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Contact Sheet – Italy, Acquasanta

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Click here to enlarge.

I enjoy seeing the flow of thought that becomes visible in contact sheets. One idea builds on (or diverges from) another. Some moves are repetitive; some moves introduce one or more significant variations. As I work, I ask questions like, “On what level does an image work?”, “What is a significant variation?”. “When do two or more images reinforce each other?”.

Will these images make the cut? It’s unlikely. But themes within them will resurface in future finished work. In fact they already have. These themes have been with me ever since I began photographing; they look very similar to two images I made for my first exhibit and are related to images in several existing series like Illumination, Refraction, and Resonance.
Even if these images and what I learned from making them bears no fruit, it was time well spent. I truly enjoyed the better part of an hour savoring and playing with light.
View more Contact Sheets here.
View finished images here.

Be Prepared – The Story Behind The Photograph

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Illumination XXVI, Jokulsarlon, Iceland, 2012
French microbiologist Louis Pasteur famously remarked, “Chance favors the prepared.” Just showing up doesn’t guarantee success. You can stack the deck in your favor by being prepared. To be prepared you have to find answers to a lot of questions – or at the very least know what questions to ask … like where to go, when to go, how long to stay, what to bring, how to use what you bring, what you hope to accomplish, what your priorities are, and what you bring to the situation that is unique, for starters.
To get this image (and others like it), I had to do a lot of preparation. I thoroughly understood the subject; following Yogi Bhajan’s advice ““If you want to learn something, read. If you want to understand something, write. If you want to master something, teach.” I had done all three. I was in the right place; Iceland is on the auroral oval. I was there at the right time: as Iceland is just south of the arctic circle, skies are dark enough for a long enough period of time at only certain times of the year. I brought the right equipment; a sturdy tripod with a good mount and a fast lens were essential, plus there was new game changing camera technology that generated less noise at higher ISOs, which would open up new possibilities. I knew how to use the equipment; using your camera in the dark and focusing on a star doesn’t become fluid without some practice. I performed relevant tests to find out how much time it took before stars trailed and how high I could dial my camera’s sensitivity up before without getting objectionable levels of noise. I learned from my failures; after careful examination of images from the previous week I found out how shallow the depth of field or focus was at very fast apertures and that certain lenses produced unacceptable artifacts. I took stock of my community’s previous accomplishments; I looked at a lot of images of auroras, identifying what made some more successful than others. I made some time for self-reflection; I noted what was likely to make my images more authentic and what would make them more likely to stand out from others’ images, either on their own or through their relation to my other work, and I prioritized what I wanted to accomplish. All of this preparation contributed to my being able to work quickly and make the most of each passing moment in a focused way that was most likely to generate results that were relevant to satisfying my goals.
It was so easy to make dramatic images that night and there were so many other photographers making images around me that the bar was raised, which called me to succeed not just on others’ terms but more importantly on my own terms and not just once but multiple times.
Some preparation is specific to a task and/or a moment. A great deal of preparation is more general and cumulative. Often, one builds on the other. Author Malcolm Gladwell suggests that mastery comes when we put in 10,000 hours. Even if you haven’t put in the 10,000 hours to achieve general mastery you can still master the moment; and if you have put in the time, you’ll be able to master many more moments. I’ve often been asked, “How long does it take you to make an image?” I answer, “Anywhere from 15 minutes to 6 months – but the real answer is 47 years and counting.”
Questions
How many kinds of preparation do you need to do – physical, mental, emotional, communal? Why?
What kind of preparation do you need to do the most/least of? Why?
At what point do you get diminishing returns from continued preparation?
Can you be overprepared?
When does preparation become avoidance?
Find out more about this image here.
View more related images here.
Read more The Stories Behind The Images here.

Check Out PHOTOGRAPH – Issue 4

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Issue 4 of PHOTOGRAPH (quarterly add free emagazine) is now available.
It’s packed with Portfolios / Q+As (this time from Nick Hall, Kathy Beal, and Sam Krisch – two of whom are members of my Next Step Alumni) and columns / articles (including contributions by David duChemin, Martin Bailey, Michael Frye, Chris Orwig and more). My Creative Composition column focuses on using Space in compelling ways.
Purchase PHOTOGRAPH issue 4 for $8.
Subscribe to PHOTOGRAPH for $24 (save $8).
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Stay In The Zone – The Story Behind The Photograph

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Constellation VI, Selljalandsfoss, Iceland, 2012

I had tried my hand at this subject and failed a number of times. It was easy to make the standard high-impact postcard images of this famous location. Selljalandsfoss, Iceland is a marvelous waterfall that you can circle in front of, around, behind and back again. It’s particularly dramatic in the winter when the stairs that lead behind it freeze over and the walls around it freeze up forming icy stalactites of all sizes that periodically crash to the ground. It’s particularly divine on evenings when the setting sun sets the sky and the waterfall afire. In all the times I’ve visited Selljalandsfoss, the light has been like this only twice. Good enough results the first time lead to my knowing what I needed to do to excel – and I was able to do it. Well before sunset, I walked behind the waterfall, and sat quietly without interruption for the better part of two hours, listening to the thundering sound of the cascading water, feeling its vibrations in my body, and watching the water slowly change color from white, to cream, to gold, to pink, to coral, to mauve, to lavender, to gray, to black. I never took my eyes off the water, seeing endless patterns continually appearing, disappearing, and reappearing. I was enthralled, enchanted, transported in one of the more intensely inspiring moments of my life. I made a thousand exposures and collected enough material for a body of work. When you’re in the zone you stay there and you don’t do anything that might disrupt your flow.

What specifically is flow?  A mental state when people are completely absorbed with energized focus while harnessing emotions aligned with performing and learning activities. Some say that how and when flow happens is a mystery; they give up on solving this riddle because there are so many conditions that contribute to failing to achieve, sustain, and disrupt flow – and they vary between individuals and individual moments. Others love mysteries, like flow; they look to the most common causes for achieving and sustaining flow and incorporate individual differences and sensitivity to current conditions into attempts to achieve and maintain it. Psychologist Mihaly Csikszentmihalyi suggests that we enter states of flow or peak performance when we rise to challenges that interest and stretch us but aren’t beyond our ability to meet, placing us in a curious emotional state that lies between the poles of boredom and anxiety. Throughout the ages, cultures have studied flow (using many different names) and we continue to learn more and more about it every day. My recommendation is that you, too, study flow – personally.

For instance, from previous experiences, I know I tend to achieve states of flow more frequently and more deeply when I connect with a subject emotionally and my understanding of it is deep enough to ask more specific questions while creating something in a way that involves physical activity with sustained concentration. The natural world is almost always involved in some way. Reflection before, meditation during, and contemplation after all aid this process for me.

You can profit from other people’s experiences of flow, what they create in it, and the paths they find to it, but don’t expect yours to be identical – your experience may be very different. In your study of flow, beware of limiting attitudes and superstitious behavior. Above all, pursue flow actively. Take action. Don’t ask, “What happens if …?” hypothetically and preemptively. Instead, ask “What happens when … ?” during practical experimentation. Then, look at probabilities and stack them in your favor. All you need to do is to find your tipping point(s) and trigger them. How do you know when you’re in the zone? You’ll know. And so will everyone else. When you’re in the zone, there’s no denying it. You’re usually there when you’re doing your best work and feel most alive.

Questions
What are the benefits of being in the zone?
How do you know when you’re in the zone?
What does it take for you to get into the zone?
What can you do to get into the zone faster?
What can you do to get into the zone more frequently?
What can you do to stay in the zone longer?
Find out more about this image here.

Read more The Stories Behind The Images here.

2 Exhibits In 1 – Around The World & Process – Aug 3-4

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Enjoy two inspiring exhibits by internationally acclaimed artist John Paul Caponigro – Around The World & Process.
Around the world unveils new highlights from his recent international travels north of the Arctic Circle and south of the Antarctic Circle with stops along the way in Iceland, Argentina, Bolivia, and Namibia Amid images of glowing auroras, crashing glaciers, colliding icebergs, thundering waterfalls, smoldering volcanoes, shimmering salt flats, shifting dunes, you’ll find the oldest desert, the largest salt flat, the windiest continent, the fastest moving glaciers, and more, all portrayed through the eyes of this unique artist.
Process displays many aspects of the artist’s creative process, both analog and digital – writing, drawing, painting, photography. John Paul shows how each discipline contributes to the completion of his finished works of art. This exhibit shows how artist’s get there is just as important as where they arrive and reveals that the creative process is a never-ending journey of discovery that offers many insights along the way.
The book Process is now available in print and electronically. It shows many more works than can be displayed and shares the personal insights of the artist. Preview it online at johnpaulcaponigro.com/store.
John Paul Caponigro’s Annual Exhibition 2013: Around The World and Process is a rare opportunity to view this artist’s work presented in his own private studio / gallery. The exhibit is open to the public for one weekend only – August 3rd and 4th from 10 am to 5 pm with a talk by the artist at 2 pm.
Come enjoy prints, drawings, paintings, books, and conversations with the artist during this very special event.
Preview select new works online here.
For more information including directions, previews, reviews, statements, audio, video, and press kit visitwww.johnpaulcaponigro.com or email info@johnpaulcaponigro.com.
Get directions here.

Mentor Exhibit Opens July 27

Mentor Exhibition Invite
Artists learn and hone their craft in many ways, but perhaps no relationship is more instructive and lasting than one built with a mentor. Sharing a lifetime of knowledge with another artist—from favorite techniques and tools of the craft to inspiring self-criticism and deeper motivation—mentors can propel an artist forward, illuminate new creative territory and serve as a guide through periods of self-doubt.
For 40 years, Maine Media has fostered relationships between emerging and established artists through its intense and immersive courses, building bonds between teachers and students that have lasted decades and spanned the globe. Maintaining their relationships long after the lessons have ended, many of our students have gone on to become masters in their own right, and now pass on their knowledge to a new generation of emerging artists.
As part of the yearlong celebration marking our 40th anniversary, we are thrilled to announce the upcoming exhibition,Mentor: 40 Photographers, 40 Years, in partnership with the Center for Maine Contemporary Art. The exhibition will feature the work of some of Maine Media’s best-known master teachers alongside the work of their students, who continue the connection with Maine Media through teaching and mentoring.
Curated by Bruce Brown and Brenton Hamilton, Mentor will be on display from July 27 to September 22, 2013 at the Center for Maine Contemporary Art here in Rockport. We hope you will join us at the opening reception on July 27, or at the alumni reception on August 10 to celebrate the spirit of creative collaboration that is at the heart of everything we do here at Maine Media.
Find out more about the Mentor Exhibit here.
Learn about my Annual Exhibit here.