Archive for August, 2009

Planes, Trains & Auto Focus

I’m not sure what time it is, it’s either 4:30 or 5:30am. The reason I don’t know what time is is because I can’t figure out whether I’m on mountain or central time. I’m in the middle of North Dakota, on the Empire Builder Amtrak train traveling to Maine and about half way through the journey. This train is scheduled to pull into Chicago tomorrow or today I guess at 4pm. I’ve only slept maybe 3 hours the last two nights, but I’m in a good mood.

I’ve just seen my first shooting star.

I was so surprised to see it that I didn’t make a wish right away. Is that ok? I made the wish maybe three and a half minutes after I saw it. Is there a time period after seeing one when the wish becomes invalid?

I can’t sleep because the train is rocking back and forth so badly that I can’t relax enough ever to really doze off. I’m a light sleeper to begin with so this is just impossible. The view out the double window reminds me of my bedroom growing up. I pushed my twin bed up against the windows in the room so that the whole bed was aligned under the two windows I had. I liked looking up at the stars at night. The house faced woods so it got very dark in the back yard, great for viewing stars. Of course the Maryland night sky was not quite the same as a Montana or North Dakota night sky. I have been lying in my tiny bed on the train which has been cut in half by Bob, my suitcase that I have named because it weighs more than me. The nights on the train are almost as dramatic as the views during the day. It’s pitch black, the train is rocking and when it turns the view of the sky rotates making it appear like a kaleidoscope. Occasionally, another train running west rumbles by and nearly gives me a heart attack. I can never see them, but they’re impossible to ignore.

I think I mentioned in a previous post the reason why I’m taking a train which is that I have a horrible fear of flying. I haven’t been on a plane in ten years. I can’t believe it’s been that long, but I think it was my honeymoon that was the last time I got on one of those things. I always tell people that if man/woman/child/pet was supposed to fly, we’d have wings. Or some other kind of propeller attached to us.

This trip on the train is so grueling, it’s so long, and at times, dull. You feel every mile of this country and truly understand, in a different way than even driving affords, how significantly the American landscape changes from region to region. When I got on, I was thinking that I was going to be really happy to see some deciduous trees. It feels like all of the trees in Oregon are evergreens. And while they provide nice color during the dreary winters there, they never change. They’re static. I miss the dramatic fall colors. I don’t know why this should matter to anyone, it’s just something I’ve been thinking about.

I’ve left disposable cameras at various stops along the trip. So far, I’ve placed two on the train itself and one each in Whitefish, MT, West Glacier, MT, Havre, MT and Minot, ND. I’m dying to know who will pick these up and whether anyone will use them and be willing to share their images with me (us). I met a young girl on the train, Caitlin, who I would say is maybe 16. She heard me talking about the project to the nicest Amtrak employee I’ve ever met named Kevin, who has been working non-stop in my part of the train since I got on in Portland. When she first heard about it, she said, “That’s a great idea!” She actually came back later because she said she wanted to talk to me about it and see how it was going. I was so impressed by her. At her age, I NEVER would have gone up to a stranger and just started talking. I was way too shy, still am. She told me that she and her brother are on the train going to Michigan. She’s going to live with her grandmother and her brother with their mother. “Weird family stuff,” she said. She didn’t seem to know very much about where she would be living, and looked out the window a lot, as if she was wondering, “Will it look like this?” She never said that, but I gave her a camera and told her to start documenting her new home – that she would become acquainted with it much quicker by photographing and studying the images. I also told her to e-mail me and let me know how it was going. She appreciated the gift. All right…. so I broke the rule and gave the camera to someone I met. So sue me. I don’t know her, but I was proud of her, I think she’s very brave. I told her that life is full of different experiences, that this will just be another chapter.

I’m finally feeling motivated to take some pictures and start a new portfolio in Maine, possibly on the carriage roads of Acadia National Park. I took a few images while walking on them last year (the image “Acadia” which is on my website) and was amazed at how much the Rockefellers must have invested in order to build those gravel paths. What an amazing gift to this country.

Anyway, I’m scheduled to pull into Chicago today and I’m praying that the Art Institute will be open late. I arrive at 4, so I’m not sure I’ll be able to make it, but it’s become a ritual to go since I started taking this train trip. I get back on the train at 9 and then finally pull into Boston at 9pm on Sunday night. I have a meeting with a gallery on Monday morning and then I’ll drive immediately to Portland, ME to eat my annual fish sandwich on the deck of the Portland Seafood Company overlooking the water.

I see on my nifty new phone that we’re currently riding right next to the Mississippi River. It reminds me of St. Louis, where I went to college. I’m smiling. I’m getting closer to home.

Ok, so I didn’t talk about auto focus at all, but come on, you have to admit it was a great title for the post.

More later…

How to reach a wider audience.

I turned in my first grant application this week. I applied for the Regional Arts and Culture Council’s annual artist project grant. If I get it, the grant will pay for a good deal of the binding and paper costs for the publishing of my first artist book that I’ve talked about in previous posts. I was happy to get this done. It was almost like writing a business plan, which is useful, but tedious also. I learned more about my project by answering the various questions of the grant. The hardest part is trying to condense all of what you hope to achieve to 1700 characters. But that limitation does force you to communicate the essence of what you’re trying to say, something I struggle with. The hardest question to answer, the one that I rewrote over and over was: Describe how you will reach a wider audience? Be specific.

Isn’t this a common question? In answering this seemingly simple question, we have to go back and answer other questions like: How good is my work? What level am I really at? What am I capable of? What are my resources? I get frustrated repeatedly trying to compare my work to that of others being shown in the high-end concrete floored, white walled, well lit, friendly staffed, aggressively selling galleries I’m trying to get representation from. Is my work worthy? If not, why? Are my prints good enough? Maybe they should be bigger? These questions have made a nice home for themselves in the less confident part of me. I don’t know that there is really any way of answering any of these. And I’m not a patient person either. Even though the questions (doubts if I’m honest) keep me company daily, I don’t believe that even if I answered all of them (complete with bullet pointed lists) I would have a clear answer for how to reach a wider audience.

So what can I do? I spoke about this persistent question with a brilliant cousin of mine recently. She’s in advertising. She’s worked on huge campaigns for The Washington Post and other major corporations. I answered the “What are you doing now?” question on Facebook with “Constantly looking for a wider audience.” She was the only one that responded. No one else even gave me a thumbs up “Like” response. And why is there not a thumbs down icon? Anyway, Lisa, my cousin, responded in a lengthy message with a great idea that I have now adopted as my own (sorry Lisa). Wondering what it is?

One week from today I leave Portland for a 5 week trip across the country. I’m taking the train because I don’t fly. I haven’t been on a plane in 10 years. It’s a little problem with 25,000 feet between me and the ground. I’ve taken this train trip before, when I moved to Portland. It’s a fascinating journey. You feel every mile of the 3 day trip, and you can’t appreciate the changes in the landscape of this huge country more easily. From Oregon to Washington to Montana to North Dakota to Minnesota to Wisconsin to Illinois to Michigan to Ohio to Pennsylvania to New York to Massachusetts. Then I’ll rent a car. And end the first part of my trip in Maine, where I’ll spend a week in the state that comes as close to being heaven as anywhere on earth.

Starting this week and then continuing on my trip, I’m going to be leaving disposable cameras at varying locations. The cameras (see image below) are a way for me to encourage others to see the unrecognized beauty that exists everywhere. Robert Adams said, “No place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film.” I’ve decided to give away the unexposed film. I’m hoping people will share the images they shoot with me so I can post them on a new website I’m designing, www.thedisposables.us. I don’t know if this is going to bring a wider audience for my own work. What I do know is that I’m tired of thinking about it. And, I haven’t been as inspired by anything recently as I am about sharing images from strangers seeing the beauty in the world.

Good luck finding one!

The Disposables Camera Front

The Disposables Camera Front

The Disposables Camera Back

The Disposables Camera Back

Displaced Artist Book: Update #2

Yesterday, I had the pleasure of speaking with Vicki Topaz, a photographer out of San Francisco. I had been introduced to Vicki’s work a while back and have heard her name mentioned by a number of people I have consulted with on my own work recently, mostly because she produced an artist book in 2007 titled Silent Nests which I had heard was very similar to Displaced in mood and construction. Not knowing many people that were actually doing this all by themselves, and repeatedly deliberating about pricing, marketing and costs, I thought I should try to talk with her directly about her experiences. We spoke at length about some of the issues she faced, including some unexpected hardships like Hahnemuhle discontinuing the paper she was using for the book midway through her print run. We talked about pricing as well. She struggled with her pricing like I am, and eventually decided on $750 for her first 20 books and $900 for the last twenty. She’s done very well in terms of sales, and it has inspired me to reevaluate how I was going to price mine as well as why I was thinking about putting such a low price on it to begin with.

Originally, I had wanted to keep the price as low as possible to attract as many buyers as I could. But, after talking with Vicki, and really evaluating what the cost will be for each book, I realize that I had been significantly devaluing my own work. There seem to be undefined levels that an artist reaches where the price of their work goes up. This has been extremely difficult for me to navigate. What would I charge a buyer for 50 original prints? Don’t even think about it, right? So how do I discount the book? The total costs at this point would be around $175 per book. So if I sold it for $500 wouldn’t that still be a significant bargain if you consider the fact that the piece is filled completely with original prints? Being a fan of Mary Virginia Swanson, who has helped me immensely, I have converted to the practice of raising the price after a certain number of pieces in an edition have sold. So… my loyal readers… here is what I believe will be the pricing structure for the book:

#s 1-15 $350
#s 16-30 $475
#s 31-45 $650
#s 46-60 $900

Of course this might change once again! But for now, I feel comfortable.

On another front… my grant proposal is nearly complete. If I get it, it will cover a significant amount of the cost which would be wonderful because sales could then cover production for the other three books I want to publish. I received a very nice call from ProPhoto Supply here in Portland offering a 25% discount on paper and possibly more. They have also generously offered to help try to get more from Moab as well as some of my ink costs covered by Epson. We’ll see what happens, but for now, go pick up some paper or film from ProPhoto!

More to come…

New Work: Still Standing, Standing Still

One of the issues I struggle with in my life is being open. I think it stems from a fear of being judged, that in knowing the real me, I will be found lacking in some capacity and abandoned. It’s something I’ve tried to work through, a lack of faith in anything that would endure.

It is one of the reasons I wanted to become an architect. I thought that in imagining these built forms, I was creating something that would remain, something I could construct that would stand long after I was gone. It is also the reason why I’m so drawn to photographing the natural world, especially near urban areas. Repeatedly, the subjects that I find engaging are the ones that survive in an environment meant to exterminate as a way to answer the questions I continually grapple with: What is permanent? Will anything last?

I became obsessed with this tree’s form and I photographed it more intensely than any subject I have ever focused on. It was alone, with its scars unclothed, threatened by vines, but still standing. I was moved by its quiet beauty and strength, within it a humble model of perseverance and survival.

© Lauren Henkin.  Still Standing, Standing Still 1

© Lauren Henkin. Still Standing, Standing Still 1

© Lauren Henkin.  Still Standing, Standing Still 2

© Lauren Henkin. Still Standing, Standing Still 2

© Lauren Henkin.  Still Standing, Standing Still 3

© Lauren Henkin. Still Standing, Standing Still 3

© Lauren Henkin.  Still Standing, Standing Still 4

© Lauren Henkin. Still Standing, Standing Still 4

© Lauren Henkin.  Still Standing, Standing Still 5

© Lauren Henkin. Still Standing, Standing Still 5

© Lauren Henkin.  Still Standing, Standing Still 6

© Lauren Henkin. Still Standing, Standing Still 6

© Lauren Henkin.  Still Standing, Standing Still 7

© Lauren Henkin. Still Standing, Standing Still 7

© Lauren Henkin.  Still Standing, Standing Still 8

© Lauren Henkin. Still Standing, Standing Still 8

© Lauren Henkin.  Still Standing, Standing Still 9

© Lauren Henkin. Still Standing, Standing Still 9

© Lauren Henkin.  Still Standing, Standing Still 10

© Lauren Henkin. Still Standing, Standing Still 10

© Lauren Henkin.  Still Standing, Standing Still 11

© Lauren Henkin. Still Standing, Standing Still 11

© Lauren Henkin.  Still Standing, Standing Still 12

© Lauren Henkin. Still Standing, Standing Still 12

© Lauren Henkin.  Still Standing, Standing Still 13

© Lauren Henkin. Still Standing, Standing Still 13

© Lauren Henkin.  Still Standing, Standing Still 14

© Lauren Henkin. Still Standing, Standing Still 14

© Lauren Henkin.  Still Standing, Standing Still 15

© Lauren Henkin. Still Standing, Standing Still 15