Archive for the ‘hasselblad’ Category

Unless they can see the difference.

Many people cannot see the difference.

So, many people don’t care what camera you use.

The camera doesn’t define you, or make your work.  You do!

You define your work.  Here’s proof.  This photographer shot 100 different cameras, and yet the work all looks similar.  Because it’s not the camera.  It’s the vision.  It’s the person behind the camera.

Photographers tell us as much about themselves as they do the subject they are showing.  For essentially they are saying, “This is what I photographed, this is what I made.  This is what I like, what I value.”

Look at the photos, ideally on a big monitor and hit full screen at lower right.  It’s such a great display.

When I show my street photographs, they are a reflection of what I see and think are storytelling images.  To you, they may mean something entirely different or nothing at all, based on your life experiences, what you like and what you relate with.

We all get to finish the art for ourselves.

At a talk about a book, someone commented to the author their take on what the book meant to them, and the author corrected them, saying that’s not correct.  The person commenting protested, “Who are you to say what it means just because you wrote it?”

Another good collection of photographs is by Jason Lee, who I recently found out about online.  I knew him as an actor from My Name is Earl, but not as a photographer.  He shoots several types of film, from 35mm up to large Polaroids.

 

From the work I see, I’d suggest he’s a romantic, into nostalgia, and maybe a bit of a historian.  He likes things that are incongruous.  The work certainly has a theme.  Many of the images share a similar look–do you agree?

I see a big difference in the look of film versus the look of digital.  And I get lulled at times to just use the Nikon DSLR and a 20mm–I feel I can do anything with that, it’s quick and easy.  It’s always ready to make an image.

Except it can’t make film images.

And what I make–that also defines me.  And you.

This spring, I will be shooting more film than I have been this winter.  Both 120 and 4×5. Because that’s what I like.  That’s something about me.  And you’ll be able to notice that about me in the work.

Or maybe you won’t.  But I will.  And some will.   Regardless, it all comes down to the story I’m telling–what is it I did with that film medium.  Photography is a vehicle to take someone somewhere.

We have to take them somewhere interesting, while revealing a bit about ourselves.

I have a dilemma. I love to create photographs, lasting memories, beautiful portraits of people of all ages.

But people don’t commission portraits anymore. 

An occasional high school senior portrait, because those are due.  But the rest of the time, the rest of the family, nah!

We’re living in a time when our phone camera seems to be able to do everything. But as good as it is, it’s not a portrait camera.  A quality portrait can’t be made with its wide angle lens–it’s not flattering for faces.

So, I want to photograph your family.  I do. There’s something so special about documenting the people in your family, and making beautiful portraits of them.

Problem is, I’m an artist, not a salesman.  I don’t know how to persuade people to commission photographs of their family.  Their children at play.  Their teens leaving for college.  Their family over for Sunday dinner.  Portraits of their grandparents or their visits together with them.

I don’t.

Untitled-1

I know how to make photographs. But we live in a time when there are so many photos that we all see everyday, that it seems impossible to get people to even think about bringing me over, camera in hand, to document their family.

They don’t even consider it.  (When was the last time YOU thought of it?)

It’s certainly not like people used to think, to go to photographers for family photographs.  Our families grow up so fast, we blink and we’ve missed it, but we still don’t think to bother getting “real photographs”.  

But it’s so important. I, along with many futurists, believe that many of the digital snaps we’re making today won’t last 20 years, due to failed computers, phones and hard drives.  (Can you even find a photo of your grandma from five years ago that you took on that old phone that’s long been replaced?)

untitled-26_1

But the images I shoot will.  (Your great grandchildren would say, “Yes, please get some photos, we want to see you.”)

But I still don’t get those calls. And the kids grow up. The college kids move out.  Family moves too far away for Sunday dinners.  Grandparents pass away. And then it’s too late—the moments have passed. There’s no going back.

canon

I am not an inexpensive photographer. In fact, I may be the most expensive photographer working locally–my base rate for a portrait session is several hundred dollars. That’s what 30+ years of experience gets you, but really only my commercial clients are paying my rate.

Truth be told, regular people aren’t even calling.  As I said, I don’t think they even think about it like families used to.

twoshotbw812

So, I was thinking about how making portraits are so important to me.  If there were a way I could work to make some every day, even if I’m not getting my rate, how fulfilling that would be.

I saw a poet working on the street with a typewriter with a sign that read, “Name a subject, name a price, get a poem.”

So, I got to thinking, maybe it would take working like this for people to bring me in to take some photos.  Maybe the price is prohibitive.  Or at least easily dismissed, considering we all have a camera in our pocket.

“Name a time, name a price, get a photograph.” 

I’ll bring a camera.  You pay what you can.  I get to create.

I get to make that portrait of your grandpa that would not otherwise be made.  It can even be at his senior home–I’ll go to him.

And it can be anywhere in the Front Range of Colorado, Los Angeles or Philadelphia, because I frequently work in all three areas.

100yearold

That photograph of your kid and his friends running around the backyard playing ball,  you’ll cherish it because they grow up so fast.

Your family on a local fishing trip.

Your teen with their first car.

You get photographs–both digital images you can share online and real prints that you can frame and live with in your home, because prints matter.  Those are actual photographs.  They are the ones that will last generations, the printed ones.

Then I wondered, would anyone call me?  I have a commercial shoot tomorrow.  But not the next day.  What a great day that would be to shoot some amazing photographs of a family or loved ones.  On an ordinary day, that isn’t really ordinary because everyday is an extraordinary one, to be together, to be alive.

So, I put this to you.  Name a time.  Name a price.  Get a photograph. 

richard2

I’ll bring a camera and shoot a roll of film.  Or maybe 12 frames.  Whatever I decide. (Yes, I’ll shoot film, because that’s what will last, and its look is magical, the images have soul–all the photos on this page were made on film.)

I’ll shoot with my own creativity.  My own ideas, since I’m the artist and you’re not exactly hiring me.

singer

You can even pay nothing after all is done.  You only pay what you think it’s worth to you.

I will still have gotten to make the photographs, and document the most important people in your life.  And that matters.  (If you don’t want them, I can sell them to your great grandchildren!)

fisher46

And it’s not happening now, so why not?  If I make this available, let’s see what happens.  The only thing that can–beautiful family portraits made that will be cherished for generations to come.

Will anyone call?  We’ll find out.

720.982.9237 is my number.   Now it’s up to you to make the call.

I look forward to capturing the light of your family!

lavern2

I can’t make photographs like everyone else.  I really can’t!

I’m not taking the typical photograph everyone else is taking: soft background, pastel feel shallow depth, high-key background. You know the look. It’s the same look every wedding and portrait photographer is doing. And it’s why every photo looks the same.

Have you seen wedding galleries lately?  Same mason jars with soft focus on one tiny edge with the name tag inside, tilted frame, background blown out.  Same farm-to-table wedding with rustic barn wood and fresh wildflowers as the next one.

It’s like they are all created with the same exact art director.  High-key,  over-processed, almost like a commercial for a wedding.  A set up, created event.

james-bold-634031-unsplash(1)

It’s why all portraits look like that.  Same look.

The photographs are all interchangeable because their presets are the same. The photographers’ Lightroom (post-processing software) settings are copied and shared among them.  Their photographs all look like “they’re supposed to look” as fits the current trends, so people will want them.  They’ve adopted the look that sells.

And so, people do want them, and sell they do.  Kind of like the Disney princess wedding, that look that young girls are sold on, the one that says fancy and special.  Glamorized and stylized.  Overpriced and debt-creating.  Fake, but so what?

Unique, not at all.

I don’t want every wedding photograph to look like a catalog shoot.  I don’t want every image to be oozing style–yes you have a great lens, and great editing toning presets–what about content?  Where are the moments, the bits of serendipity, the unexpected shots, like the flower girl fighting with the ring bearer under the church pew?  I don’t see those photographs.

elena-ferrer-199566-unsplashBut the flower arrangements, shot with another jaunty dutch angle, perfectly created with just the tip of the petal in focus with the latest Canon or Nikon behemoth of a camera: “Guess how many megapixels I have?”  They’ve got that photo!

It’s not that I don’t care about sharpness.  I don’t care only about sharpness.  Or that you can print it the size of a billboard.  Where’s the story of the day?  Where are those photographs, the ones with  the emotional punch?

Because cameras are very good now at taking sharp photos.  But making photographs, photographing moments that are fleeting but must be caught, those take photographers.

The best compliment I ever received was from a client who said, “Yours don’t look like that. Yours look like… yours.”

It’s because I don’t use presets–my photographs can’t look like everyone else.  I create an original photograph based on what I see while in the session.  Each one is a unique shoot.  I have no preconceived ideas of what I’ll do, no matter how much I think about it ahead of time.

twoshotbw812

Daughter and Mom Portrait on Kodak Tri-X Film

Plus I shoot on film.  Real film.  Which has a look I call “soul”.  It’s a bit removed from reality.

It’s not as sharp as digital, perhaps, or it exhibits some grain, but it has that quality, that feeling of a dream–past tense.  Like a moment captured in time.  And it truly is–the light that was reflecting on that person is what created the negative, that’s what made the image, which will now last for generations.  Something that was there with them–the light–is now stored on the film.

I really have no idea what look I’ll create when I start a shoot–I leave it up to the session and see what works for me for a photograph.  I’m creating as I go, looking for interesting light and good places for setups.

Because for real photographs, just like real life, there are no presets.

Create your own style.  Forget trends.  Make your art.  Create photographs as you see them.

It matters–we all have our own vision, our own view. And it’s important to share our way of seeing.  It’s a view no one else can deliver.  No one else has what we have.

Then it will be a unique view, a special photograph.

I’ll take a slightly soft emotional moment to the razor-sharp technically perfect but vapid photograph every time.

I don’t create photographs for likes. I make photographs that will still exist in 50 years, long after the swipe is through, through gallery and book projects.

That’s why I shoot on film, and make gallery-quality prints. These aren’t for likes.

I’m looking for two kinds of photographs to make, one for my Roy Stryker Documentary Project (RoyStryker.com) of your family, and the other for my Wise Photo Project photographing our incredible seniors.

ROY STRYKER DOCUMENTARY PROJECT

Last year, I documented a family’s Thanksgiving and was able to create a book of those photographs for them, in addition to adding the photographs to the Roy Stryker Documentary Project.tgiving

I also photographed a group of high-school kids at home for lunch for the project. The purpose is to document real life today, not the stylized Instagram-filtered life posing for the camera, but real life.

I will be contacting some of you directly, but I want to photograph an ordinary day in the life of many families, and if yours is interested, you can contact me.

I want:

● A dad playing catch with his son.

● A person at work, especially in a job that has strong visuals or a place most people never get to see.

● A mom driving the kids to school.

● A couple staying home and hanging on the porch on a Friday night.

● A teenager hanging posters in their room.

● Real people doing real things.

Not extraordinary things. Not graduating. A Sunday dinner, not just a holiday dinner.

Bill Owens did a similar project with a classified ad request to local families in the 1970s, and there’s a wonderful book of images from it called, ‘Suburbia‘, with photographs that wouldn’t exist without his effort to document ordinary life at that time.

THE WISE PHOTO PROJECT

fisher46

The second project, I am creating large-format environmental portraits of seniors, doing something that they love. Like the fisherman. There’s something to a portrait that goes beyond the picture, and becomes a slice or moment of a life. That’s what the Wise Photo Project is all about.

I want:

● A senior playing golf or other activity

● A senior working on a car

● A senior at home reading the newspaper

● A senior engaged in any aspect of their life that defines them.

There’s no cost to you for either project. You’ll receive a copy of the photograph. Both projects are being created for gallery exhibits, and hopefully book projects and museum shows.

This fall, I’ll be traveling across the U.S. and scheduling shoots for both photo projects, so if you are located between Colorado and Pennsylvania, let me know, perhaps I can make a shoot work in your town. And then later into winter, I’ll be working from Colorado to California, so let me know where you’re located.

Photographers make photographs.Please help me if you’re interested in participating by calling 720.982.9237 or emailing info@kennethwajda.com.

 

d2

Not everyone demands top quality from a photographer. But as a professional with 30-years of experience as an award-winning published photojournalist, that’s all I offer. It certainly costs more, but you get the best quality and service.

If you don’t want that, please don’t call me.

I don’t hand over image files because I care that they are finished professionally and look their absolute best–after all, it’s my work. Yet there are many people with cameras who will give you all the images after the shoot, saying, “Do what you want, print them at home, I don’t care. I just like to shoot and walk away.” If that’s what you want, I ain’t your guy.

If you would prefer cheap and quick over professional quality, please don’t contact me. If you don’t see the difference between professional photography and amateurs with a camera and some software presets, I can’t show you.

Just like if you can’t feel the difference between driving a Mercedes and a Kia, I can’t help you. And if you think Denny’s tastes as good as a chef-prepared meal, I’ve probably got nothing for you.

But if you can, expect to get something more delicious than you even imagined! Portfolio: KennethWajda.com – Studio phone: 720.982.9237

Made with a Rolleiflex T twin-lens reflex camera on the Pearl Street Mall in Boulder, Colorado, it’s a moment captured on film that has a feeling all its own.  And very few of the digital photos being taken today will last 50 years, like this will.  Because this negative is physical–I can hold it in my hand.

She was working across the outdoor mall at a store, and saw my Rolleiflex, and came over, explaining that she’s a Rolleiflex shooter as well.

I am a proponent of legacy portraits on film, and this right here, is why.  Printed in a real darkroom on photographic paper, 12×12 framed, this is a stunning portrait for any room of the house.

I realize I shoot film a lot, but I have multiple bodies with film loaded, and I tend to shoot conservatively, just a frame or two on a person or a subject.

I want to change that.  I just added motor drives to two of my Nikons, an F3, and an FM2, the cameras I used as a photojournalist throughout the 80’s and 90s.

I want to shoot more content.  And not hold back.  I think I do that–hold back.   I want to fire up the cameras and move film through them more quickly.

The motor drive will let me do that.  It’s license to burn!

ml002

ml001