Titles!

I want a genius title like "Even Dwarves Started Small." How does one even come up with that? Something so wrong, that it is right. But that is too much to ask for. I think it just happens. Finding out how Herzog thought of that title would be a good story to hear.

Possible Titles:

-Hook 'Em, Sink 'Em or Hook 'Em & Sink 'Em

-Light on Surface

-Kino-Glaz/Cine-Eye/Kino-Pravda (going to Dziga Vertov's view of the eye and comparison to len which is the mechanical eye "that the camera is an instrument, much like the human eye, that is best used to explore the actual happenings of real life" but this idea is really more interesting to me than relative to my actual images/book)
-Suspended Time or Suspended in Time
-Or adding up the amount of time i roughly took them at and make that the title of the total seconds it took to compose all of these pictures (reminiscent of a like video or a photographer or one stephan told us about who said something like add up the amount of time and the photographer) but this seems played out.

I noticed that all the great documentary photo books are one word titles (not counting the 'the'): The Europeans, The Animals, The Americans. That one title thing seems too played out and too sophisticated for me at this point in time. These all don't feel right so far. though.

But while in here late one night with Eddy and Liz i was kidding around and i just blurted out "I've got some contemporary issues" and then we were like no "we've got contemporary issues" and possibly our blog book title, but I think We've Got Contemporary Issues will be my title. I like the double meaning. Although, it is more a joke to our class, than it will be to an outsider. That's OK though because the normal meaning will make sense, too.

Stephan also suggested just making a Tokyo Black and White book and just cutting out the other stuff. I was thinking like NYC and Japan (just because i like some of the spreads, especially the one of the Japanese hump and then the guy bending over on canal) but that only happens beautifully in a few spreads, so that is the reason why it probably seems majority Tokyo, too.

I will probably end up just doing Tokyo stuff. Last minute opinions on this or the title?

To Apollonia ...

It’s funny that you say that because I feel exactly the same. I look at your work and Eddy’s and almost always my mouth would drop and I’d say “WOW ... ‘sigh’, this is great work - I can’t compete .. mine looks so amateurish or trying hard.” But I think that’s what happens when we get caught up with opinions and criticism (I am guilty of that). We look at other works and try to compare it to ours. A friend of mine told me, he doesn’t look at photo books because his work tend to follow it, especially if he likes the artists. I know they are there for guidance and inspirations but there are times, I also can’t help but admire it to the point that I tend to mimic their work.

I thought I was the only one feeling this way - I also do not feel excited about my work anymore. I have been sick for the past couple of days because I feel this enormous stress on my shoulder. I haven’t look at my photos for a week because I want to forget it and to be able to look at it with a fresh new set of eyes and “see what I see.”

I guess, this is a good thing, it only means that we take this seriously. We want it to mean something - not just another pretty book.

Professor, sorry I am missing class today - I am still sick.

PS: Thanks Apollonia - your title comments makes a lot of sense. I will consider ‘reverie’ and ‘atramentaceous’ - though I thought the latter is a little too harsh and people wouldn’t know what that word means :-) - but that could be the catch.. Aha!

Thoughts 2

The title/image on the cover is what draws the viewer in, so it's really important. I just don't know what to do and I haven't come across any that seem right. I think of one throw it around and then quickly toss it aside for it's stupidity. If iI can't get the people to like the cover/title then they won't take a look at it's contents. I gotta hook 'em before I can sink 'em...See then I think "Hook 'Em, Sink 'Em" But then think too cheesey. Thoughts? Also have been listening to random songs for inspiration, but no luck really.

I am just at the point now because it's crunch time where I am like not even excited about my work anymore really. I look at everyone else's and I start to think "oh yeah, so cool/creative and organized/successful" and then I look at mine and it's the opposite. Just wondering if what I am doing in bringing something new to the table because it has been done before and done well by so many people. Just starting to doubt my originality. I am working really hard and maybe too much and starting to get sick of it. I am going to take a break for a but and come back with a new pair of eyes.

Also something to consider is if I should include a quotation, dedication, or a short introduction to what this book is. I ideally would just like it to be the photographs and for them to be self-explanatory, but maybe a little background is necessary. I was thinking about maybe putting it in the back if I put it at all, but I can't really take myself seriously enough to do this. I feel slightly lame writing about myself or how this came about, but it might add to it. I am still undecided. It can always be added in.

I also don't think I want to put my name on the cover. I just want it inside of it in the title page. Something Anibal also brought up when I asked him to just look at it is that I started with a double page spread. He told me that most photo books start with the one photograph on the right and a blank on the left to introduce us to it, but I liked opening with a double page spread because I think my book works the most because of the double page spreads and those were definitely the most important to me, than the overall group of photographs. It's made me think that maybe I should start and end with just one, but I am unsure of what to choose.

Also, do I start with the most ridiculous photographs or ease the viewer into them and get progressively ridiculous? Because I have both photographs that are bizarre, but also double page spreads that make a comment about our society and compare them. I am sad to take out the landscapes/still lives, but Stephan brought up a valid point in that they don't have issues. Even some good photographs don't make the cut because they don't go with the theme sadly, which I'm sure we have all come to terms with.

What I've found most difficult is going about this edit because I don't know if I should just make a large edit of photographs that go along with the theme, even if it's not the greatest photograph, or if I pick the best photographs, work with those, and then go back and look to see and find more if I need them. The problem with the first is that I have a lot of photos and just include ones even if they aren't that good and the problem with the second is that the best ones sometimes don't fit and don't work together, so then I have to go back and find more. I am probably going to try the latter approach because I am indecisive and too much at one time is, well, too much at one time for me to handle.

Happy Shiny Family

So when we were talking in crit about how my book feels almost like it takes place under one roof. I honestly don't see it, but I realize thats because I know that my roommate, my parents, and my boyfriend definitely don't all live together. Also I think the fact that almost everyone is shot in a different bathroom just gives away that they are not a family. I realize that no one was saying that its exactly like they are related but more of just the general feeling that is conveyed about it. Which brings up the question, should I add the pictures of my friend zak? Those are the first pictures I took for my project (I don't have the scans on my computer or I would post them) of the sort of angsty looking teenage boy. I wanted to include them because they are some of my favorites in regards to the space. I feel like when I was using the 6x9 initially I was paying a lot more attention to the framing of my photos and more focused on the composition than the subject. Maybe they don't fit know though, but I feel like my book needs more variety. Basically I cannot decide if I should include them. On one hand they would add more diversity to my book which too me seems limited in scope. On the other hand the shooting style is not perfectly consistent and it might detract from the idea of them being one happy little family.

Wonder Thrills

So I am still struggling with this whole titling my book thing. I really don't want it to sound dumb (obviously) or too cliche. And I am just really blanking on ideas. I am not sure if I even really want a title. I am thinking at this point that I might just make one of the photos that has a sign in it the cover and basically making whatever the text of that sign is the cover.

Right now on my booksmart thing on my laptop I have this as the cover, as a wrap around:

So maybe it will just be called "Wonder Thrills" -- or this will just be the cover and I won't really have a title.

I just like that the arrow would be pointing into the book and whatnot. I have another photo of this (not easily accessible at the moment) where the sign is lit up -- so that could be another option, but I kind of like how this isn't so flashy and in your face.

So yeah, that's where I'm at right now. Let me know if you have any better ideas for a title for me, I'd love to here some of your ideas!

I made a little something about photography and stuff

Darling classmates,

I made a little video.

See here: http://www.youtube.com/watch?v=udW3jND3xlY

music is a shout-out to our dear, dear Prof.

and how do we feel about this title, eh?

-Ed

Book edit is on Tuesday, The show is on Thursday

...and I'm still hung up on names! I had to move the past two days so I'm a little behind... And from what I saw a few of you have some pretty kickass and nearly complete books! Envious!

my list thusfar:

These Happy Golden Years

Fishnets, Farmers, Filters

Family & Flesh & Film. or... Family Fishnets Farmers Filters. Some combination?

Farmers & Fags & Filters

After The Glitter Fades. Glitter Never Fades. God Save the Glitter?

Family Memories Glittering in the Whiskey Light

I'm also adding a quick film. Cause obviously I'm a glutton for pain.

Hope you all had a glorious weekend.

Possible Titles

Ok, I finally came up with some tentative titles. Some of them are too cheesy and corny. My favorites are 'Soulbound' and 'faceless face'

thoughts anyone? please

TITLES:

My Favorite Place to be

You Are Who You Are When No One Is Looking

You Are Here, Meanwhile ....

Reverie

Atramentous (synonym of 'Black')

Faceless Face

Soulbound

Just a comment I guess...

I kind of fell in love with the title Bedtime in Suburbia: A Drama in Three Acts, but
maybe tweak as 'Suburban Bedtime: On 3 acts' think about it just a friendly suggestion
literally being on something means doing something " what are you doing" or "what are you on"!
Three has a meaning 3 relates to a lot of things 3 is meaningful, yet 3 is really odd, but i like odd... jeez I'm odd, but never a foul ball there's a big difference..

A drama in suburbia doesn't fit there's no drama in suburbia maybe minor affairs as in okay a mid level schmo cheats on his wife or some banker lies oh his tax forms... To title Suburbia it does seem rather comedic it reminds of 90's Tom Hanks something in the likes of Turner & Hooch come on...


Not to judge so, I'm not judging the burbs I actually love the suburbs, but not metro area ny or jersey suburbs I'm more down the line of Carolina, Wellington, FL maybe Coral Gables. I haven't been up north unfamiliar with the New England territories I hear beautiful winters a snowboarders heaven?
However, you're on with your titles and I like that... Also nice presentation and the Frida Kahlo doll my favorite being the doll and those beads hanging from the wall reminds me of 'brujeria' white magic witchcraft bone chilling black magic women love spells pins and needles on a New Orleans voodoo rag-doll... Nostalgic maybe? Horrifying perhaps...



Okay enough with that I do have a slight confession to make... maybe my title is sort of a cliche maybe? okay it has a demanding tone my work blah my world blah my photography blah... Cliche however, cliche to my knowledge is cherry red lipstick stains on a bar napkin enclosed with a kiss " I had a great night" Cookie that's a cliche... But I like my title I also do understand I am no film noir genius Kinski (by the way great documentary shown in class a few weeks back I enjoyed it) actually what is my work I don't know maybe I was using my book title as a marketing tool for tourist to buy my book hey never know... I wouldn't mind summer sun and music and pitch my book in a street corner instead of sabrets hot dogs... I'll drop an investment hopefully make a flip... A dream huh at least I have soul with the expression of " slap me some skin soul brother" That quote right there is a part of My World's rhetoric so I hope one could at least understand where was I going with my book title... I am not begging for clemency nor I seek approval of yes you're a great photographer I'm just a student learning photography and I wouldn't mind learning forever we're students of life we learn everyday... Besides i just wanna grab everyone's attention it's pride as well hey it's better to be pride full as oppose to not knowing you're self worth... Maybe I am a man of strong words or emotions, yet i did noticed a yellow silk during winter for a tulip of the same hue to appear in April... It's just a flow expression wise just flow on...

Okay the faith and believe or belief caption Was it really hallmark'ish? the segment I had I seriously felt their energy when I photographed those moments of prayer...
I actually was moved by it a feeling unfelt before, since my adapting to society I haven't celebrated any holidays I've been stagnant from society actually a society before mid-night so, give me credit... I'm a night owl my favorite painting Edward Hopper Nighthawks I excel after midnight!!! I am a part of those shadow people those after dark bohemians I am one of those degraded version of a human being I seriously have to wear my club masters or way farers during the day... I don't wear sunglasses to look COOL... or to make a fashion statement I do however wear them to disguise my pain... Well enough of that...

Overall I really didn't mean to act all snobby with my title or unfinished book I did really sort of rushed it's more like I was using future's time clock for my enjoyment of early May fun the summer pre game; we all know that feeling, whereas, It's been gorgeous outside and I've noticed we all have been looking pretty good...

P.S do excuse many many many grammatical errors and misspellings I am plucking on my iPad (snow white) keyboard...

Working Title

Here is a list if possible book titles:

The Electric Nightlight

Everyday Nightlife

Happy Shiny Family (clearly the best)

Vampires

The Suburban Nightlight: Bedtime Routines in Eastern Standard Time

Routine Suburban Nightlife

Everyday Suburban Nighttime

P.M. Eastern Standard Time

11:07 P.M. Eastern Standard Time (average the times of bedtime)

Bedtime in Suburbia: A Drama in Three Acts

Nightlight in Suburbia: Bedtime Routines

Suburban Bedtime Routines: A Comedy in Three Acts

so i am sort of found of the ones in bold. the three acts one kind of corresponds with an idea i had about splitting up the book into three sections, things in the bathroom like teeth brushing, things that occur in the bed/bedroom before actually sleeping, then the final act being the actually sleeping part.

so is that a terrible idea? how do you feel about it? do you think it makes sense to split my book into sections. are these titles foolish?

Asakusa Portraits by Hiroh Kikai

Hiroh Kikai's Asakusa Portraits is a book of, well, portraits taken in Asakusa, a district of northeast Tokyo. It's a place that has rich history and "feel stranded in time." It used to be known as a "place where eccentricity, indulgence, and stubborn individuality could flourish," but is now known as "a kind of urban backwater lying well outside the itinerary of foreign tourists." It used to also be Tokyo's main pleasure quarters--and all kind of pleasures of all kind, if you know what I am saying.

Hiroh Kikai began this extended street portrait series after graduating with a degree in philosophy in 1973 until this 2008 ICP/Steidl publication (Stephan's probably seen this book and "salivated"). Kikai developed his photographic approach to this series or "game rules" that has remained virtually unaltered to the present." He picks the people he wants in the busy crowd, excluding those wearing designer clothing because it "would identify too closely with specific moment in time." He uses a medium format Hasselblad with black and white film to captures the subjects personality and character.

Accompanying each photograph is a caption that seems out there and sometimes not evident from the photograph--personal traits or events that shaped their life story--which Hiroh Kikai gets from the few lines he jots down after every brief encounter. He says he wants his photographs to create a 'two-way conversation between the viewer and the picture.'

After the introduction to how this project began, we get a conversation that Hiroh Kikai had with Noriko Fuku. They are questions and answers about his background, Asakusa Portraits, and the fact that he is not really well recognized or received in Japan compared to his contemporaries and among his contemporaries. He has never has a solo exhibition in a Japanese museum. This part of the book, which is ten pages long, is really interesting because I've never seen it in another photo book. It's a personal approach to finding out more about the photographer, himself. It isn't as direct. It's not as direct either.

The photographs themselves are so stunning. They are impeccably printed. The tonal range is perfect. They are always open prints, which is what I like the most. The contrast isn't so in your face, but the darks and blacks are their. It's subtle. This is my cup of tea. I always wanted to try medium format and shoot, just to a get a feel for it, but haven't really been able to yet. I tried once but I didn't want to lug around my 35mm with me too to meter, so it never happened.

They are quite a collection of photographs--from rather plain-looking to the absolutely ridiculous. The plain ones often have the best captions, as well. Although I could not deduce whatever the caption says for the most part in the photograph, I am happy they were included. A great example is page 115. The man photographed is making a strange face, has interesting glasses, and is basically covered head to toe. This would be a pretty average portrait, however, the caption quotes something the man said to Kikai. It says, 'Today the cold has even reached my dentures.' This is a great line and adds more because he is puckering up and them I understand why the scarf rapped around his head like a woman. The caption works in conjunction with the photograph.

If and when I make a book of the 4x5 project I did (if not for me then for that sweet couple who were gracious enough to let me in their home and make those photographs), I would definitely use this approach. Some of the things he told me were just too good and made the experience I had with him even better. They definitely add even more to the photographs.

What's amazing is that Hiroh Kikai ran into the same people years later and photographed them again. It makes for an interesting comparison. An example of this is a man holding a dog Kikai photographed in 1986. He photographed the same man twenty-one years later in 2007 holding a different dog.

That being said, there are ones where the caption is far better than the photograph itself and could have been done without if the caption wasn't interesting. The caption says, "An only child who's the daughter her father always wanted." The photograph is OK, but a "filler" and not "killer" and one of the weaker ones out of the group.

The photograph beside it on page 231 is one of my favorites both for its caption and the photograph, itself. I can see some type of pain in the face he is making and the caption makes us understand why. It says, "A man who burst into tears on hearing my northeastern dialect, saying it reminded him of a late friend." It's a good example of the them working together. I also like it because I feel like I was there with him, too and am sharing in some of the moments Hiroh Kikai with all of these people.

This makes me then go on to look at the page spreads and I wonder sometimes why he chose the two portraits to be on the same page because I don't understand the connection. The double page spread on page 230 and 231 doesn't really make sense. I question if they were taken into consideration or was the goal to have them all work in the larger group. An awesome spread is on page 64 and 65. Both of the men's eyes are slightly shut. The one on the left because there is something wrong with his right eye, but the man on the right looks like he was squinting. I begin to compare to two because of this after looking at each of them.

These make me want to try to do something like this,too. This is mostly because of the different people I would get to meet and the little things I get to learn about them. However, I don't think this would have the same outcome in New York. I would probably hear far more profanities, than stories--which could be interesting to document as well, but a different project. There are some gems in here like page 43. The man is wearing old woolen long johns and his fly is open from sitting. The face is making adds to the comedy of this photograph. The spread is great, too. The photograph on page 42 is of a boy wearing a mask and there are round holes for his eyes and mouth and I see the comparison and the funny pairing.

Other great ones to check out are pages 50, 55, 75, 90, 136 155, 159, 187, and 227.

Title/Layout Issues

Another Issue I have been having lately (aside from the time problem, which we are all definitely feeling) is figuring out how I should do the layout of this book. For most of you guys (not all), you project has sometime of theme or commonality linking them that is evident. I feel like the projects are definite and around one thing that it's easy to figure out a title, or I should say easier in my opinion. But with mine, and some others, I don't really have an obvious this like Coney Island or People before and in bed, so I feel like one step behind because I like see a commonality somewhat with them, but it's so much more abstract that I don't even know.

The most difficult thing right now is just figuring out how to make sense of these three different, yet similar places. Stuff is from Rome, NYC, and Tokyo and like I just don't know how to go about it layout wise, as well. Like should I just put image next to image that match, no matter what location it was taken at, or should I separate them into three different sections, to maybe emphasize and let the viewer see the similarities I see too. For example, this picture was taken in NYC in the second critique I had with him leaning over "looking" at like stuff A.K.A. garbage on the side of the street on Canal and I have a picture of another guy who a hunchback looking at stuff in a part of Tokyo that has a lot of stuff on the sidewalk that they are trying to sell that vendors put out morning and pack up every night. The hump in his back is the same shape of this guy bending over, too.

I apologize because Blogspot is being quite annoying at this point in time because it is not letting me upload anything to this site. I tried multiple times, I will try to add these in later. But back to my point... I was wondering if these should be maybe be put side by side or like mixed in with the bunch if i am trying to be a little more coy with the viewer or should it be separated totally by city and then let the viewer make the connection possibly? Creativity is so awesome, but sucks at the same time. It's the same problem I have with writing poetry and the same thrill, too. You want to be witty or clever is the lines and show how you can string them together using figurative language, i.e. alliteration rhythm, rhyme, and still have meaning. But then you also don't want to be, too much of that, because it's either and overkill and too obvious, or it's not at all and the person doesn't make the connections that the person who created sees. But that's why I like it, we will never REALLY know, we can only speculate. The trouble is finding the happy medium of the two right now. I don't even know I am doing. So, in a round about way, the title is a problem too because I don't know how to put it in words right now. I don't even know what I am doing anymore.

I was also thinking about layout wise especially how the pictures will appear. In our Saturday meeting, Ro said that when she looks at photo books, she tends to look at the one on the right the most because as you turn the page the right one in the one you see first and that my photos are strong enough to stand on its own so she was saying do it the Robert Frank way and just have one on the right and then a blank on the left for each photograph. However, I was showing Joe some of my selects on Blurb and he was saying that I should do the two page thing more and not just the one on the right. I can't remember why he said it, but I remember agreeing with him, too.

So, lots of questions and statements, I know, but any thoughts for a fellow drowning classmate?

I think my project is done!!!

This book project really did take a hold of me WOW I started working on my book Thursday night all the way until today. This is not a cake walk this book was really tough, however, I am confident in my choosing and captioning of for the book “My Work, My World, & My Photography.

So, YES I think I am finished with my book… Hopefully everyone will enjoy it and understand that these photos were all taken within the span of last semester and currently this semester… I would truly hope everyone could vision, feel, and even understand what was I getting at by the segments and captioning of this book. If not then thank you for at least trying.

However, I really feel its done I really don’t have any more photos to add and I am sure that most or some will say delete a few, but I can’t… I need to add everyone I have photograph over the last year or so. I don't want to create, make, or even produce mafioso looking photographs especially with my dear friend Martino St.Bello and his crew of old timers or I hate to exploit my childhood friend Quincy Holiday and his 7 bags a day heroin addiction, yet I did ask with his permission if I could submit a few of his photo’s for my slipping into darkness segment. I just want people to understand life is no cake walk there’s pain, struggles, and of course JOY…

These characters, subjects, friends, and family that I have photograph are people just like you and I, and without any judgments on any of them I hereby am please to present their story.

Digital Manipulation

A question I have been grappling with ever since I started shooting with film is: to what level should I digitally manipulate photographs I took originally on film?

Until recently, my edits of negative scans have only been corrective, editting levels, exposure, contrast and other basic fixes. However, my friend at the School of Visual Arts recently started editing a few of my photographs, completely changing them digitally. I was very surprised with the results.

Fueled by Kevin's edits, I have started to explore more dramatically affecting my film through digital means, and I'm not sure if its something I'll ever do besides for my own fun, but a few of my results I've liked quite a bit. Here's one I did with a couple shots I took on color film with my SLR:

So while I'm not sure if this has any true relevance with the class, I think it will perhaps change how I think about editing my photographs.

The Punctuation of Photobooks

I recently read an article called "The Punctuation of Photography" which described the relation of punctuation in literature books to the conscious organization of photographs and other items within a photobook.


The article initially discusses Michael Schmelling's book Atlanta, a book I first encountered while reading about the history of hip hop in Atlanta. The article notes the careful use of non-photographs like setlists and fliers, as well as a dizzying array of subjects and styles utilizing black and white, color, 35mm and medium format photographs.
While the article goes on to discuss other books, I think that the analysis of Atlanta is what is relevant to me. Prior to this article I had been very apprehensive at including non-photographs into my photobook, including text besides an introductory statement, but now I am reconsidering which elements I will include. As Melanie McWhorter showed, allowing for blank space, nonphotographs and text to mix into a photobook can let it flow in a way that better reflects the point of the photos.

The weather is not my friend...

Quick update on my life/progress:

SO this is the second time since I decided to focus on Coney Island that the rain has thwarted my plans to shoot on a particular day.

I am home on Long Island for the weekend and so I asked my mama if she would want to go spend the day on Coney Island with me while I took some photos. Super excited -- would've gotten to hang out with my mom while being productive.

Unfortunately, the world hates me. Besides being cold and windy, it also POURED the entire day, completely ruining my plan.

Stephan would tell me that I should've bought a water-proof disposable camera and gone anyway. I would have -- however, I also really wanted to spend some time with my mother considering I rarely see her and I really came home this weekend to be with my family. (Not to mention that I am leaving at the end of June to go to Europe until December so every minute with my family now counts.)

I am slightly freaking out now trying to figure out when I will be able to go shoot again. I think the next plausible time would be Friday which seems like so far. I still haven't had a chance to develop my photos from the last time I went to Coney so I really don't know how much more material I need yet.

Also, does anyone have any ideas for me for a title? I am struggling!

Self Portraits

Something that I have been working on semi-independently from my work expressly on the book has been self-portraiture. Until recently (the past year or so) I had been relatively uninterested in taking self-portraits. However, since I started to take them with a regularity, I have really begun to understand why they're such a staple of all artforms.

Looking through the ones that I have taken, it allows for an interesting level of introspection and reflection, while giving an avenue to compose whatever image I want to make.

In the past few weeks, as I started to close the work that I was doing for the books, I began to take self-portraits with even more regularity. I'm apprehensive to include them in my book for this class because I don't think they fit with the overall aesthetic, but I've been wondering whether I want to start working towards some sort of collection or book. Or would that be too self-indulgent? Thoughts?

Confusion & Isolation

Eddy, I hope I'm not too late to help with your naming, but I think "Confusion & Isolation" sounds a lot like a Joy Division greatest hits name, but not in a bad way. I think it certainly represents how I've interpreted what I've seen of your work. And in terms of using film and digital. I think that doing all-film would be easier, but possibly using the two-part title and the two different styles of film and digital to break your book into two sections would be an interesting approach.

When I think of isolation, your set up portraits come to mind, specifically the one of Michael, and confusion seems apt in regards to the scenes of large groups of people which if I remember correctly are digital, so that would be one approach to take in my opinion.

Joe Skilton's Modern Geometry

In preparing to sequence photographs in my book, I’ve been researching books featuring some of my favorite photographers. Through looking into the works of some of my favorites, I found many of them collected in a book put together by Joe Skilton called Modern Geometry.

The book was his dissertation piece, and a collection of photographs by his friends that embody to them a friendly feeling. The movement of the book and organization of the images, the way that the movements from each picture work together to make a fluid page is astounding. The way that Skilton has curated this book has helped me to understand less orthodox ways to combine facing pages, as well as how to execute obvious juxtapositions.

I think a lot of what Skilton does in this book would be beneficial to most of us, and might even help you with some of your problems in sequencing, Rowena. Scans of the entire book are on his cargo collective.

Sorry for my silence

Hello all,

Sorry for my quietness lately, I've had a couple of personal issues which culminated with me needing to go home on short notice. However, I am now back and ready to finish things up. I have a few posts to make, but I wanted to start with the current draft of my artistic statement/introduction for my book:


For the time that I worked on this book I have known the way that I wanted to photograph, but I did not know why what I was photographing was important to me. I understood the mood, feeling and impression that I wanted my photographs to impart, but I couldn’t figure how the aesthetic I was cultivating truly represented any of myself.

But I realized that the photographs that I have taken, the photographs that I try to take are representations of how I viewed the world as a teenager. They were the blurry-eyed depictions of memories from being fifteen, sixteen and seventeen. Photographs taken from my mind’s eye as I fell in love for the first time and snuck out from my parent’s house for the first time: a memorial to the naivety of youth.

They remind me of all the rolls of film I lost when I first wanted to learn to use a camera, and I was too proud to ask anyone to teach me and too broke to afford anything more than a $2 plastic 35mm from Goodwill. All of those rolls were taken at shows of pop punk that most of my friends from then wouldn’t be caught dead listening to now. But I still wear my Saves the Day t-shirts, and I wrote this entire thing with The Party Scene by All Time Low on repeat. I don’t think a single frame taken with that camera ever turned out, but that wasn’t the point at the time.

Every photograph in this book is a representation of the emotions I felt when I felt them for the first time. Heartbreak, being truly confused, conviction, hate, amazement, obsession. The sensation of sneaking into the best concert of my life. The first time I drove across state lines all night with no purpose. The first time I tagged a wall. The first time I stole something. These photographs all represent exploration, unfiltered interest and total ignorance. They represent a mobility I now envy, and an energy that I can no longer fathom.

Two or three years older, these photographs have allowed me to relive my youth prematurely. I’m still learning, and this book was made while trying to move into my first true home away from home, and while foaming at the mouth at buying my first medium format camera. However, on matters of life I might be a quick learner; or else I’m easily jaded, because I can still remember when I was seventeen I experienced nostalgia for the first time, in my grandmother’s kitchen standing under the night light that has been on every night since 1952. I suddenly remembered and missed when I was younger and my grandmother still lived on both floors of her house, and she had her old wooden television with the warped color that sat in front of the wood panel walls. I can remember still noting that missing this past was something different than anything I had experienced before and I turned and said to my grandmother, “I think I just felt nostalgia.” She laughed and craned her head up to look at me and said “you have a lot of life left, kid.”

The photographs remind me of how I saw the objects in life I would now pause and take a picture of before I had ever even loaded a roll of film myself. Printing these photographs again and again has given me the chance to unintentionally resolve my lingering questions of youth. So as much as this book is about youth, it is also a bit of a sham. My younger years celebrated before they’re at all over. Or maybe I have it all twisted and it’s like my brother said when I was fifteen and he told me “we peak at twenty, I’m past mine. You better not blow it.”

I have a lot to say about everyone's work and I look forward to seeing everyone Tuesday.

For once taking advice from my elder

Dear, Dear Professor. You really like "Confusion & Isolation" as a show/book title? Does it sound too much like a Joy Division song?

What do you all think. I have, like, a day to decide since I'm making cards this weekend!

Ah!

"Travel"

I wrote this post on my way back from meeting with a few of the classmates that saturday, so it's a little old but this is what I was thinking: Travel to me means getting from one place to another. The subway, the ramvan, my feet are all common means of travel for me. I shortly considered trying to add in those aspects but I realized that driving was a kind of travel that was somehow more special to me. As I have said, it's a big 'social' activity when I'm home and was all throughout high school for me. So I think thats why I decided it meant enough to me to document it. After looking at my pictures with the help of my classmates, I think the pictures would read best as a story, more a novel of a trip than a particular statement of a type of area. I guess it doesn’t really matter if it is upstate new york or Vermont or Kansas, just that it’s somewhere out the window, and I think that being in a car always gave me that sense that, while I’m still looking at mostly the same stuff that I have for my whole life, it’s also been a possibility of just going anywhere, that one day if we wanted to we could just not go back and watch the landscape change as we made off to a new place. I guess we all have that in one aspect of our lives, driving was just the way most accessible to me growing up. All that being said, Apollonia made a great suggestion the day we met up that really tied all of these things together. She suggested that I start with the picture from the back seat that has the “freedom” bridge through the windshield. Not only does the photo clarify the setting, it also brings this sense of openness and opportunity through seeing the world out the window, the cure of the road into the distance, and of course the word ‘freedom’ being spray painted on the bridge doesn’t hurt. I guess from looking at my work that day I realized that traveling and road trips don’t have to just be about boredom or going somewhere but also represents the freedom and fun that come along with it.

Response to the new posts I read!

Response to the new posts I read!

Sorry folks! BUSY BUSY weekend… attended a wedding, as a best man and the wedding photographer YAY… However, lets say it was a multi tasking weekend and I am not the one getting married… try entertaining guest, try dancing salsa at Cuba Libre then fist pump at Harrah’s Pool Party after dark, try booking a room that the cost is legitimately fair for a weekend rate, and with my charm and grace I get upgraded to a platinum suite at Harrah’s hey I’m a tier 7 player… Also, try looking immaculate and not so COOOOOL especially when an old flame is the bride’s maid…

On the second note, I just read the new postings and I admit WOW , but I will cut straight to the chase…

Rowena you’re a great photographer I’m a fan you’re work is solid no need to over do what you are trying to do… You’re book should consist of the photographs shown in class enough said theirs a fire in you’re work don’t over do it… You’re good you have a good eye, remember you yourself should only understand your work same as the rest of us same applies to life… Rowena without passion there wouldn’t be life passion does equal good photos…

Liz - Coney Island is GREAT the concept fits you well… I admit the theater photos for the theatrics not a good idea, I prefer the Coney Island the old mystique of Coney the BIG C.I the isolation from the norm during the off season I love especially at any beach from the Long Island sounds, Jersey Shore, VA Beach my old hood hmmm love it, Cape Hatters and Kure Beach North Carolina, West Palm, and once Huntington Beach out west those were at one time my destinations and I know the feel of a beach…

Lucy ‘diamond in the sky’ Sutton – NICE photoshop/lightroom touch up you’re photos are ALIVE… My favorite shot the spainsh doll with the beads hanging from the wall it really looks GREAT and alive… GREAT JOB!!!!

“Confusion and isolation” Eddy very compelling title MONEY TITLE!! Confusion and isolation a marketing ad for the drug of choice made by Pfizer and with ingredients from a Bolivian farmer, the title just screams at me, as Edvard Munch “the scream” Second Exposure sounds like an ABC Friday sitcom featuring maybe Scott Baio or that Twilight guy… The club scene photos the underground fits my world my players underground misfits, societies vandals etc don’t let me get into details… Confusion and Isolation has to be you’re title… Do you know what isolation feels like? Normality is confusion and isolation… FREE YOUR MIND! Confusion and isolation reminds me of the verse from Grace Slick from Jefferson Airplane “When logic and proportion
Have fallen sloppy dead” from the song white rabbit… NICE touch…

Genna “for better or for worse” I hope is your title it grasp the attention of an upper west-side resident making the transition to upstate NY with the thought of is it really for the better or the move to upstate NY is for the worse I wouldn’t know only you would know and that’s a decision worth trying a break from the city to live and work with the things you love most animals it shows you’re a heart full person and you’re not a tin-man show your work that you have taken and submit them in your book your photos are great whether some claim they’re brochure-like photos or cute animal pictures… But then again I’m no pro just an opinion my dear…

Nicole – quiet angel “ Drive- By shooting YES you’re on the money honey I do see the correlation to your drive by photographs and David Bradford’s photos… I myself had you in thought especially about your book title, however, that book from David Bradford you found in the library is a great find I’m sure it will inspire your work and style for the book… I in a positive head nod wow yep you found it… love the quote “he doesn’t look through the viewfinder when he shoots; he says he just feels what he is photographing… Feel just feel when photographing as a boxer with sweet science just feels it’s a rhythmic feel a zone we all have to find…

On the last note I toast to many of you being its probably crunch time and the work begins, but again I do send my best apologies only if my tone from this post is off beat, however, its probably because Martha Reeves and The Vandellas “ Heat Wave” and Louis Prima “ Just a Gigolo” was blaring in the background and I will assume most of you won’t even know who Louis Prima, or Martha Reeves and The Vandellas is, but its cool… Great postings and see ya’ll in morning!!!!

Christopher Morris

Christopher Morris had the opportunity to follow the Bush campaign around and photograph it. In his book, "My America", he shares high quality, large color images from this tour. I'm having trouble finding all of the images online, but one of my favorites was taken in Philadelphia in 2004. It shows men in uniform, the first is blurred out and the two behind him are in focus and you can clearly see tears in their eyes. The intense emotion mixed with the shallow depth of field is over powering and very intimate. Another favorite of mine was taken in columbus, ohio in 2004. The photo had two windows in a brick wall. In the windows there is a very clear reflection of an airplane with 'america' so clearly and proudly written across. But also, you can see the small reflections of the faceless people preparing the president's plane for him.

At one point in the point, Morris has a series of images that focus solely on the mouths and chests of the people he is photographing, cutting out the other parts of their bodies. From these pictures, although we're missing a lot of information, we can gather who they are, because of the uniforms, formal attire, and causal clothes, and their reactions and feelings towards seeing the president. It is amazing how much you can tell about a person's feeling but looking just at their mouth. Many of the faces look serious or amazed or encouraging. I think overall I liked this collection so much because knowing that it was about the bush campaigns, I assumed it would mostly be about the president and his journey. However, Morris gives us an outside view of this journey. When we do see the president, the shot is rarely up close and intimate and personal, but far away and isolated. On the other hand, we get a good glimpse at the behind-the-scenes people that go so unnoticed in the wake of all this chaos. We also see the travels and the citizens and how they react to seeing Bush. The focus is definitely more on patriotism of the country as a whole, rather than tracking the steps of Bush.

Drive-By Shootings

I found David Bradford's Drive-By Shootings in the library a month or two ago and immediately was drawn to it because of the obvious connections I thought it would have to my project. Bradford is a cab driver in New York who takes pictures as he is driving through the city. I thought it would be great for helping me find more of a direction for my photos since the concept of shooting out a car window was so similar. However, after looking through the book many times, I've come to realize his work is completely different from mine, but I still really enjoyed his work a lot. Bradford was once a successful fashion photographer who just got tired of it and decided to drive a cab instead. He doesn't look through the viewfinder when he shoots; he says he just feels what he is photographing. A lot of his work includes the inside of the car, the passengers, and the mirrors, so sometimes the focus of his work is more on the vehicle than what's outside.

Also, being that he just 'feels' what he is shooting, a lot of his pictures are blurred or at awkward angles or cut off pieces we wouldn't normally want cut off, but these ones tended to be my favorites. Not only did they keep his concept interesting but they showed a different way of looking at these otherwise 'picture-perfect city shots'.

Confusion & Isolation

I must echo the sentiment of confusion expressed by my class comrades. I look at this pile of photographs-physical prints for the most part, since I have not yet scanned my images into the computer-and I feel overwhelmed. What to include, what to exclude, nevermind sequencing. Should I do a book of only 4x5? (If I get to scan since the 11x14 prints I have are too big for our scanners any way. always between a rock and a hard place, eh?). Doing a book of just film seems easier than including the digital images, but then again I'm sure a richer book would result if I found a way to marry the two. Honestly, at this point, it seems like too great an undertaking. Apollonia and I are in the same place with the film/digital/what-am-I-doing-I'm-so-lost feeling.

On the bright side, my show and my book will both definitely be titled "1 Second Exposure." I'm 99% sure my show (and my show is, in my mind, an extension of the soon-to-be-born book) will be on Thursday, May 5th. I spent 12 hours in the darkroom today. If this post seems a little wacky and scary, that's why.

Good luck comrades!

Help ...

I don’t want to hurt anyone’s feelings, but I did solicit another professor’s opinion about my photos and help with my sequencing. I wish we did this more in our class. I think it would have been really helpful to teach us the process of creating a quasi professional photo book. I wish that I have more guidance on what ‘sequencing’ means. Why and how they need to connect, if not, why or how they need to convey a message. I would have loved to have more feedback from the class and especially Stephan. The process of book making would have been a great skill to have in my back pocket.

What about titles? Why is it important? Does it need to reflect the story or the photos? I’ve seen titles that are so confusing, I can’t seems to relate it to the photos, but sometimes the photos just stands on it’s own that you don’t care about the title.

To date, all I got from the class (at least from our two critique days) are six photos from the first and one (potential) from the last one. I very much appreciate the ‘blog critique’ - it helps me to “DO, REDO and UNDO” my photos - (this is Louise Bourgeois's exhibition title at the Tate Modern, 1999-2000.) Meanwhile, I have tons of photos and I have no clue what to do with them. Should I include all the ones I like, should I make a story? What kind of story? Does it need to be a literal interpretation of the photos? Or does it need to be ambiguous to make it more appealing? I really don’t know - I feel lost!

Passion = good photos?

Honestly, I don’t know what I’m doing anymore. I started out with an idea and as the project moved along, it started to change (I know it’s a process - things needs to evolve). Maybe it has something to do with my mood when I’m shooting at a particular day. I don’t usually plan it, I kind of wait and see what the day has to offer and move my schedule around it.

Some people have a natural eye for photography, others are able to learn to be good photographers, and there are some people who really should just give up and do something else ... Is this true? who says? But critique is so subjective, so why do I have to care what other people say about my photographs?

But I do care - I wish we have more critique days (wink wink) ... I respond really well on feedback (good or bad). It helps me refocus and push myself to do something different or better. I tend to do the things that I love, or like, and easy that sometimes I get lost in them.

But someone told me that learning who I am, what I like to shoot, and how I like to shoot it, is the most important step I can take into the world of photography. Learn what you love, and shoot what you love. The more I shoot, the quicker I can discover what I’m really passionate about, and if I am passionate about something, chances are I’ll probably find a way to translate that into great photos.

I am posting two photos (they are not new, though the class haven’t seen them before.) To someone else this might look atrocious ... but for me, this represents my fascination with portraits of others and self -

Technical Differences

So I am running out of things to say about my work since I haven't gotten the chance to shoot anything new as I have been secluded to my living room trying to will myself healthy again. Anyways, I have been editing some pictures and I thought I would ask for your opinions on some changes I've made.

In class we talked about this photo, how it was interesting and kind of funny how girly the bedroom was and that Victoria was reading "Fight Club" in it, but that it didn't really line up with my shooting style. So here is the original and then two cropped versions.

I think the third one looks more consistent with the shooting style/anonymity of a lot of my other photos, but I also think it looks a bit forced.

Okay here's another one. I spent a long time editing this photo, but I can't decide if the edited photo is any better, i think the fill light might be too much and creating too much of a reflection on the closet door. Here's the original and the edit:

Okay so now that I'm looking at them again I guess they aren't actually that different.

Editing My Photographs

Editing my photographs is one of those things that is just really irritating. I always have in my mind the pictures that I think are good and that I want to use before I even look at my film. This, however, I have been told, is not a wise way to edit your pictures because you overlook things that may be better in the process. At least it is a starting point. Shooting in digital I do not think about my images this way. I shoot so many more pictures that I have less of a recollection of what shots I thought were great. Also I just have SO MANY PICTURES. Its such a departure for me. For instance, last semester, my final project was a collection of medium format color landscapes taken in one seaside town over the span of two days. The final thing ended up being only 13 11 x 17 prints, edited down from about 64 photographs to begin with. Suffice to say, this is a really different way of shooting. For this project, I have taken about 400 pictures of only 6 subjects. This is probably going to get narrowed down to something like 30 photos. Basically I am having a hard time finding an angle to edit from. At first I started just taking each set of photos and picking out the ones I like the most from each. As we pointed out in class, however, that sometimes isn't the most productive way to edit in terms of book making. For instance, I really like these three pictures, but I'm not sure if they really have a place in my book.

Why did I choose to shoot film?

I sometimes go through mini-crises when it comes to my photography. Sometimes it will be something like, "Oh my god, I am terrible, why am I even doing this?" and other times it will be less extreme like "I really hate what I'm doing for my final project, I think I'm going to change it even though I only have a month to do it now..." (-- oh wait, that isn't an example, that's something that just happened a couple weeks ago..).

Currently, I am just kind of wondering why I chose to shoot film when digital would have made my life a thousand times easier (and less expensive?). Obviously I am not thinking of changing course right now, but I felt it necessary to think about what made me decide color film was the way to go.

Was it because I have a plethora of color film just sitting in my room that I never get to use? Yes, that was part of it. Last semester I got about 30 rolls of film from this guys on Craigslist for $20. It was a complete mix of things, but mostly 400 speed color film. I used all the B&W film from that last semester, and so I was left was a lot of color film. I also got color film for Christmas like two years ago that I never used.

Is it because I lent my digital camera to my roommate for the entirety of the semester because she's taking Joe's Documentary Photo class? Partly yes as well, although this decision to lend it to her came after I had already decided I didn't want to use it for the semester. My poor Canon Rebel XSi, I neglect it so much.

Is it because I like spending $7 to get a roll of color film processed at CRC? No, that is definitely not why I chose to shoot film. On that note -- does anyone know another trustworthy place that won't charge me a ridiculous amount of money for just processing? I don't know, I just feel like $7 a roll is kind of a lot just to have the film processed.

Is it because I enjoying spending hours in the photo computer lab scanning my negatives onto the computer and then editing them in photoshop? No, I can't say this is why either. Having to scan my negatives onto the computer is one of my least favorite things. It takes forever and then if you don't clean them well enough beforehand you have to spend foreverness using the clone stamp in photoshop and losing your eyesight.

I realize that all these reasons are kind of ridiculous. Really though, trying to figure out why I prefer film to digital in most cases is not so simple. I think it really just comes down to aesthetics. I just like the look of film. I also love the feel of a 35mm camera and how I don't have to worry about getting robbed except for by another photographer, because lets be honest, who really wants to steal a 35mm camera? Loading film is also great, and maybe it is just the mystery of "Did my photos turn out okay? -- did they turn out at all?" I kind of feel like a little kid on Christmas when I get my film returned to me from processing. I can't wait to see what's on the roll. In my opinion, film is just more of an intimate way of creating photos.

I seriously just rambled so much, but talking that out helped me reaffirm what I'm doing.

Coney Island: Opening

So yesterday (Sunday), I went back to Coney Island to see the transformation from deserted beach town to a bustling tourist attraction. This was my forth trip there over the past two weeks, and by far the most exciting. Even on the subway you could tell that something was different -- usually near the end of the D train line the train empties out, but on Sunday it stayed relatively full until arriving at Coney Island.

It was honestly shocking how different everything was just from last week. One week ago, all the shops were closed, there were barely any people around, and I felt slightly uncomfortable being there alone. Yesterday however, there were people everywhere, music was coming from several different attractions and booths, and children were running around happily with cotton candy and popcorn. The boardwalk was also filled with people and all the shops and food stands along the board walk were open and ready for business.

I've realized that I sometimes struggle with taking photos of strangers. Even though most people don't care and also most probably wouldn't have even noticed me, I chose not to pick up my camera a few times when I wanted to, because I felt awkward about it. I'm not sure why that was, but I suddenly felt really rude taking pictures of people who were trying to enjoy their Sunday afternoon. I am angry at myself after the fact because I know I lost some good shots by second guessing myself.

I did talk to some people though, which is something I promised myself I would do. The first guy had a bunch of pitbulls with him, and I was walking by and I have this tendency to smile at animals. The owner told me I could pet them if I wanted to. He was really nice and talked to me for a little, telling me about his dogs and how he would never be stupid with them and use them for fighting. I asked if I could take a picture of them together and he was more than willing. I don't know why I always think people are going to hate me for wanting to photograph them, I need to get over that because it is obviously not the case.

I also talked to these two street performers who were on the boardwalk playing music for those passing by. They were also really nice and didn't mind me sticking around for a bit taking pictures of them while they performed.

Overall, I had a pretty good day of shooting. I haven't had a chance to get the rolls developed yet, but I am going to go later today or early tomorrow.

I am struggling coming up with a good book title, so if anyone has any suggestions, please let me know! Thanks all.

Picking Images Part 2

So, I am having an even more difficult time picking my images now because the rest of them that need to be picked are ones from Tokyo. I was just so apathetic about them. I don't know why I wasn't that excited to see them when I got back. Oh well.

The ones I showed in class were just quick selects from the first 10 rolls out of about 70 that I have. I put off looking at them for like a month or so because it was too much. Why did I do this to myself? Well I am indecisive and change my mind constantly. Either way the time has come to finally do it. I don't have everything printed for my book (partially because I can't decide what the selects should be). I'd rather just pick them and be like OK, these are it and then print them.

Otherwise, I end up wasting all of this paper and there is also the issue of time crunch. Which sucks because I pick ultimately from the print because sometimes the picture looks good on the contact and doesn't work when enlarged and vice-versa for those unloved last-picks that I end up liking later. Sometimes a print is too nasty to print like easily for me, so I have to just skip it and move on which sucks, too. So my working method for printing is not the best for the time issue but whatever. I have honestly put off so many things because I want this to be awesome and I want to do it right, but now all my other school work for other classes is catching up and there isn't enough time in the day.

To save time as well I have been skipping the like third-round of selects and picking ones that I just like and ignoring the ones that I am on the fence about from the contacts. The only problem with this, as I said in one of my posts, is that the maybe/overlooked ones sometimes end up being final picks, so at this point. I am printing up a storm in any free time that I have and whatever is printed and is good I will just end up putting in the book. It's all our first book and I don't want it to be like a compromise or the best given the circumstances, I want it to be good, the best, period. Concessions are hard and kind of sad right now, but will have to done and will have to do at this point.

On a side-note I am sick of this blog being able to Tab sometimes and then not in another post. It is so frustrating. This will not even allow me to type in five/ten spaces before a paragraph either. How does it know? I can't trick it either way. It is so annoying. Not the best layout in the world. Nothing I can do, I guess.

Also what's problematic is the fact that some of the prints just don't work...For example, I spent about like an hour and a half on a print because the highlight was so blown out and took up majority of the picture. I couldn't go darker because then the man's coat would be so black and lose detail (3200 is both a beauty and a bitch). I figured the best thing to do was try to burn it in. After multiple attempts and the equivalent of a burning in my triceps after a shake-weight work out, I surrendered and decided to try to scan my negatives. This seemed to keep the highlights at bay, but also resulted in multiple scratches on my negative now and more time to spot out these scratches. Two hours later, and then another two hours later after having accidentally deleted the layer, I have one print to show for it.

I am feeling the time crunch now more than ever, as we all are. All I have to say is that the picture better make it into the book. I also have been slightly under printing and over-estimating the like 15% darker fact when printing fiber and they haven't been coming through. So more time is to be spent playing with it post scanning the prints. Guess I might not ever be able to see that true black?

My Stuff?

SO I just read Liz's post and I have to say that I'm trying SO HARD to try to photograph animals in a way that makes them not just cute little things. I brought in a few pictures to this class (like the weird horse with the tongue and one of a cat's eyes really up close, etc.) but I tend to usually bring my animal photos into Joe's class because he appreciates them (unlike Stephan) not being mean- just being honest hahaha.

Anyway, it's funny because I always think that photography makes more sense when you photograph what you're interested in and something that I'm interested in, as you all may know, is animals. I have so freaking many and work with them almost every day so I feel that photographing them is kind of a way to reflect myself. I am doing my best at trying to photograph them all in a way that isn't just a straight on puppy or the face of a cute little piglet, etc. but obviously sometimes, no matter from what angle or what body part you take a picture of on an animal, it comes out as just being "cute" or "silly". I completely understand that whole idea but it's so frustrating to me considering I have so much more fun photographing things that I truly love.....at least a lot more fun than I have photographing things of really no relevance to me (such as houses or trees or people I don't know, etc.) Well not NO relevance, I obviously like many of the photos I take but just because of the way that they're put together, etc. not because I am truly infatuated with a broken down house or a car in the snow... I don't think anybody really would love something like that. It's just the fact that it's in a picture.

I am COMPLETELY rambling right now, I'm sorry this is like an internal conflict I'm trying to overcome. HOW CAN I PHOTOGRAPH ANIMALS IN A WAY THAT MAKES ME DIFFERENT FROM "CUTE ANIMAL CALENDAR PHOTOS"? Any suggestions?

I'll actually post two pictures that I took yesterday pretty much just for fun, but it gives you the idea of how I'm trying to NOT just make an animal look cute....

I'm sure a lot of people would look at this and still think that it's a cute animal picture (if you see it bigger and up close in a print you'd maybe think differently, I don't know though...) I personally think my dog looks like a cartoon character here and his eyes are going in completely different directions. To me, he does NOT look cute.....

This is me trying to figure out ways to photograph a horse so that it doesn't just scream "cool horse." This is a dirty nose (larger and in a print it's a lot more detailed) and it's pretty gross. Not cute....

And THIS is just weird. LOOK AT THOSE TEETH.

ANYWAY- I understand that maybe it isn't the "cute" factor as much as it is that animals speak for themselves..... Almost like if you photograph an animal, no matter what or how, it is an animal. If you photograph anything else, you kind of have to think about what it is, why it's there, what's the relevance, etc. So I do understand that..... but so what do I do if I love photographing weird animals? How can I continue doing so without being "lame"?