that any particular image may not ever occur again. If a photographer notices a compelling scene, it is imperative that they capture it; you can always take hundreds of photos, but you may never be able to capture that particular moment again. With the two main umbrellas of photography being photojournalism and photo illustration, and both categories being responsible for different results, the same set of standards apply to all photographers.

When discussing creativity, Chapnick argues that being creative isn’t a skill one is born with, but a skill one can develop. By stating that any photographer can be creative, it challenges the inherent notion that good photography is reserved for those with “natural talent.” Yet, hard work is essential in building this skill, for one needs to take action and experiment themselves, rather than just discussing it, or worse, complaining about it. When utilizing creative photography, you must take the time to analyze your surroundings and study your subjects so that you know how to frame them properly. With the idea that all good things take time, Chapnick alludes to this saying with his own phrase: “Any type of photography on the cheap is wasteful and extravagant.” Finally, patience is what pieces the photo together, for you could have creativity and time, and still settle for mediocracy. The three components are a balancing act, and in order to successfully capture, you have to be fully immersed in the moment; for to capture someone, they are inviting you into their most vulnerable space, and a photographer should not only respect that, but honor it.

I haven’t taken many photos outside of class this semester, mostly due to me adjusting to my academic workload. The first image, of my crazy dog turning 2 years old just last week, took a lot of patience. He barely listens to commands, let alone when I have a tasty treat in front of him. I figured that in order to capture the perfect Instagrammable picture, I needed to hold the treat and take the picture very quickly; I then decided it actually looked better with the treat in the image. In terms of understanding the subject, my dog is incredibly friendly, and I loved how he was actually well behaved for literally just that second.

Second is this photo I took at Treasure Island in San Francisco. I had dragged my family here right before the sunset, and decided to wait until it got darker to capture the skyline. I had the wrong lens, and realized it too late, but I think this image is unique compared to other skyline pictures I’ve taken, albeit not my favorite. I believe I had waited for over 30 mins for this shot, but was also able to utilize the moon that day and give this image a fresh, glowy feel. I had also used the rocks as a tripod, and I believe that is a true reflection of not only the creativity, but the dedication, used in this image.

Finally, this is a graduation portrait I had taken earlier this semester. Like I’ve mentioned before, I’m a big proponent of movement and color in my portraits, and Michelle and I had practiced throwing the sash multiple times-- either up towards the ceiling, or directly towards the camera. Along with ensuring she was comfortable, and getting her to look directly at the camera, there were multiple takes, but I believe she was happy with the results.

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Joseph Rodriguez & Legendary Photographers

Chapnick’s chapter 12 was engaging due to his anecdotes of every photographer, and not only the contribution they’ve had in the photo world, but how they all taught him something valuable. From Eugene Smith becoming frustrated with Chapnick for knocking down his equipment, and even proceeds to knock down the rest of his equipment himself, to Charles Bonnay jumping out of a window of the second floor when asked why he should be hired, we come to understand that the genius of photography isn’t black & white. I also appreciated the stories of Lowell Handler, who was diagnosed with Tourrett’s Syndrome before it was a well known and understood condition, and Bruce Thorson with how he captured with only one arm.  Gordon Parks was focused on advocacy work, especially amidst the civil rights movement, where he had captured the Black Panthers, Muslims, and Malcolm X. When talking about photography and his relationship with the camera, he had learned how meaningful the camera was as an instrument, and how it became the weapon “to speak against anything [he] disliked in the world.” Perhaps my favorite quote is from David Moore, in which he states that “too much color can dull the senses and full color imagery is often just too pretty for the desired emotional response.” This is in regards to his reservations of colored photography. While some people appreciate color in their photography and find it necessary, others, such as Moore, would rather not associate with it: which, again, alludes to the idea that the creative process in photography isn’t linear.

Joseph Rodriguez, born in 1951, was born and raised in Brooklyn, New York. He studied photography at the School of Visual Arts in New York, and eventually attended the International Center of Photography, where he had met Chapnick for the first time as an intern at Black Star. As Chapnick states, “the secret to Joe Rogriguez’s modest success as a photographer stems from his recognition of his roots and his desire to interpret the colorful, complex, high-spirited… world of the immigrant Latinos who settled in East Harlem.” Notably, he was able to capture many aspects of Hispanic life that many people were not aware of, or rather, didn’t have access to. Rodriguez is currently a professor at New York University, with over 35 years of documentary experience to share with aspiring photojournalists. His work has been featured in various world renowned publications, such as National Geographic, The New York Times Magazine, and GQ, with his work, such as “El-Barrio'' and “East Side Stories” (1992-2017) being featured as timeless pieces.

Images from "East Side Stories."

Depiction of family life from the "Reentry in LA" series.

Audio and compiled images of Marcos Luna ("Reentry in LA").

From "Kurdistan."

From "Mauritius."

Furthermore, one can sense Rodriguez's versatile, yet serious style, with beautifully composed (both color and black and white) images that allows a viewer to have access to various communities throughout the world.

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The person featured in my multimedia project is Kiehl Withers, who is the founder of makeup brand Perverse Artistry Cosmetics, which just launched on October 12th. In this video, she discusses how she became enamored with the world of makeup at an early age, the steps she has taken in her trajectory thus far, and why she has decided to work for herself and create a brand in the legacy of her late grandmother. Viewers can sense the dedication she truly has for her craft, and understand the amount of hard work that goes into a beauty brand: finding models to photograph in various looks, creating and managing a website, and marketing her products on social media to build clientele. All in all, we watch her photograph her products, tell her story, and most importantly, fulfill a life-long dream.

In Kobre’s chapters on sound and video, I agree with the quote that “sound brings pictures to life in a way that captions alone can’t accomplish.” I hadn’t originally planned on using the same dialogue from one footage, which is why you’ll find Kiehl talking in some parts of the videos, but I felt that this was better suited.  I used a separate microphone and used a DAW to record her voice to sync with the footage on my camera. While “visuals enhance the story, the sound brings the story to life,” and I believe having Kiehl discussing her life naturally did make this video authentic, rather than me transcribing what she had said, or even just only using the visuals. She gives us her own insight, and we, the audience, are fully invited into her world for 5 minutes.

In terms of footage, I absolutely loved the quote that states “many video shots aren’t blockbusters, but are vital to the flow of the story.” The art in video editing is knowing when to cut shots, while organizing the footage in a cohesive way. One should also try to make each shot longer than 10 seconds. I do think there were some shots that weren’t as strong as the one of Kiehl speaking, but I think it allows viewers to get a sense of how multi-faceted the process is. I also completely agree with the statement of how auto focusing can fail. There were some shots that obviously weren’t as sharp as they should’ve been. Finally, I used a tripod for my camera, a telephoto lens for the “interview” segment, and a wide-angle lens for some of the background shots. I color corrected in Premiere, and did my best to avoid jump cuts: one of the challenges I faced was trying to make the audio as smooth as possible, without realizing that would also interfere with the synchronization of the video portion. Overall, I’m satisfied with the results, and look forward to working with her for the rest of the semester.

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Critique 1

I have only visited Kiehl twice so far, but plan to visit her more often throughout the upcoming weeks, especially for her launch on October 12th. I would like to meet with her once more before then, especially since she just started a waitressing job on the weekends to help her earn extra cash for other expenses in the business. I contacted Kiehl over 2 weeks ago, asking her to be the subject of my multimedia video, but the more I thought about it, the more I realized I wanted to highlight her trajectory in the upcoming months. She was more than supportive, and has been incredibly easy to work with. I met her in March, at the engagement party of a mutual friend, and that’s when she had addressed that she was working on her brand and in the process of getting married abroad. This project has also allowed me to get to know her on a personal level, and to really gauge her hardwork and dedication to her craft: something that we both have in common. I knew I wanted to capture all details of her work, from the stickers to the eyelashes, to her work space and overall setup. During both visits, I have been to her house, for that is mostly where she works on all things related to Perverse Artistry. 

I haven’t encountered any main obstacles yet. So far, I feel that I’ve been successful in capturing the very few images I’ve had in mind. The only two scenarios that I feel are a bit problematic are 1. I had obviously posed her when she was tossing her little eyelash boxes. I love movement in my photos, and with that I have no problem with the composition, but I’m now beginning to understand that photojournalists shouldn’t outwardly reflect their vision onto their subject. Given that it is a portrait that she is obviously aware of, I hope it gives the series of photographs some dimension. I also had a bit of trouble with the lighting when I was capturing her “new room” since coming back-- the attic. Along with the issue of posing her, there’s a ladder that leads straight into the bright room, and especially during the day, it’s hard to make her stand out with the very strong back light. When using the flash, I instead created a film poster for the next best scary movie. I added the image, where again, she’s aware of the camera. Maybe I’ll recapture the image without her in the frame; Maybe I could also capture the details of the room, since the weather is beginning to cool down.

In addition to what I had mentioned earlier about our similarities, Kiehl and I also discussed our familial backgrounds and our identities within our society. Kiehl is mixed, and we were both raised in the predominately white demographic of Santa Clarita Valley. We discussed the ways we felt we fit in (and didn’t), and how we feel our society reflects us as artists. With the idea of growth and open mindedness, we came to the conclusion that suburbia isn’t a reflection of who we are as people, and that we should strive to associate ourselves with like minded individuals. In recognizing her brand and what it stands for, she uses the word perverse, which means “contrary to the accepted.” Conformity doesn’t need to be essential in a society. Rules are important, but complying with arbitrary ideas isn’t necessary. It inspires me, as a photojournalist, to capture such a unique essence.

Moving forward, I hope to just capture the little details. I have captured the boxes, products, planners etc. Maybe I can begin to focus on artistically showing such details, without altering or manipulating anything. I want to capture more photos of her working on shipments and other technical aspects of the business: not just the physical eyelashes, but the behind-the-scenes that many people might forget small business owners are responsible for. I would also like to capture her when she runs her errands, works with clients, and even returns from her various jobs.

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Blog 4: Ethics

Chapnick is against the use of photo manipulation, and emphasizes the importance of honesty when publishing work; if anything, manipulation is associated with photographic fraud. There could even be a blurred line between capturing an emotionally moving image and the ethicality behind it. One of my favorite quotes in Chapter 21 is: “Photojournalists should take pictures, not make pictures.” Photographers are allowed to have more creative liberty, but photojournalists need to serve their honor and do right by the subject at hand. Unlike the early 20th Century Life Magazine projects, where there was a need for posing and staging of subjects in order to produce quality images, there is no need for any of that due to the advancement of technology. For anytime a photographer manipulates a photo, it causes the credibility of any and every publication to go down. That is why it’s essential to stay true to the craft, for photojournalists are privileged to be at certain places that many common folk aren’t; therefore, the image needs to be as neutral as possible for the fairness of all people.

When reading Kobre, I was a bit shocked at how seriously certain publications can be strict about certain stories; they didn’t even hesitate to fire their most loyal employees. The first example was of the firefighter who was cooling down by a nearby pool, taken by LA Times photographer Mike Meadows, who merely stated that the image would be a fascinating take, to his subject. Because of his brief input, the photo automatically becomes subjective, and loses any sort of value it had prior. Second, the “Yeah Eckerd” incident was also bizarre to me. In my opinion, the subjects knew they were being photographed, and even participated by washing their feet and writing the words. There are no politics, no personal gain -- it was a simple baseball game. And yet, even with the lightheartedness of the situation, it teaches photojournalists to never tamper with anything the subjects are doing, even if it’s positive. Overall, whether an image follows the rules of utilitarian or absolutism, there should always be consideration of the “golden rule.” In addition, as Chapnick stated, maybe it’s best the subjects know that their photos are at least being taken.

I found the opinion article by Errol Morris to be quite fascinating-- he has a point. If something seems to be recurring, then the authenticity of it becomes diminished. In the case of the random dolls and toys in the rubbish, while we could believe that those many children lost their belongings, it makes more sense to assume that the photos were instead staged. I find the interviewee to be a bit defensive. He really focused on the authenticity of captions a lot, and how he believes the other images could’ve been copied but didn’t even know when they were taken. In my opinion, I had the impression that maybe he was the one who was guilty, but complied with Morris to somehow prove his innocence and his integrity as a photojournalist in Beirut. (This is based off of memory, I am unable to access the article again since I don’t have a NY Times subscription.)

As long as photojournalists think they can get away with it, I believe there will always be someone who manipulates their images to uphold their reputation. In the case of Steve McCurry, who was known for his capture of the “Afghan Girl” in 1984, an Italian man had noticed a small part of the yellow pole cloned near the feet of a walking man nearby. McCurry claimed that the image was a personal photo captured during a personal trip. We then have to question if he’s responsible for associating his name and various galleries with his personal work, or if he should’ve been more transparent in the type of photography he is trying to pursue. McCurry even claims his photography is art, which gives an audience a false sense of understanding, since he’s known for his raw, war-based work. Overall, the ethics remain, but people will always try to find a loophole, as long as they can get away with it. For if it isn’t the money, then it’s for the continuation of fame; unfortunately, that could quickly turn into notoriety, if not careful. (“Afghan Girl” and the editing scandal photo by McCurry are attached.)

[artistry-abyss]

Blog 3: Photo Essays

While a story may not  be linear, visual consistency should be the main focus when cultivating a photo story. A photo essay can be centered around one person, objects and subjects (such as hands). For example, Eugene Smith, the pioneer of photo essays, was even able to use geometric figures in his “Spanish Village” series (Chapnick). Both Smith and Donna Ferrato, who was very fascinated by both the sexuality of women and later domestic violence, prove that anyone can focus on any topic (whether simple or not) and be successful, as long as they follow such attributes: concise ideas, avoiding redundancy, spending time (whether it’s a few weeks or months), cooperation with subjects, proper captions, realistically understanding subjects, and attention to detail. Overall, the essay should be personal to the photographer, and something that inspires them to work for hours on end.

For example, based on the stories presented in Kobre, the one that stood out to me was the “Biker Dad” story, which took nearly 5 years to complete. I loved how the essay had taken a stark turn that I hadn’t expected. I figured, if anything, the dad would leave his young children like he did with the others, but to raise them when their mom left was unexpected, yet amazing. Kobre breaks down the overall theme of biker dad into three sub-categories: the dad in the crowded motel room, the process of cleaning up the motel room, and the telling of residents to demand better living conditions. We can then see his change of character, from not only caring about himself and eventually caring about his kids, but that he eventually cares about others. In addition, the relationship between narrative and documentary is that usually a narrative elicits some sort of suspense, while a documentary could be more random. The question that I then had was: does a story become a narrative if one knows the outcome? Or should one strive to look for stories that could eventually lead to uncertainty?

The photo story I found that was related to my project was a Humans of New York story on a single dad from Ghana, who finds his passion in Photojournalism. He addresses the many obstacles along the way, such as how he had his daughter young but didn’t stay with her mother,  to struggling to make a living, to the silver lining of earning a scholarship at an art school in New York but having to miss a year of his daughter’s day-to-day life-- regardless, we are immersed in his trajectory. We then come to find his inspiration in informing the Ghanian people of the world of photojournalism by creating a center--an opportunity that he  had never had before. This was one of HONY’s detailed stories, with photographs from different years (rather than just on the street), since Brandon (the photographer) and the subject had met when Brandon was in Ghana. When this essay first came out, I was instantly hooked. It gives readers hope, and the idea that as long as you believe in yourself, you can find success along the way. Even if the success isn’t linear, or what one had originally hoped for. Attached are screenshots from the HONY website featuring this story.

[artistry-abyss]

Extra Credit: Analyzing Multimedia Presentations

“Our Dreams Are Different” is an initiative created by The Soul of Athens; founded in 2007, The Soul of Athens focuses on the stories of residents of Athens, Ohio, a “small community in the foothills of Appalachia.” With many Ohio University students being a part of this project, where they create, design, and edit, they examine the ideal of the American Dream, and whether the “myth” is perpetuated in the lives of Americans; more specifically, whether the dreams of Southeast Ohio were fulfilled.

When reaching the home page, there are 16 slides that focus on each individual, where the gallery gives each person their own spotlight. The “Our Dreams Are Different” title in the top left corner directs visitors back to the home page/gallery. There is a listed view of the projects under the “Projects” dropdown menu, which can be seen under any tab on the site. There are three other tabs on the right, where “Credits” resembles a contact sheet and presents all the members with headshots that embody their personalities. There is also an “About Us” tab, along with a “Blog” tab, which leads to a broken URL. The three main forms of media used include: photography (portraits), articles, and videos. Some of the articles used videos instead of photos, slideshows instead of videos, and both types of media; regardless of the visual aspects, each story had a written component.

I think the overall quality of the work is fantastic, and I wouldn’t change much, if anything. I would maybe try to keep the content more consistent, and create a homepage that is more inviting to the visitors of the site. I think the main focus for improvement would be to incorporate more videos throughout each article, and to have video playing the second someone accesses the site: it’ll instantly capture the viewers’ attention, instead of them having to navigate the site in order to find something compelling.

The two photos I have attached are of stories I thought were intriguing. The Chinese students who are struggling to assimilate in American undergraduate culture, and the single teenage parent who is waiting on her boyfriend’s release from jail. Both styles of videos worked well with the stories. In the first one (the Chinese students) there is usage of dramatic lighting and artistic storytelling, whereas the 2nd video utilizes audio over photos, along with a documentary style video. Furthermore, I think these students created timeless work, and I’d be interested to see newer stories, or even follow ups of where these people are now nearly a decade later.

[artistry-abyss]

Environmental Portrait: Adam McCrory

Adam McCrory, a second year graduate student in Vocal Arts, is an integral part of the CSUN Opera. During his time as an undergraduate at UCLA, he began performing in UCLA’s Chorale and Chamber Singers, along with smaller roles (in 2005 and 2006) at the Redlands Bowl in Southern California. His recent roles, some of which were conducted over Zoom, include: Papgeno in The Magic Flute by Mozart, Marco (understudying Schicchi) in Gianni Schicchi by Puccini, The Clock and The Black Cat in L'Enfant et Les Sortilèges by Ravel, and Frank Maurrant in Street Scene by Kurt Weill.

McCrory currently works as a student producer for the CSUN Opera, along with being a livestream concert producer. His job description entails him to guide students in how they professionally present themselves; this is shown during opera rehearsals, where McCrory leads as an example and conducts himself in a confident manner among his classmates.

During rehearsals, which were three hours long, he would use his sense of humor to lighten the mood when members were exhausted or needed to pause due to the loudness of various music practices happening nearby. When performing, he would instantly switch from a casual, to intense, facial expression; this then alluded to his stark singing as a baritone, with his vocals ringing throughout the outdoor practice. Afterwards, he met with conductor and director, Mercedes Musotto, where he utilized his one-on-one sessions to improve his performance of notes that are hardly noticeable to the untrained ear.

Along with performing and studying, McCrory meets with his personal trainer, Kevin, twice a week for fifty minute sessions, where strength training is his main focus. While working on building his skills, along with his physique, Kevin praises McCrory’s improvement in comparison to the previous session: he did not stop to catch his breath, but was rather focused on finishing each set with enthusiasm. In relation to his opera persona, McCrory would channel his inner intensity to successfully complete each task at hand.

When working on the environmental portraits, I was cognizant of framing Adam and the type of lighting I’ve used. I’ve always been a fan of using flash in a portrait, because to me, it gives the subject more depth. Kobre discusses how light plays an essential role in capturing the mood; taking this into mind, I knew I wanted to capture the photo in the music practice room in a dramatic sense, which is why I had set up the strobe on the side. We had tried different poses and even lighting, but this photo stood out to me because even though the lighting wasn’t necessarily inviting, his facial expression was. You could tell he was passionate about being an essential part of the opera: an opera, in essence, is dramatic.

The process of capturing included the idea that even if you’re shooting portraits, you want to capture candids (in order to “break the ice”). That’s what I had done first, for Adam was busy with his sessions, but kind to allow me to interrupt him when I needed to. He also seemed comfortable around me, and was acting as if I wasn’t near him holding a camera. It wasn’t until I would ask him to pose and be aware of the camera, that he would face me, but still completely relaxed and cooperative of my ideas (such as throwing the sheet music around).

Overall, my favorite quote from Chapnick is how great portraits “capture the human spirit by responding to the subtleties of facial expressions, the sardonic or sympathetic lines of the mouth, the brittle hardness or soft compassion of the eyes, and the inevitable lines and folds that define the facial landscape.” Despite the details that go into a successful image, potentially even an image that moves an audience, Chapnick had also recognized Arnold Newman’s perspective about how portraiture is just a fleeting image, and that no picture could be a final summation of a personality. People are multi-faceted, and I think this project does a great job of recognizing and reiterating the dimensions of people in general. While Adam, to me, is embodied well in these photos, they don’t nearly demonstrate his personality or how helpful he’s been in my completing of this assignment.

[artistry-abyss]

Week 1 Reflection

After reading both the Kobre and Chapnick chapters, I have better insight on the strategies and techniques it takes to not only culminate a strong story, but engage an audience as well. There isn’t a one size fits all, but there are certain techniques that can ensure success. 

For starters, in order to pitch a story, the photojournalist must be excited about the subject. The story needs to not only have strong organization, but strong attentiveness to detail (structured by headlines and commitment statements). Composition also entails the following: subject, object, mood, theme, perspective, and camera technique.

Some photojournalists may find inspiration for multiple stories when taking a quick stroll through the city, while others may find it harder to come up with a consistent story. However, each photographer must be well versed and prepared in research and their overall pitch: you want to make sure you give editors an offer they can’t refuse. Along with knowing your market, personal investment is essential. You have to full heartedly believe in the story you’re capturing/ promoting.

There is also a difference in the type of story (documentation or narrative) or the duration it may take (minutes or months). A common, guaranteed  theme is stories about human suffering and perseverance, since it may elicit empathy from readers. A successful story can come down to the dichotomy of complication and resolution; however, the relationship between the two isn’t linear, and can completely take a different turn (such as the biker story in ch. 11). 

All in all, I feel inspired to take on my own projects through the course of the semester. While I have not chosen a specific topic yet, I know I want to incorporate the use of color, potentially within the world of art. The two photos I have attached are examples of how I feel color dictates the overall feel of an image. (I captured both.)