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Wednesday, March 16, 2011

A Need-to-Know Basis: History of the Sundance Film Festival

I'm starting a new series of stories and articles, ones that have a particular focus and energy towards either history or information, particularly in sports and entertainment. They talk about things being talked about only in "need-to-know" bases. I have decided to take some of the important people, events, and outlets that have made these things important. These are things you need to know, and I'm gonna tell you. My first one is going to be about the Sundance Film Festival.

Intro to Sundance

For much of the year, when you think of Park City in Utah you are usually thinking about great slopes, soft snow, and luxurious spas. However, for a couple of weeks in January, the peaceful getaway that is Park City is transformed into a mecca of indy filmmakers and the world's biggest stars. The movers and shakers get away from the sun and the lights of Los Angeles, New York, and everywhere else in the United States and they head out to Utah for the Sundance Film Festival. Examine the history, from the mythological start of the festival to it's meteoric rise into the elite of the film world, and the tradition that comes along with Sundance.

It Begins With an Idea

Back in the late 70's, there were two major individual leaders who led the charge to bring the Sundance Film Festival to life. The corporate side was handled by a man who held the title of Utah Film Commissioner John Earle. On the side of the filmmakers and the artistic voices was Sterling van Wagenen, a Brigham Young University Film School graduate. They, along with a group of other people who supported the cause either financially or artistically, went forward to found the U.S. Film Festival. This group of people looked to accomplish three main tasks for the state of Utah and the film industry. They wanted to bring an artistic forum where people could watch and discuss the best of American films. Also, it was an idea meant to bring more filmmakers and studios to Utah with a national event that they could host. Finally, this group also looked to get a competition that would showcase and bring forward films that were not from the Hollywood Studio systems, or independent films.

The festival begun very small. It even added the "Utah" to the name of the film festival to make sure that citizens of Utah could feel as though it was an event all their own instead of something created outside of the area and therefore not authentic to their state. By giving them that connection to the festival in the early stages, some locals were able to lend their support and to persuade others to offer their support. One key to the early development was the involvement of Utah citizen and film star Robert Redford. He became the festival's first chairman and lent some instant credibility to the festival. Early on, they also switched the festival from a traditionally warm summer season to January, the heart of the ski season in Park City, the festival's new home in 1981. This would attract a lot more film heads, if for nothing else than to watch some films and ski the slopes.

Early funding would be largely provided by the commissioner John Earle, although many other sources could be found. Some local investors put money into the event in an effort to promote growth and development in the area. Other contributions came from some wealthy contributors and sponsors from within the business looking for a festival to support and allow to compete with some of the best festivals the world had to offer. They especially wanted a festival that they could call their own version of Cannes, which had been running since 1939.

Growth in the 80's

Although having some varied success in their first few years, it was after the 1981 festival when things began to come into focus and the picture looked bleaked. The year prior, they had been able to make up a lot of the debt that had been produced by the first one, and although the move to Park City had proven successful in terms of filling a time of the year which was considered vastly dead in terms of tourism and also brought record attendance at film showings. However, that positive energy quickly faded when it was realized that although there were record numbers in the films themselves, overall attendance had dropped due to the snowstorms. They would even find themselves over $100,000 in debt after this third festival. They would garner enough support to continue the festival by getting some key in-state donors and fundraisers by the Utah Film Commission. That 1982 festival would prove the turning point because they would broaden the span of films being shown while raising the box-office numbers.

After two more festivals, they seemed to receive the critical acclaim they were hoping for, but financial dificulties continued to threaten the festival. It was then, in 1985, that the Sundance Institute decided it would be in their mutual interest to take control of the festival. The institute's purpose was to continue to bring exposure to independent films, and having a festival under its wing would be a powerful ally in that fight. Meanwhile, the Institute, a non-profit organization, could provide for people to work all year organizing and promoting the events and, of course, much needed financial support. They would double their attendance that year and begin to grow with new, edgy films and an array of international films added.

A breakout moment, not only for the festival but for a young volunteer-turned-director, seemed to bring the festival to the mainstream like it had never been before. Steven Soderbergh, who once served as a volunteer driving a ferry bus around the festival, had brought into the festival his debut film Sex, Lies, and Videotape. Not only did he win the first ever audience award, he sparked a bidding war between major studios unrivaled in film history. His success earmarked the January festival as a "must" for industry execs looking for a breakout film that would make it in the mainstream audiences.

The 90's: Growing Media and a Name Change

The early 1990 festival did not receive the accolades that the prior year received, although it did display a few good films. In 1991, however, the festival would be changed forever in a way that makes it more recognizable now in the world's perspective. Geoffrey Gilmore took the lead of the festival, and they would give it it's final and famous name; The Sundance Film Festival. Interest in independent films grew exponentially and they would in turn see, in the early 90's, the emergence of young filmmakers such as Quentin Tarantino, Richard Linklater, Kevin Smith, and Robert Rodriguez. Films began to push the envelope with its new forum, and while they produced awesome films, they were also the subject of some controversy in the industry.

As we would move later on in the decade, the influence of the Hollywood corporate system began to slowly take stronger hold of the festival. More and more, agents and lawyers were scurrying around the streets of Park City in hopes of finding that next breakthrough filmmaker. Studio heads were making their way to the event to attract films and cause stirs with bidding wars. As this growth continued, it was believed that they should move the festival back to Salt Lake City, it's original home, to house the larger crowds and the businesses. In the end, it was subdued by the building of the Eccles Center, which holds 1,300 people for a screening.

The end of the 90's would bring forth it's biggest buzz, which came in the form of The Blair Witch Project. It would breakout almost immediately, although the buzz for the movie was basically non-existant and considered very lackluster for its eventual success. It would end up bringing in $140 million domestically and would bring in more worldwide, making it the most successful independent movie of all time. It was not the only movie, however, as a movie called Go by Doug Liman, who had brought Swingersto the festival some years prior, and a German movie called Run Lola Run would intrigue festival goers.

The Future of Sundance

With the festival moving into the 21st century, they would turn away from the hype machines that the festivals embodied in the 90's and turn its attention back into the films that were there, not to the hype and the speculation surrounding them. They continue to set attendance records and have now easily cemented its place as one of the top festivals in the world, matching up to its French and Italian counterparts in Cannes and Venice, respectively. Big name stars are going back to doing independent films, bringing big-star credibility to the smaller films which have little else to draw on with the rising of the studio blockbusters. As Sundance continues to progress, as do the hopes and dreams of independent filmmakers everywhere.

Insel Hombroich: A Unique Nature & Art Preserve in Neuss, Germany

Just minutes from Düsseldorf, Germany Museum Insel Hombroich fuses architecture, art and nature on over 62 acres of meadowland. It is both a park and a museum where spaces are carefully designed so that the visitor experiences an effortless flow between structures and open air.

The inception of Insel Hombroich occurred in 1982 when Düsseldorf, Germany real estate broker Karl Heinrich Müller purchased Rosa Haus, an overgrown villa and garden built in 1816. The Rosa Haus property was bordered by the Erft River, agricultural fields and an abandoned NATO missile base. At the time, Müller was looking for new ways to present his art collection and the Rosa Haus property held that potential.

Müller's vision grew with support from local artists and architects. Landscape Architect Bernhard Korte set about restoring the old gardens and began planning minimalist landscapes. Sculptor Erwin Heerich's elemental sculptures became the design base for the gallery pavilions and artists from the Düsseldorf Academy of Art took up residence. Müller's art collection had found its home and a once neglected parcel of earth became a refuge from dense industry and urban existence.

Insel Hombroich can be seen from the highway, the train and just about every other transit pathway in the area but once within its borders the visitor is transported to tranquility, thus its "island" designation. The journey begins in a dusty, gravel parking lot hidden behind tall hedges. One unpretentious building welcomes guests, serving as the museum's entrance and bookstore. Emerging from the structure, the museumgoer wanders through a woodsy path to a steep incline fitted with stone steps. The park landscape begins to form below in a low lying water meadow and the first of Heerich's geometric pavilions appears.

What gives Insel Hombroich its presence is the constant redefining of relationships: indoor and outdoor space, art and architecture, man-made and natural. Heerich's pavilion designs are no exception. They are works of art, "walk-in" sculptures which impress the senses and change hour to hour with the sun. In turn, these works of art house the collection that inspired their creation.

Each of the fifteen pavilions holds selected works from Müller's collection. Somehow, perhaps because the grounds of Insel Hombroich are the museum, the egress in and out of the galleries is completely barrier-free: no turnstiles, no ticket check and the buildings are mostly sunlight. It is a unique way to experience works from East Asian, Mexico, Africa, Polynesia and from an impressive list of well known artists including Klimt, Matisse, Cezanne and Rembrandt. The exhibits are as direct as possible, void of even signs and captions. The unconventional presentation without air conditioning or artificial light adds to the visitor's perception of being in a protected haven for art and nature.

Heerich's designs sit in their surroundings as if they shared a long history. Near the Erft River and the Rosa Haus, structures mimic the round trunks of rare trees and open to the restored villa gardens. The "Snail" building winds around an inner courtyard that provides illumination for the artwork. The Labyrinth building, the heart of the gallery displays, is a large square building barely noticed behind high hedges. It can be accessed from four different labyrinth-like gravel paths, a nod to the English gardens of Rosa Haus.

The path and approach to each pavilion is part of the Insel Hombroich experience. Gravel paths, wooden bridges and tree canopies add to the choreography of the visitor's journey. The site invites a wide range of wildlife to enjoy between each pavilion. Herons and many other water birds shift around the meadows and fields and the Erft River banks. Wildflowers, ponds and a diverse array of trees emerge at the turn of each path and outdoor sculptures peak interest between galleries.

The museum grounds buzz with activities: talks, lectures, meetings, artists at work and recently a bee keeper. It is a dynamic community and in 1994, Müller enhanced the project further with the purchase of the neighboring NATO rocket base. The parcel added 32 acres to Müller's vision and merged the museum's existing design ideas with military relics.

The Raketenstation Hombroich came as abandoned bunkers, launch pads, earth berms, hangars and a control tower. It was not marked on any map as it served defense purposes and was used for storage of cruise missile warheads. In 1992 it became obsolete with the disarmament agreements between the NATO states and the former USSR.

Müller invited Japanese architect Tadao Ando to design the Rakentenstation's transformation to an extension of the Insel Hombroich cultural center. Some military remnants were removed such as barbed wire fences, spotlights and other security elements. The hangars, bunkers, earth berms and control tower were all renovated and became part of the overall design.

Ando created the main building with a geometric simplicity and streamlined materials of cement, steel and glass. It sits behind the main entrance flanked by curved cement acoustical walls and a sparkling reflection pool. The parcel is dotted with more of Heerich's pavilions and wildflower paths familiar to the Insel Hombroich. It differs that the pavilions house offices and studios, the grounds are open to public exploration but the buildings are in private use. The Raketenstation provides work space for artists, musicians, writers and scientists creating a vibrant arena for cultural exchange.

The Raketenstation Hombroich and the Museum Insel Hombroich became part of the Foundation Insel Hombroich in 1997 and today form the Kulturraum Hombroich: a community for art, culture, science and nature. Plans to further expand the cultural center are under way, fueled by the constant bubbling of ideas between the diverse participants. Regardless if the center expands, the Hombroich project stands today as an incredible example of land reuse and revival.

Brutal Reality Drowned in Deepa Mehta's Most Talked About Film <em>Water</em>

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This is no novel news that at the 30th International Film Festival held in Toronto, Canada, David Hamilton productions came up with the screening of “Water”, Deepa Mehta's brave exploration of India's grim, sordid past in a finely judged tale of a young Hindu girl whose life is suddenly changed by the traditions of her religion. The film is supposed to be the opening feature film of the film festival, starting on September 7.

What is remarkable to my mind about the theme of the film is that it attempts to delve deep into the Indian society of the thirties, thereby telling an inspirational tale about a girl who refuses to accept her fate and struggles against all powerful religious customs those are at odds with her and those render her a prisoner without a future. Overall, there is a mixed reaction about the film from all quarters of the world, where rejection is reported much more than acceptance.

To my mind, this is owing to the fact that Mehta tells the story with a stoic sense of outrage that turns into a growing spirit of possibility and potential. It is a pity that the film has to focus mainly on the Foreign market and International Film Festivals all around the globe, as the Indian market that thrives on feel-good commercial flicks is reportedly “appalled” and “shocked to death” by the film depicting the horrendous past of India where baseless beliefs were blindly followed and umpteen lives were painfully wasted by the Indian caste system.

Having watched the two earlier films of Deepa Mehta’s much-hyped trilogy, “Fire” and “Earth-1947” years ago, it was time for me to watch the last one, “Water”, to make my viewing full-circle. No doubt, the whole trilogy, comprising of taboo topics like lesbianism and polygamy, even in this era, is bound to rake up fire as they have challenged established moral concerns through the detailed examination of sexual and familial relationships.

This time, there was scope of unlimited challenges and controversies for the film-maker, what with the project being shelved in February 2000 due to the ruthless attack of Hindu fundamentalists angered by the sensitive subject matter. The set of the film was burned in the “holy” city of Varanas, causing over $600,000 worth of damage.

In every era, when the veil of darkness is lifted and age-old conventions and superstitions casting an evil spell in human minds are challenged, so-called aficionados of religion, by imposing nonsensical restrictions and by creating treacherously outrageous conditions in the name of power play, still make it a point to prove that they are there for humanity and they will make their presence felt, “taming the shrew” in the process.

By delaying the project for six long years, by succumbing to the hostility of the fundamentalists with the resulting tensions, and eventually being forced to shoot the film outside India (in Sri Lanka) with an entirely new casting crew, and with a somewhat altered script, even the bold director Deepa Mehta proved that the devils of the yesteryears who suppressed the voices of humanity in the name of religion, are here to stay for long.

As a result, the film has not only been shrouded in controversies, but has also quite ironically been a by-product of compromises. I pretty much remember Shabana Azmi being in news in 2000 for shaving off her hair after signing this project with Deepa Mehta. Nandita Das, the dusky, unconventional beauty was to do the bit which was later done by Lisa Ray. While both these women are pretty known in the socialite circle for their activist avatars, it is a wonder that they later backed out of the project, giving way to a totally different star-cast.

The story, set on the banks of the Ganges in Varanasi, depicts the desperate plight of widows forced to live a renounced, abandoned life, which the priest (Kulbhushan Kharbanda) portrays as “the prayashchit” of the ill the widows have committed in their previous karmic lives and also as the door to attain “liberation” after being possessed by God in the realm of death. The enigmatic, resilient widow Shakuntala (played to utmost perfection by Seema Biswas) seems to have been used to the pathetic plight she is forced into after her widowhood, but still she cannot resist the temptation of questioning the basis of all these, only to hear to obscure answers from the priest, in the name of the Hindu scriptures.

As a corollary to her silent suffering, there are widows of various ages and sizes, all living under the same roof. Though a maximum number of them are widowed in childhood, never remembering the bliss of a conjugal life, all are forced to live impoverished lives devoid of sensual pleasures. Bearing suppression for ages, the amount of pain, frustration, anger, and even a bit of lunacy are elements that make them all the more human.

It is a psychologically proven fact that suppression of human desires bring about perversion, lunacy and distorted pleasures, all of which, ironically, are shown by the existence of Madhumati (played by vamp of yesteryears, Manorama) and her accomplice, the eunuch Gulabi (played by Raghuvir Yadav). While the widows assort themselves by the ganges to listen to the religious scriptures and sanctify their souls by thinking of renunciation, a vicious game of prostitution continues from behind, as Kalyani (Lisa Ray), the gorgeous “asset” of the widow asram is set free to have her large tresses, dress up and sleep around with the “seth” secretly, prompted by the old hag Madhumati, all these in order to keep the asram “survive”.

The role of the child “Chuiya” in the film:

In the first scene of the film, the death of the so-called “husband” of Chuiya, an eight year-old kid, brings her idyllic innocence to a jolting halt. Being forced to shave off her hair, wrap her body in a piece of white cloth and left in the widow asram along with its inmates, all of whom are four to five double her age in average, the plot of the film revolves around how her life changes its course during her stay in the asram and how she is able to touch the chords of her heart with her inmates. While with her childish innocence and pranks, she befriends Kalyani, the stunning young widow (some scenes and the rain song being filmed on the two have a lyrical intensity to it), in spite of raking up fire and letting all hell break loose at times in the Asram, she affects the lives of some older widows that have been there for years.

Her role to the film is crucial from at least three perspectives: (i) reviewing the emotional conflicts of the adult widows with her pristine innocence, (ii) providing the characteristic childish innocence to the romantic aspect of the film depicted by the love between Kalyani and the idealist youth Narayan. (iii) The third perspective of the child’s presence is somewhat grim and ironical, that of child sexual abuse being secretly administered beneath the so-called sanctified framework of the existence of the widows. The child, overall, acts as the eye-opener to the hypocritical, perverse social practices being maintained under the so-called banner of religion.

The love aspect of the film:

In spite of the lyrical intensity of the songs (written by Sukhwinder, composed by A.R.Rehman) that depict forbidden love between Narayan and Kalyani, the cinematography (by Giles Nuttgens) capturing the ghats of the ganges, the outstanding background score by Mychael Danna,, the mysterious nights of Vanaras where the lovers meet secretly and profess their affections for each other, the sadistic theme of doomed star-crossed lovers prove at the end, with Kalyani’s suicide, that in a society where hypocrisy and skin-trade in the name of religion and Brahmin existence prevails, Narayan the idealist is living in a fool’s paradise, nurturing dreams of marrying a widow who had all lust for life. While the vices being offered to Kalyani secretly, at the expense of her beauty portrays a brutal truth, her tragic death highlights the fact that patriarchal social norms will have their cunning way in spite of the silent sufferings of thousands of Kalyanis.

One may question at the end, isn’t there any positive aspect at the end of the brutal truth? Remember the last scene, where the desperate Shakuntala (Seema Biswas) literally begs the fanatics swept over by the idealism and “passive resistance” of Gandhiji to handover the mentally and physically tormented child to Gandhiji? Not one of them is honest enough to listen to her pleas, and to consider the child’s identity as something other than a “doomed widow”, until the broken hearted Narayan takes her into his shelter. This proves that the big talks of shattering customs and prejudices preached by the reformers of society, uttered time and again by so-called intellectuals fall flat when the actual time arises. The writer had to ultimately take recourse to the so-called hero Narayan and rather accidental circumstances to show that there is at least a ray of hope for the shattered child.

In India, where there are around 34,000 widows (according to the 2001 census) still living impoverished, shattered lives, such a film is worth a watch, at least to acknowledge that there is a vicious reality around. However, numerous controversies, the media-hype, the news of lawsuits of plagiarism being filed by a Bengali writer (Sunil Ganguly) against the director will only create enough "masala" to deviate the audiences’ minds from the actual intention of the film and render it yet another hyped product in the film-market!

It is all the more shocking to know that even in Toronto and in some of the US cities, there exists a group of fundamentalists who have dared to offer “friendly advice” to Deepa Mehta, the film maker, suggesting to quit screening the film here because Americans and Canadians do not understand the complexities of Indian traditions! Coupled to it are the “valuable” suggestions coming up from nooks and corners of India as well as the so-called “Worldwide Indian Diaspora” who are alleging the lady about highlighting the dark side of the Indian society. They question her inability to perceive good things in India and show them on big screen.

However, these pseudo-intellectuals ought to know that mushy, goody goody love tales, sentimental family dramas and Ramgopal Verma horror flicks are not the absolute truths of the country. Having said that, one has to acknowledge that venal corruption, casteism, communal riots, female infanticide as well as exploitation of the female in all forms have become sort of ground realities in the country. It is not all about clinging to a vision of the land that might have existed hundreds of years ago. The truth on the other hand is, even today, if one visits Vanaras or for that matter, any other religious small town of India, such things do exist, though in less severity than before. In the end, all I think is that a society can move forward only when reality of plights and atrocities are accepted and a solution is sought for it. And now, it is really high time that fundamentalists of all hues and faiths, whether in India, or in the US and Canada, realize that!

Sunday, February 27, 2011

Six Tips to Help You Clean and Organize Your Photography Studio

Photo Credit: celtics baby clothes

1. Photography Studio Organization - Use good old fashion hanging files.

Believe it or not, in this digital age, the classic green hanging folder is still a great organization tool. Using manila folders to organize your photography studio's bills, invoices, and receipts is a good start. It is a lost cause however, if you don't have an organized place to put them. The hanging folder is the perfect place to put them

Don't have a filing cabinet to put the hanging folders in? Not a problem. There are several options available at your local retail store. I prefer the clear Rubbermaid bins. They are about 8 inches wide. This means they are easily stored in closets or on a bookshelf. Since photography studio space is usually valuable real estate, these smaller file boxes might be the way to go.

2. Photography Studio Organization - File your files

A great way to keep your files organized is to keep a file of all your files. What do I mean by this? Keep a piece of paper in your photography studio with all of your file folders on with their names. If the folders have sub-folders, list those too.

This will let you see if you have folders that overlap so that you can condense your folders. For example, there is no point in having studio file and a studio equipment file.

You could have this list written on a piece of paper, but that would just be one more piece of paper to file. Try keeping this record in a word or excel document. That way you have one less piece of paper in your office and you can update it much easier when you add new folders and files.

3. Photography Studio Organization - Throw things away

For some reason most photography studio owners have a fear of throwing client paperwork and photos away. There are certain things that you just don't need to hang on to. If you are a digital photographer there is no reason to hold on to basic prints. Create a varity of back-ups and toss the prints. You can always re-print them. If you aren't a digital photographer and have a traditional photography studio, invest in a scanner. This way, if you must hold on to prints for color purposes, you can scan them and toss the print.

There are some things you need to hold onto though.

Tax items are one thing you should hold onto. You should save your tax returns forever. The rest of your tax reports and receipts should be saved for no longer than six years.

Throw away papers that you don't have an immediate need for, can get a copy of easy, or that don't have any tax or legal reason to hold on to.

If you feel like you need to hold on to all your photography studios paperwork, than try scanning it all onto a portable hard drive. Then you can throw all the papers away. It will take more time than growing through all the papers away, but at least the hard drive will take up less space in your office.

You can scan model's head shots for reference later. You can scan pose ideas from magazines so you don't have clipping all over your photography studio.

4. Photography Studio Organization - "Assorted" Folders

How many other, assorted, or misc files do you have in your photography studio? You know, the folder that you put everything in that you just don't know where else to put it. That isn't organization. Odds are you can just throw it away altogether. A good rule of thumb is, if you haven't needed it or touched it in a year then toss it.

5. Photography Studio Organization - Get rid of business cards

There are so many ways to organize all your business cards, model head shots, and contact information. There are plenty of ways to get rid of it altogether as well. A simple approach is to take the business card or headshot and tape it or staple it the file folder it is associated with. At least then it is filed away instead of in a pile on your desk or in a drawer.

There are lots of gadgets out there made for scanning in business cards to your computer. If you are a digital photography studio, you probably already have a scanner, put it to good use. If you don't have the money for one of these than just take some time to enter the contact information into your electronic address book. Outlook has a great address book or you could even use your email clients address book. Anything is better than having them just laying around waiting to get lost.

6. Photography Studio Organization - Use the computer

Try using your photography studio's computer as much as possible. Use it to make your to-do lists, create address books, file documents, and more. The more you keep or put into your computer the less you have in your photography studio.

As I mentioned before, there are plenty of gadgets out there that can help you scan your files into the computer. Take advantage of them!

Daily Round Up

Photography in a Rucksack by Daily Travel Photos .::. Pius Lee

photo source

Blair Hill Photography services the Wasatch Valley areas locating between Provo to Logan Utah.

Blair Hill Photography began in the year 2000 when Blair first decided she wanted to use her camera for something other than fun. Though Blair had been taking photographs for a long time, and was very familiar with the SLR camera she owned, she was always just snapping photographs of family & friend adventures, music events, or other various events around the town. She had been published several times in her local newspaper and other various sources, but still never quite thought of the idea to go 'professional.'

When Blair decided that it was time to put her passion to work, she started to attend classes right away on her new favorite subject, so that she could learn as much as she could aside from what she already knew. She attended classes at her local community college, a local arts program, and MICA - Maryland Institute College of Art. She began developing her progressing in the field of musical/industrial photography, and developed a clientel very quickly.

To the downside of all the progress Blair had made with her work, in 2003 she moved 2000 miles across the county, which means her clients were not locals anymore. Discouraged, and looking for a refreshing moment in life, Blair took a break from her passion of photography until 2005. In 2005, Blair realized how much she missed doing what she loved most, taking pictures. She realized how much her focus of photography had changed though, and began to pursue portrait photography.

Since 2005, Blair has been an active portrait photographer in the greater Wasatch Valley in Utah. She has been complemented again and again on her wonderful work, with a repeat clientel that simply keeps growing and growing.

With astonishing photography, incomparable to any of the other local photographers here in Utah, yet still with the most amazingly affordable prices, Blair Hill Photography is completely unique, and perfect. Every day Blair is coming up with new ideas on how to make her work different, better. She is constantly attending trainings and schooling to further her educational background in photography, and to learn anything new she could possibly learn.

Her current creditinals include the following:

Anne Arundel Community College - 2001, Photography Certificate

Maryland Institute College of Art - 2002-2003 Photography Classes

Salt Lake Community College - 2006-current A.A. Photography Classes

In addition to her passion of photography, Blair has a B.S. In sociology from the University of Utah, and is currently working towards her masters in Gerontology. She hopes to one day mix her love for people and culture with her love and passion for photography.

To see Blairs work, please visit Blair Hill Photography by Clicking Here.

Saturday, February 26, 2011

Tips for Your Commercial Photography Portfolio

source,image source

A great commercial photography portfolio is your calling card in the industry, and your ticket to winning clients and landing jobs as a professional photographer. Read on to learn 3 key tips that will help make your commercial photography portfolio shine, so prepare to start getting the gigs you need to advance your career. These commercial photography portfolio tips will take your clips to the next level, so that you can scale the ladder to your dream job.

1. Offer Your Commercial Photography Portfolio In A Variety Of Formats

When you hand out your commercial photography portfolio, one of the things it is crucial to communicate to a client is that when they hire you, you will do everything you can to make his or her life easy. You want to be seen as professional and responsive, and as someone who proactively anticipates your client's needs. One great way to make this impression fast is to have your commercial photography portfolio available in a number of formats, including in print, on CD, and online, as AllArtSchools suggests. When you follow this advice and have print, digital, and virtual clips available, your first question to a client can always be "What's easiest for you?", a sentence that will be music to any prospective employer's ears.

2. Pitch Your Commercial Photography Portfolio Directly To The Job At Hand.

Instead of having one commercial photography portfolio, have several, one targeted to each kind of work you're hoping to do in your career. Have you taken some gorgeous nature images? That's great, but a client who's hiring for a fashion shoot won't care! A prospective employer will hire the person who seems most likely to do a great job on the specific project at hand, so make sure everything in the commercial photography portfolio you hand to a possible client is directly relevant to the task they'll need you to do. Try doing as PhotoCritic suggests, and put together a portfolio of just your fashion work, another that highlights your nature shots, another for photos you've taken of products, and so on for each genre you've got clips for, and are seeking work in. That way, as you move forward in applying for a variety of jobs, you'll always have your most specifically relevant work at your fingertips, ready to impress your next boss.

3. Include The Right Written Information In Your Commercial Photography Portfolio.

As Marketing For Photographers and Photography points out, you don't need to include much written information in your commercial photography portfolio. However, what you do put in can make or break a client's interest in your work. By reducing the amount of text, you help keep your prospective employer engaged with the images you're presenting, which is the goal of your commercial photography portfolio. You don't need to put forward the technical information for each picture, like your equipment choices or shutter speed, because the client only cares about your end result, not about the road you took to get the shot. You should offer a brief description of what each picture is, to provide some context, and a clean, professional, and specific title for each shot, so that it's easy for clients to reference a particular image in your commercial photography portfolio when they're in discussion with you, or with any colleagues who may be involved in making the decision to hire you.