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As a former Art Producer, I have always been drawn to personal projects. A personal project is the sole vision of the photographer and not an extension of an art director/photo editor or graphic designer. This column features the personal projects of photographers who were nominated in LeBook’s Connections. http://www.lebook.com/coleBarash
Today’s featured photographer is: Cole Barash
How long have you been shooting?
Since I was 14, I think… So 14 years
Are you self-taught or photography school taught?
Self taught. I tried going to photographer school and left after three weeks. Brooks was such a joke and rip off. I really wish I would have at least looked at a good school like Parsons, Pratt or Art Center in Pasadena which all have pretty legit programs.
With this particular project, what was your inspiration to shoot it?
Talk Story is about the sub culture of the North Shore of Hawaii that is loosely anchored around John John Florence (prodigy surfer). Every year thousands of photos are shot of all the action of the progression of surfing on the North Shore on Oahu. The beach is lined with huge telephoto lenses and always focused on the action. I wanted to go there and create a body of work that was complete opposite of that, 180 degrees away from the water. Digging deep into the rugged localized north shore culture showing portraits of specific influential people, the colors and anything my gut re acted on why making the work not worrying about if it was going to work or not. Also focusing on the home life of John John as he is a very soft spoken but huge part of surfing that is kept pretty under wraps.
How many years have you been shooting this project before you decided to present it?
How long do you spend on a personal project before deciding if it is working?
Depends. A few months to a year. I like to go out and make new initial work/ working images out from my brain- print them, look at them and see if it is worth exploring deeper and more details. I need to see it in a tangible way first- usually.
Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I make work that is quite different than what I am hired to shoot. Sometimes it has influences but mostly its different. When you are commissioned to make work you are under some one else approval, vision and at their mercy. Which is totally fine as I see it as a service that I can provide and can be into it as well. Personal work- I take pretty seriously and focus more time and energy on that than commercial work. When the commercial work comes it comes and I’m hyped to do it but I don’t stress on it or focus on how much money I can make every year. I focus on creating work from my gut, as it’s the only way I can progress personally- the only person I’m up against is myself. I want to create real bodies of work that puts my stamp on the map so when I die people can hopefully find my visions and different specific perspectives on certain things, which I do with books and prints.
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yea mostly MySpace. ). Naw, haha of course I for sure have but it’s not something I rate it with. I measure my work from how the people I respect react to it not how many likes or re blogs it has.
If so, has the work ever gone viral and possibly with great press?
Sure. Tumblr madness- and some press on certain projects has been great. I think it is now a really valuable way to spread news and show people what you’re working on or what you’re thinking but not necessarily as a whole or tangible object.
Have you printed your personal projects for your marketing to reach potential clients?
Definitely not. I don’t believe in making my art books as promos. I don’t make books to get more work I do it as a creative expression and a tangible perspective as well as a contribution to the printed community of art and photography. Not saying that my rep hasn’t made promos with images from personal work which she has and it has looked great but the books as promos- not me.
I wanted to create a body of work that to show the true colors, beauty, grit and life of the North shore anchored around John as a main subject. Portraying the life at home inner details that makes/made his life what it is. I made it to make a statement of an era of surfing and Hawaii that ideally you will be able to look back in 20 years in your hands and see with your own two eyes not through a computer screen. This was made as a contribution to surfing for nothing but the true salt, blood and bones its roots.
Cole Barash (b. 1987) began his journey when he left his New England home at sixteen to document snow and surf culture in California. Self-taught and dedicated, Cole soon made a name for himself. With an organic approach to film photography and a clever eye for composition, his portraiture and still lifes became known for their candid and spontaneous sense of intimacy. Well acquainted with international subcultures, Cole seeks “subjects where the boundaries are more open, not as seasoned, not done before,” capturing “unpredictable outcomes in a predictable world.” In 2011, Cole relocated to Brooklyn, New York where he now resides permanently.
One of PDN’s top 30 upcoming photographers (2009), Cole’s work has been featured in group shows “Get Gone” (2008), “SILENCE” (2009), “Hot Bed” (2013), One Eyed Jacks Gallery (2014) and the Annenberg Space (2015), and a solo exhibition “Cold Emotions” (2009) at Montanero Gallery in New Port, RI. Cole’s first monograph book, Talk Story, and accompanying exhibition opened at Brooklyn’s Picture Farm Gallery in July of 2014 with a subsequent exhibition at Venice Arts Gallery in LA. Cole’s images have been featured in numerous publications including, Rolling Stone, ESPN Magazine, Relapse Mag, and No Thoughts, among many others.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.
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The Sony a7S II looks a lot like its full-frame Alpha mirrorless counterparts, but behind the familiar face are some important new features - namely, the ability to record 4K video internally. Its specifications are tuned to videography, with features like Full HD recording at 120fps, but its low light stills potential is equally compelling. We had the opportunity to shoot with the camera, so naturally we put its internal 4K and still photo capabilities to the test. Read more
This is the Grateful Dead done in Town Mountain’s hard drivin’ style filled with a honky tonk edge and barroom swagger. The resulting sound is touched by Jerry Garcia with Jimmy Martin and John Hartford… Fitting since Hartford played a short stint in Old and In The Way before Vassar Clements filled out the band on fiddle, and Garcia’s first instrument was a banjo as he was influenced by bluegrass music throughout his career. Narrowing down to just two was not an easy task for Town Mountain.
“What can I say about “Mississippi Half-Step Uptown Toodeloo”? It's just perfect. Lyrically it's amazing,” says banjoist Jesse Langlais. “Robert Hunter can be so descriptive yet so vague in the point he's trying to get across. Which is great for the audience because it allows listeners to choose what they want the song to be about. In my opinion that's what a good songwriter does. He leaves the song open to interpretation.”
To Honor the Grateful Dead in the year of the band’s 50th Anniversary Town Mountain recorded bluegrass versions of two of their favorite Grateful Dead songs
Langlais says, “Musically, Mississippi was extremely fun to play with exciting changes and a lot going on melodically… almost like there's two songs in one. On the original studio version of this song Vassar Clements plays fiddle. Bobby and I tried to mimic the interplay that Jerry and Vassar had on it. This is just an amazing song, and and it made sense for us to record it because it had a bluegrass master involved. We adopted it into Town Mountain’s repertoire without changing the integrity of the song.”
“Mississippi Half-Step Uptown Toodeloo” was written by Jerry Garcia and Robert Hunter and originally released on Wake of the Flood in 1973. It was performed over 230 times live by The Dead over the years and the song was also the second set opener of the second night of the Fare Thee Well shows in Santa Clara this year.
“Big River” was written by Johnny Cash in 1958. But true to The Dead's fashion they would take other people's songs or traditional songs and make them their own. They had a knack for finding covers that were transcendent of the original artist and they played it in almost 400 live performances.
“We've always liked their version of country music. Even their original albums we're steeped in that sound. Workingman's Dead is full of country music influence,” explains Langlais. “The Dead kept the sentiment of ‘Big River’ but translated it to make an audience, who may not have known what country music was, love it. That audience for them was typically a younger more rock or jam influenced fan but they still ended up knowing the song and singing along.” “Big River” fits right into Town Mountain’s sound and wheelhouse.
The core of Town Mountain is Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Adam Chaffins on bass (Adam is featured on “Mississippi”). Evan Martin plays drums on both tracks. Jon Stickley fills in on bass and guitar in “Big River” and Jack Deveroux lays down the pedal steel on “Big River.”
For the cover art, Town Mountain turned to long time Grateful Dead artist Taylor Swope. Taylor has been creating official Grateful Dead art since the former VP of Grateful Dead Productions discovered her in a parking lot at a show in 2003 and offered her a license on the spot. Her work has become iconic in it’s own right, having become widely associated with the generations of Deadheads who have grown up in the wake of Jerry Garcia’s passing.
Riding the wave of excitement that followed Fare Thee Well where her poster was one of only four featured at both stadiums, and sharing Town Mountain’s deep appreciation for American roots music, Taylor says she "thoroughly enjoyed creating this image. I am obsessed with swimming and water in general, so when Town Mountain asked me to draw them a river with a Steal Your Face, it was a natural fit."
Town Mountain is no stranger to playing covers, and what has become one of the group’s more memorable live performance songs is their version of Bruce Springsteen’s “I’m On Fire,” which they first recorded in 2008’s Heroes & Heretics. Town Mountain’s version “I’m On Fire” has reached over 1 Million listeners on Spotify and has garnered over 430,000 views.
Town Mountain is also prolific in songwriting; each member contributes their well-supplied vat of original material. They’ve been finalizing their next studio release which was produced and engineered by GRAMMY winner Dirk Powell in his studio, The Cypress House, in south Louisiana. For a sneak peek at what to expect on the future album, watch the band perform a new original song, “Wildbird,” in this wonderful session filmed by Hype Music Festivals at the 2015 Suwannee Springfest in Live Oak, FL ? http://bit.ly/Wildbird_byTownMountain_HYPE.
Town Mountain is in it for the long haul... check out out where they’ll be travelin’ to next and keep and eye on http://TownMountain.net for further dates as well as a brand new selection of merchandise. For updates from the road, please visit https://facebook.com/TownMountain, https://twitter.com/TownMountain, and https://instagram.com/townmountainbluegrass.
Hickory, NC -- Come Join Acoustic Stage on October 16, 2015 at their new location 734 1st Avenue SW, Hickory, North Carolina 28601 for Wyatt Rice and Rickie Simpkins. Wyatt Rice and Rickie Simpkins have been playing music together for nearly 30 years! This special concert combines Rice's stellar flat-picking with Simpkins' phenomenal fiddle playing.
Best known for the syncopated lyricism of his fiddle playing, Rickie Simpkins has been on the the go musically since his childhood days, building a catalog of recordings and appearances that testifies both to his creative flexibility as well as to his enduring roots in the classic bluegrass of his native Virginia. He has appeared on recordings in a variety of musical genres including Nils Lofgren, Ralph Stanley, Mary Chapin Carpenter, John Starling, Tony Rice, Chris Hillman, Herb Pedersen, Eddie from Ohio, The Issacs, Mike Auldridge and others.
Rickie has won many awards including SPBGMA's – “Fiddle Player of the Year”, IBMA's – “Instrumental Group of the Year”, 1991 & 1995 and Bluegrass Now's – “Fan's Choice Awards, Fiddle Player of the Year” in 1998. Rickie was inducted into the Virginia Folk Music Hall of Fame in 2008. Since 2007, Rickie has toured extensively with Emmylou Harris and Her Red Dirt Boys.
Fans of acoustic guitar music and Acoustic Stage should be well acquainted with Wyatt Rice. Wyatt and brother Larry performed at the very first Acoustic Stage show on December 12, 1992! Wyatt (as well as Rickie) has also appeared at Acoustic Stage as a member of the Tony Rice Unit many times. He began his career as an original member of the Unit where he played primarily rhythm guitar, although he had many opportunities for soloing as well. Wyatt has been featured on many recordings and videos, and has played countless gigs with the Tony Rice Unit. He played lead and rhythm guitar with his own band Wyatt Rice and Santa Cruz and with the Ronnie Bowman Committee.
Today, Wyatt works with a varied palette that includes teaching, recording, producing and performing. For more information an tickets, click here.
[by Kat Dalager]
The world is definitely a-changin’. For the most part, gone are high usage fees, gone are a lot of restrictions on usage. Right now, it’s a buyer’s market, and that’s due to many factors, including:
That doesn’t mean that photography is dead, but the game has changed:
Trends that seem to be sticking:
Kat Dalager has done her best to share various shades of grey with photographers for three decades.