Articles Tagged with: Mexico
Mary Ellen Mark | Oaxaca Workshop Review, Pt 2

After 14 years of shooting, I had reached a point with my photography where I felt stuck. I was rehashing ideas, relying on a standard bag of tricks, not feeling that creative spark and excitement.

My photos were becoming staid and repetitive, the locale and the people changing, the images not changing much at all.

Mary Ellen Mark’s famous Oaxaca workshop was coming up in a couple of months. This was exactly what I needed.

I needed to shake things up. There was a natural growth progression and I was not able to get to the next level. I had been operating in a vacuum which I think can be very desirable for a photographer, to not let the trends and fads and habits of my peers affect me. But I found myself without a feedback loop. There was no one but myself in my daily struggle to push me further with my images.

My Personal Goals for the Workshop

The goals I had set for myself were huge. I had been in a rut with my images and process for the past year or so. Of all things, I had the feeling of complacency and satisfaction with many of my images recently. I was very pleased with my recent images from Morocco and Napoli (though my images from Granada were a disaster). For me, satisfaction was the death of creativity, the killing of desire. I am at my best behind the camera when I am driving myself crazy, pushing things, never being satisfied, always knowing that I need to take leaps, to push, to fail and learn.

This fire, this unnerving disorder that drives me to create and push the limits for myself had been missing. I was stuck and did not know how to break free. Hopes were high for this workshop.

I had written these goals down in my journal upon first arriving in Oaxaca:

  • Produce a great body of work in Oaxaca
  • Learn as much as possible from Mary Ellen
  • Chart the path for my photo career with a fresh perspective
  • Raise the bar for my work; breakthrough to the next level
  • Break free of the stagnant creative holding pattern I have made for myself

Yeah. Pretty much: save me, goddamn it.

You can read more about the structure of Mary Ellen’s Oaxaca workshop here. This post will deconstruct my creative experience and what I learned from the workshop.

Initial Portfolio Review

The first day of the workshop is devoted to reviewing each student’s work in front of the entire class. There are a lot of students and while everyone wished for more one on one time with Mary Ellen, her critques are incisive and cutting. She was able to identify some things with my work very quickly, things that I had to write down and chew on over the next few days.

I had more experience as a working photographer than the other students but my work was not necessarily the strongest or the most striking. The quality of the work people presented was varied but the level in generally was really high.

The one noticeable thing was that my voice was more defined and articulated than the other portolios being shown. I think that this helped Mary Ellen zero in on my problem areas.

These were the points from her quick appraisal:

  • My portraits are stronger
  • I have too much noise in my street work
  • I am losing the graphic elements and strongly designed frames of my portraits in my street work
  • I need to add a 28mm to my suite of gear (I only shoot with a 35mm on the streets)

As she was going through my photos and making her selects, I had some of my own revelations:

  • My street photos have become very literal, very straightforward
  • I record and capture now more than I create, especially on the street
  • My portraits reflect me controlling a situation and creating and the result is very different
  • Because my candid street shooting has been my priority, I have been solely focused with the ability to get close to people and fire off that shot, in focus and properly exposed. In other words, speed and closeness have trumped other values
  • I have lost the lyrical, weird, quirky aesthetic to my work, qualities that I used to have years ago
  • There is a surreal, disconcerting to many of Mary Ellen’s images that I have always loved. I have never been a very strong surrealist and it is time to incorporate this quality into my work if I can

Portraits – Selects

Mary Ellen pulled these images out of the mix and were part of her final selects from my portfolio.

Cheryl, Downtown Los Angeles © Doug Kim

Cheryl, Downtown Los Angeles © Doug Kim

Lindsey; Holga, Agfa 400 © Doug Kim

Lindsey; Holga, Agfa 400 © Doug Kim



Street Shots – Selects

Talladega, NASCAR © Doug Kim

Talladega, NASCAR © Doug Kim

She liked this shot, thought the girls were cute though they were smiling which she normally hates. She admonished me to watch out when shooting wide as I had distorted their bodies in this vertical portrait.

Talladega, NASCAR © Doug Kim

Talladega, NASCAR © Doug Kim

Soweto, South Africa; Leica M6 TTL 0.58, 35mm summicron, Tri-x © Doug Kim

Soweto, South Africa; Leica M6 TTL 0.58, 35mm summicron, Tri-x © Doug Kim

Soweto, South Africa; Leica M6 TTL 0.58, 35mm summicron, Tri-x © Doug Kim

Soweto, South Africa; Leica M6 TTL 0.58, 35mm summicron, Tri-x © Doug Kim

Coney Island, August, 2009, Leica M6 TTL, 35mm summicron, Kodak Tri-X © Doug Kim

Coney Island, August, 2009, Leica M6 TTL, 35mm summicron, Kodak Tri-X © Doug Kim

Seoul, South Korea; Leica MP 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim

Seoul, South Korea; Leica MP 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim



Street Shots – Fail

There were numerous images that Mary Ellen did not like because of the noisy backgrounds. In her opinion, these images were losing their integrity because there no strong lines of composition, a quality she continually described as graphic.

Still raining, Hanoi, Vietnam; Nikon N90, 28-70mm Nikkor, Agfa APX 400, printed on Agfa 111

Still raining, Hanoi, Vietnam; Nikon N90, 28-70mm Nikkor, Agfa APX 400, printed on Agfa 111

Hanoi, Vietnam; Nikon N90, 28-70mm Nikkor, Agfa APX 400, printed on Agfa 111

Hanoi, Vietnam; Nikon N90, 28-70mm Nikkor, Agfa APX 400, printed on Agfa 111



Dead Static Images

There were dozens of images that did not make the cut during her review of my work. I realized looking at the prints scattered over the table that I had become very static in my compositions. I had moved away from dynamic angled compositions to very flat shots, framing things dead on, the subjects dead center. Kind of a Wes Anderson lock-down shot facing the background at a straight ninety degree angle. Except without the appeal of those compositions.

The centering of my subjects in the frame was also a result of being bored with the rule of thirds and sticking faces and centers of focus in corners for years and years.

This dead on centering is not necessarily a bad thing but the results for me were images that had lost their dynamism.

Toledo, Napoli; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Toledo, Napoli; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Via Salvator Rosa; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Via Salvator Rosa; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim



The Noisy Streets

I like busy street scenes, the noise of a city, a crowded frame full of life. Mary Ellen did not. I understood her point completely but I will always gravitate towards the crowded scenes.

This is a great example of a super noisy street scene, shot dead on and flat. I think it works but I do understand what she was saying.

Fuzhou Road, Shanghai, Leica M6 TTL, 35mm sumicron, Kodak Tri-X © Doug Kim

Fuzhou Road, Shanghai, Leica M6 TTL, 35mm sumicron, Kodak Tri-X © Doug Kim

 

Mary Ellen’s Tasks for Me

The charge I received from Mary Ellen was simple and was repeated almost daily to me:

  • Stop being safe
  • Put my lens in different places
  • Be bold
  • Be conscious of everything in the frame
  • Reduce the background noise
  • Compose with strong graphic elements
  • Take risks

Daily Portfolio Reviews

At the close of each day’s shooting, I would return to the Bravo Center and drop off my film, picking it up the next morning in time for that day’s review with Mary Ellen. She would review the previous day’s proof sheets and inspect the work prints.

Progress could be measured on a daily basis which was wonderful. She would pick out the successful shots, point out the shots where I had failed, look to see how I was working with a single subject over several frames.

This daily process was of enormous help. I was able to receive immediate feedback on a work in progress, then to hit the streets again to attempt to put the lessons learned into practice.

Continuing Old Tricks

I found it hard to break my habits, ingrained after so many years of shooting. I would find myself in front of a subject and framing the shot in the same way I had always done before, choosing those same fractions of a second that I had captured for years just with different subjects.

Learning how to shoot with fresh eyes was akin to learning how to change your walk. I struggled mightily. The first couple of shooting days were enormous sources of frustration. For example, I was photographing this beautiful woman and I was completely conscious that I was framing this girl exactly like I had framed every girl for the last ten years, putting her by the window, strong side lighting, strong profile shot. I quickly moved her away from the window and changed my position but the resulting shots were flat.

My early proof sheets showed the same types of images I had always created. It took several days to finally break free and only the last day of shooting was I able to really produce different images, photos that pleased both Mary Ellen and myself.

Mary Ellen’s Aesthetic vs My Own

One of the challenges and great benefits of the workshop is that Mary Ellen’s feedback is very specific and it ends up driving you to shoot more like her because the qualities she values – the surreal, well-composed, dramatic images – are the qualities of your images that she will look for you in your proof sheets.

Myself and other students remarked on this, that we were adopting these traits to try to produce images that she would approve. This was not a pejorative thing as anyone of us would have been more than happy to acquire any of these aesthetics.

It was fascinating to watch my style change in small and subtle ways over the nine days. My images were improving along the subjective lines that I always sought out and they were also improving along the Mary Ellen trajectory, becoming pale imitations of her style.

The important thing is that during the workshop, I was learning how to shoot like her without abandoning my own style. Kind of incredible.

Leprosy Patient with her Nurse, Carville, Louisianna © Mary Ellen Mark, 1990

Leprosy Patient with her Nurse, Carville, Louisianna © Mary Ellen Mark, 1990

Calcutta © Mary Ellen Mark, 1980

Calcutta © Mary Ellen Mark, 1980

 

Tomorrow, I will post the images that Mary Ellen chose for the final selects to be presented to the workshop on the final day.


Mary Ellen Mark | Oaxaca Workshop Review, Pt 1

In June 2012, I participated in Mary Ellen Mark’s legendary Oaxaca Photo Workshop, running in its sixteenth year.

My review of this workshop will be in four posts. This, the first, will detail the workshop as a whole. The second will be my personal experience, goals and results from the workshop. Then I will post the images that Mary Ellen selected, followed by the honorable mentions.

Besides a previous weekend workshop with Mary Ellen two years ago and a class when I was a college freshman, I have never received formal training or instruction. I learned photography by being on the streets, taking lessons from my contact sheets, studying the masters and of course, learning job by job.

This workshop was a chance to have the eyes and mind of a living legend focused on my work, teaching and shaping my next moves. I could not wait.

The Costs

This workshop is not cheap. In the first day or two of the workshop, I did hear people griping about the cost. And at the end of the workshop, there were no complaints. I believe that every single person in my workshop felt that they got their money’s worth if not more.

The tuition does not include anything else. Flights, accommodations, meals, etc. will have to be covered by you. This is Mexico, so the exchange rate is favorable, daily life is very affordable, and there are inexpensive but quality restaurants and hotels.

For Film Shooters

Yes, you must buy your own film before you leave for the workshop. No surprise here. But you must also buy negative sleeves and photo paper for your contact sheets and work prints.

I brought 50 rolls of film. On a normal 7 – 8 day trip for me, I normally expose 20 – 30 rolls of film. I thought these 50 rolls of Tri-X would suffice but I ended up exposing all but the last roll of film and could have easily shot more than I did. For the next workshop, 75 rolls would be in order.

I also purchased a box of 100 sheets of Ilford photo paper and this barely covered my needs. You need paper for contact sheets and work prints, you will also need to have prints made for the families and subjects that you have photographed. This is not only good manners and a requirement by Mary Ellen, but returning to a subject with darkroom prints can go a long way towards helping establish trust with the people that you are shooting.

Towards the end of the workshop, I gained a huge appreciation of Fausto, the darkroom printer at the Alvarez Bravo Center. There were numerous images I had printed out for my own purposes, images not chosen by Mary Ellen but images that I wanted to see printed.

The costs of B&W film processing and developing and darkroom prints were much lower than film labs in the states, especially the ones in Manhattan. You will get a bill at the end of the workshop from the lab that may be shocking. When you are in the middle of the workshop, you can get caught up in the desire to see work prints and to take advantage of Fausto’s great touch.

For Digital Shooters

The prices of the main lab that was used by the digital shooters was also very affordable compared to US labs and I saw some quality prints. Since I did not use the digital lab, I do not know what the prices were but I think it was similar to the film lab in that the prices were cheaper than the states.

The Structure of the Workshop

Over the ten days in Oaxaca, eight days were to be spent shooting, with the ninth day a shooting day for those who needed or requested it.

Day 0 – First Group Dinner

The workshop is kicked off with an informal dinner with the whole group, including Mary Ellen and her great team of assistants. It was a great way to meet your fellow shooters, chat with Mary Ellen, and eat some great Oaxacan cuisine. You will leave stuffed, maybe a little tipsy from the Mescal, and motivated to get out and start shooting.

One of the many group dinners at the Mary Ellen Mark Oaxaca Workshop © Doug Kim

One of the many group dinners at the Mary Ellen Mark Oaxaca Workshop © Doug Kim

Day 1 – Portfolio Review

The first official day was spent at the gorgeous art institute outside of Oaxaca, the Centro de las Artes de San Agustín. For the July 2012 workshop, there were 18 students which meant for a long day and critique fatigue set in for everyone towards the end.

Each student spreads out their work and Mary Ellen makes her selects, commenting on the prints, asking questions. What do you do, what do you want to do, where are you now, where do you want to be, where do you want to go. Other students will chime in with their opinions and suggestions.

It is a good critique though we all would have liked more time with Mary Ellen on a one-to-one basis. But Mary Ellen’s critique is tight and focused. Based on your work and what you would like to tackle as a goal during the workshop, Mary Ellen will confer with her staff and suggest projects and subjects for you to shoot during your stay.

Portfolio review; Mary Ellen Mark Oaxaca Workshop © Doug Kim

The first day of the workshop, reviewing everyone’s portfolios ;Portfolio review; Mary Ellen Mark Oaxaca Workshop © Doug Kim

The group then heads to a local restaurant for lunch.

Days 2 – 9

These are shooting days and make up the meat of the workshop. Every student has a set time to meet with Mary Ellen for a critique of the previous day’s work. For film shooters, this means bringing the contact sheets and work prints. For digital shooters, this means editing the previous days images down to 150 or less and bringing work prints from the digital lab. Film shooters can expose up to five rolls a day on average.

Whichever project, subject or theme you have chosen, Mary Ellen’s excellent staff will help coordinate transportation and fixers for you. Whether shooting in a school for children with Down’s Syndrome, a slaughterhouse, or impoverished families that work at a local garbage dump, the workshop staff will set you up and provide everything you need to gain access to these people and their stories.

This is also southern Mexico, so do not be surprised if things run a little late or a scheduled event does not take place.

Every day, film must be dropped off by a certain time, digital files dropped off at the lab, to be printed out for the following day’s meeting with Mary Ellen.

Each evening, a short event is planned for the students. It might be a presentation of Mary Ellen’s work or that of great Oaxacan photographers, watching films, or visiting art galleries. A group dinner follows at a a local restaurant. Attendance is not mandatory but it is nice to review the days challenges and success with the other students. Head to a bar afterwards for some Mescal after dinner and hang out with some locals. There is a great bar scene and plenty of expats to chat up.

One of the best bars / venues is Café Central but I did not get a chance to check it out.

Day 10

The final day of the workshop, this is where all the work by each photographer is presented for the first time to the whole class. Up to this point, no one has seen anyone else’s work the entire time.

Selects are made by Mary Ellen with lots of healthy opinions from the other shooters. Mary Ellen’s appraisal of the shooters progress and creations during the workshop are offered.

The final images are selected which will be included in a book which students can order online afterwards.

There is a final dinner for the workshop that night closing out the experience with food and drinks. It’s a great time to close out the workshop, celebrate with new friends and get buzzed to help with the packing that awaits.

Zocaolo, Oaxaca © Doug Kim

Zocaolo, Oaxaca © Doug Kim

Shooting

Photographing in any new locale and foreign city always presents new challenges and opportunities. With the mandate set by Mary Ellen and the charge she will give you creatively, you will find yourself richly rewarded and challenged

The Range of Subjects to Shoot

This is a list of the themes and subjects that were available to choose from during the workshop
  • Old age home
  • Ballet school
  • Boxing gym
  • Funerals
  • Weddings
  • Bus station
  • Tattoo convention
  • Lucha Libre (Mexican wrestling)
  • Orphanage
  • Special needs school for children with Down’s Syndrome
  • Municipal garbage dump (and the families that work there as salvagers)
  • Hospitals
  • Livestock auctions
  • Rodeo
  • Slaughterhouse
  • Local families in nearby villages
  • Street shooting in Oaxaca
  • Street shooting in the Zocalo

As you can see, there was no shortage of topics to choose from during my time there.

Shooting a Subject Repeatedly for the Workshop

Mary Ellen will ask you to pick a theme and to stick with it for the majority of the workshop. This works against the method of street shooting that I have developed over the years which is a catch as catch can style, shooting fast and quick and not spending that much time with the subjects. Internally, I had trouble with this, spending several sessions with people, but towards the end, I repeatedly visited a family in an outlying village with outstanding results.

For example, I had photographed the slaughterhouse one early morning and after 50 minutes, I felt I had covered it and that I was finished. I did not return to the slaughterhouse, feeling that there was really nothing more for me to see. At the end of the workshop when everyone’s work is finally displayed, I saw this one woman who had visited the slaughterhouse five days in a row. Her images were absolutely stunning, some of the strongest work of the entire workshop. Doors had opened up for her on her successive visits as the workers in the slaughterhouse grew accustomed to her. She also brought prints the following days to show what she was doing.

Lesson learned.

Speaking Spanish and the Locals

I do not speak Spanish at all and when you leave the hotels and restaurants and touristy areas, you will find fewer and fewer English speakers. The locals are extremely open and friendly, much less jaded than you would find in any major city or in comparison with the northern border areas of Mexico. I am used to navigating situations and personalities without speaking the language and in the area in and around Oaxaca, interfacing with the locals was easy.

If needed or requested, you can have a local fixer tag along with you on your shoots to translate and help wrangle the subjects, but you will have to pay for the service.

Street Shooting

Street shooting can be tough in the city of Oaxaca if you are trying to photograph candids without asking for permission. As there are many tourists in the city itself, people are very camera conscious and wary. However, asking outright for permission to shoot people is a much easier situation that most cities that I’ve visited.

Mary Ellen will also give each student a letter written in Spanish and signed by her, explaining that you are a photography student and are shooting in Oaxaca.

I experienced very few issues. When people give you an outright no, just move onto someone else that is open for a quick portrait.

Zocalo, Oaxaca © Doug Kim

In the main square of Oaxaca, the Zocaolo, every day there will be something surprising happening; Zocalo, Oaxaca © Doug Kim


Other Tips and Thoughts

Just some other tidbits and miscellany.

Flying with Film & Photo Paper

If you are connecting in Mexico City, your carry-on bags will be scanned again. I had some difficulty with my film though I had done my usual job of placing it in ziploc bags, clearly labeled. After a fair amount of explaining and showing them examples of my work (always carry a business card and some work examples if you can), I was able to get through security without having my film scanned.

The box of photo paper, however, was not as lucky but I decided to pick my battles and it was hard enough to get past the X-Ray machine as it was. If there was damage to the paper, I did not notice it in the prints or the proof sheets

For those flying straight to Oaxaca with film, there will no such issues.

The Portrait

One of the most amazing things about the workshop is the fact that, unannounced in all of the program’s literature, is that Mary Ellen will be shooting a portrait of you for the resulting book. For me, this is worth the price of admission alone. She is a living legend and a hero. To sit before her lens was an unimagined treat.

My Oaxaca Workshop Portrait by Mary Ellen Mark © Mary Ellen Mark

My Oaxaca Workshop Portrait by Mary Ellen Mark © Mary Ellen Mark`


The Staff

Mary Ellen surrounds herself with a group of young Mexican photographers that help coordinate and manage the workshop. They do a wonderful job and all are artists, so they can relate to you and your work or struggles. Several of them live in the states and some live in Oaxaca.

They will be willing to help you at any time of day with taxis, suggestions or to help coordinate a shoot.

Art Galleries

There is a vibrant artist community in Oaxaca and the city has many great galleries from the high end upscale to the low brow hipster offerings. Definitely make some time to visit these galleries and you will find also that you may even get to meet some of the local artists.

Shopping

In addition to the art for sale in Oaxaca and all of the traditional crafts, including the Day of the Dead dolls, do not leave Oaxaca without checking out some of their famous textiles and of course, the chocolate, the source of the seven varieties of Oaxacan mole sauce.

Camera Stores

Amazingly, Oaxaca must have more photo labs and camera gear stores per capita than any city I have traveled to. I did not need to make any emergency purposes but it was good to know that gear was available just in case.

Conclusion

This workshop is expensive. It is an eleven or twelve day trip and adding on the cost of the workshop and all the other expenses that you will incur on a daily basis makes for pricey trip. So, was it worth it? Absolutely.

Regardless of what your experience or skill level is at, if you are a working photographer or someone who just bought a camera, you will gain so much out of this workshop. For some of us students, this was a lot of money and out of the 18 students in attendance, every single one of them had an amazing time and there was not a single regret voiced. A few students have taken the workshop several times, with one woman making her sixth appearance. Some of the new students also signed up for Mary Ellen’s Iceland workshop which immediately followed.

Go. The math is simple: you will not regret it, but you will always regret not attending.

Go.