Local Artist Residency - Dan Epstein

Thank you for sharing your passion here at Local! Candidly, when we first met and you mentioned showcasing your portrait photography - I was a bit concerned as never turn away an artist but cringe when the work is anything but candid and too self serving. Your work is anything but! How did you arrive at such an awesome approach?

One of my earliest mentors was the incredibly talented photographerMichael O’Neill. He taught me that when doing purely editorial portraits for magazines, the point of it was to get the subjects to reveal something about themselves that they hadn’t planned on (or in some cases, didn’t want to). So much of my current assignment work is for advertising or public relations where the mission is to make the subjects look their best, and for the image to match the image of themselves (or that of the agency) that was decided in advance. You know, present themselves as they want to be seen. The challenge I gave myself for this project was to get my subjects to reveal something true about themselves. So I made myself available during the shoot by not being hidden behind the camera, and by engaging them in a real conversation. When they’re truly engaged in the conversation, they forget about posing. As a sidebar:the “set” I’ve been using so far was inspired by a portrait of a friend that I made 50 years ago when I was a student at The School of Visual Arts in NYC. I’d always liked it, and in the back of my mind, always wanted to embrace it again. In fact one of the subjects for this project was the fella from that portrait.

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I'm sure your subjects understand this approach but do you ever hit a wall when a person will not open up? Is that when the water gun comes out?

Actually, no. Remember that everyone has been sort of pre-qualified in that they’ve been invited to participate in the project, so they know they’re being photographed, and that it’s an art project. I’ve found over the years when making any kind of portrait that it’s key to quickly establish a rapport, so I’m talking to them and engaging them from the moment they arrive. I like to think that they can tell that in this conversation, I’m really interested in them, and so they just become involved, thinking more about the conversation than the camera which is coincidentally firing.

I ask this question of our photographer artists...what do you think of the ubiquity of photography provided that cell phones now allow us to capture everything and with some degree of professional production levels? I ask this also having grown up at a time when film was precious and development took time and money.

It’s a two edged sword. While I love the idea of ordinary people documenting the meat and stuff of their lives; you know, the everyday moments that are the greater part of where and how we live, and even more significantly, what’s important to us beyond a shot of the Christmas tree, our kids on their first days of school, etc., you know, what really matters in their lives. I think that if I never see another iPhone photo of what someone has had for lunch, I’ll be ok. I think the line between the very important moments that we’d have recorded when film was precious, and the painfully mundane and pointless photographs made simply because they can be, isn’t fine at all. It’s fairly broad. A friend of mine once referred to the Selfie-Stick as “The Wand of Narcissism”.

I believe that in the midst of this sea of digital online snapshots, there will always be a place for the significant images that stand out, however they were made. If for no other reason than just because they will.

I spend a good amount of time with your images at the shop and come to appreciate all of the different gestures, facial expressions and levels of intensity. Can you recall what drove each of the respective shots?

Sorry, no. I can vouch that when I chose each frame as the one I wanted to use for each person, that frame did strike me as somewhat, I dunno, significant from the shoot. Each frame I chose, reminded me of the kind of experience I’d had with each subject during the shoot and frankly, reminded me of each subject.

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Tough question but out of the countless images that you have captured, is there possibly a favorite?

This is a really tough one. Kind of like asking a parent if they have a favorite child. I can say that “Kate” is one that I really like because I know her to be a kind of bubbly, smiley, suburban mom of 4, but in her portrait she looks like a French movie star. She’s a talented photojournalist, and she lets that serious side of her rarely seen. I’m also sentimental about “Paul” whom in his portrait appears to be sharing a secret, which, in effect he was. “Mary” was a psychiatric nurse practitioner with a doctorate who prior to her retirement did counseling. Socially, she’s a very happy person with an easy smile, but engage her in a conversation, and that incredible focussed listening that she trained to do shows up. Both “Zach” and “Phoebe” are two people I know who can give you a joke for any subject you can think of. They are both caught mid-story, though I think neither would allow themselves to be seen that way if I were behind the camera instead of next to it. I love the portrait of “Tracey” simply because she so easily slipped out of the I’m-Posing mindset. See what I mean? You could pick any one of the portraits on the wall, I’d tell you why I thought that one was my favorite. In my heart: they all are. Or I’m just that capricious.

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As a portrait photographer, where else do you find creative inspiration?

I like to cook. I always have since I was a kid. I’m not a fancy cook, I tend to stay within the realm of “family style” cooking. There’s something about the process of cooking food and then sharing it with people, breaking bread together, that’s not unlike, to me, the communal process of making photographic portraits. Likewise, I do a lot of assignments that have to do with food, and people who make it.

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Learn more about Dan here: Dan Epstein Photography

Local Art Residency: Q+A with Photographer Leslie Granda-Hill

Thank you for sharing your impactful imagery here with us at Local. The feedback has been overwhelming. Tell us what India means to you that sparked your desire to visit on several occasions and capture daily life in the second most populated country in the world?

Thank you for exhibiting my images in such a wonderful space! I appreciate the chance to show work in my community.

I’ve always loved going to diverse places and photographing the story of the human condition.  Experiencing places that are so different from how I live here in New Jersey is something I have a passion for. Seeing other people’s photographs of the colorful imagery in India was inspirational for me. I just had to go! I’ve felt this way about taking pictures in many areas of the world- Africa, Cambodia, Mexico, to name a few. India stands out for me. The combination of light and color along with the spirit of the people has me hooked.  I can’t wait to go back.

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I investigated some interesting facts about India and was surprised to learn that it is the only country never to have invaded another land. What did you learn about the people that can validate this statistic?

The people seem to be more respectful about the human condition than other cultures I’ve visited.  I know the country has many problems. The existing class structure creates vast inequities amongst themselves.  This can be so conducive for upheaval. I was there in 2016 when there was a huge financial crisis. The currency was changed overnight and the entire county was greatly affected. Fortunately I had credit cards to use, but many of the people in the villages never had a bank account and were in a difficult situation. The people of India have a respect for their neighbor and have a strong family bond. Generations of families live together. They live their lives on the streets creating a strong sense of community. I hope this doesn’t change. The internet makes our world smaller but the only way to truly understand other cultures is to experience it in person.

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Have you developed any relationships in the country? How has these relationships created a new thread of thinking about life? 

I have worked with a local guide while traveling and that is an invaluable resource for learning to navigate a wildly different culture. Together we are able to navigate congested cities and go to remote villages that would otherwise be unlikely. I am respectful of the fact that I am a foreigner from the other side of the world, yet I found the people to be welcoming and warmly curious about me. Relationships with the subjects of my pictures is quite important to me.  I’ve photographed a family in Mexico for ten years.  I’ve documented the children growing from toddlers into young adults.  It’s similar to watching your own children grow up. Developing ongoing relationships with the people I’ve met has been essential for me. I’ve become aware of other thoughts and beliefs in a way not possible if not for seeing how other people live their lives. Feeling their kindness, happiness and struggles firsthand is very rewarding. Whenever possible I send photos back to people that may never have prints of themselves.

What do you hope to accomplish, if anything, by sharing these images?

Accomplishments from an exhibit is a very tenuous thing.  It’s nice to receive recognition, yet somehow it is dwarfed by the internal satisfaction from completing a theme I’ve worked on.  The people who speak to me about my images helps validate my own thoughts, and also becomes an ongoing source of new perspectives and inspiration about my own work.  I really love when other people look at my images and see them differently than what I see.  Good photography is never one dimensional, and talking with other people about my photographs is an important part of the evolutionary process. I hope the viewer learns something and more importantly, feels something about images.

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How did you get started in photography?

I have loved capturing images as long as I can remember.  I think it was my way to become involved.  Growing up in a small town, my exposure to the world scene was pictures and television.  TV felt to fleeting for me.  Photography has a permanence that provides deeper meaning for me.  I started to take workshops to better refine my understanding of the tools for self-expression.  I took courses at ICP, the various workshops, and attended many lectures from the masters. All of these things have helped me find my own way. And of course, there is nothing more important than taking a lot of pictures. I have worked on several projects that have enriched my life immeasurably- my “Coming Home” series about wounded veterans from many wars, in particular, was life changing. I learned so much about a big part of our society and was able to photograph some true heroes.

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Photography is a quite a journey. What has your practice taught you over time?

Photography has taught me so many things.  From an aesthetic perspective, photography is a medium for self-expression. My love for the documentary genre has made me better understand the cultures around the world. My world has become both bigger and smaller simultaneously. We are all so different, and all so much the same.  Each culture has its own unique blend of special qualities and also the problems. Understanding how each culture works out continuing strife has given me a bittersweet understanding of my own environment.  Getting to know individuals from vastly different backgrounds, I can embrace the spirit that unites us all.

What's next for you in this space?

I will continue to return to India and continue to photograph different locations.  I’d like to document both the similarities and differences within the national culture.  I expect the conditions in each region will define the differences- the sea towns will differ from the interior areas- so a sequel will certainly be a possibility. But I am also considering presenting my images from Cuba. That is similarly a country with rich visual interest as well as welcoming people.

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What is your favorite coffee or tea beverage?

I like English Breakfast Tea

Learn more about Leslie here

Local Talk Series: Q+A with Mobile Photographer Marian Rubin

Marian, we're thrilled to have met you and if that wasn't enough - we have your work up at Local! The work is SO good. So much depth and emotion in every single image and frame. 

Tell us how you got started and what is it that allows you to get so much context in your images.

Hi Robert, I am delighted to meet you too and so pleased to be hanging in your shop.  ;)

I have been walking around with a camera since age 9, when my Dad gave me my first camera. I took pictures of my family, my friends, my classmates, boyfriends, and everything else along the way. I have always had a passion for photography and a fascination with humanity. It was only recently that I understood that that is just who I am. Photography has been the backdrop of my entire life, although not my career. I had a 40 year career as a social worker so you see the connection. I think I was always a social worker too. I am an inveterate observer, i.e: voyeur. I guess that’s my context. I call myself a social worker with a camera. The camera is my voice.

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You now shoot with an iPhone which is further proof for me photography is about being in the moment and having the ability to capture it. What differences have you noted in your approach with this device?

The iPhone changed everything about my photography, my perspective and my life. The major difference in my approach is that I shoot like a maniac. I shoot every single day. I shoot through the windshield of my car. No need to load film, no lenses and other equipment to schlep along; no worries about costs of film or developing, the ability to post process and share in the palm of my hand; the amazing apps available for editing my images, the availability of my device at all times (you noticed that I wear my phone, right?), and best of all, ideal for street photography and portraiture, (my favorite genres) where I can shoot and move on, with the shutter in silent mode, and no one is any the wiser. Plus, when I am noticed, people don’t take me seriously because, after all, it’s only a phone, not a real camera and everyone has a phone, right?

One of the things I immediately noted and loved was that you take the work seriously, but not yourself - which is one of my favorite personal attributes. How do you see yourself in this world where image has arguably never been so elevated in our consciousness?

This is a tough question. I have never been big on self-esteem and am fully aware of the multitudes of artists that are further advanced than I. If you look at the work of many of the other iPhoneographers you will see so much work that is simply stunning and far more sophisticated than mine. I try to judge my work by where I am and not against others. I keep trying to improve my skills but I also have a dedication to aesthetics and integrity. I am fully aware of how much I don’t know. I do enter gallery calls for art and am always kind of amazed and humbled when my work is accepted, so I know, somewhat objectively, that my works meets some kind of standard. (I also get rejections.)

Photography is a journey for the viewer and photographer. What has been your most compelling discovery since starting the process?

I think I am always amazed when people praise my work or my work is accepted into a prestigious gallery exhibition. It took a lot, initially, for me to submit my work for any review as I was so sure  it would be found “not good enough”. This has been a refrain for me throughout my life; this issue of being “not good enough”. For whom? By whom? I try hard to steer clear of that concept and I think I am my worst critic. 

As far as the viewer, I am constantly surprised by the comments that people make about my work, about how they see it and how it resonates with them. Sometimes their comments are not in alignment with my own concepts or mood. I love that!

If possible, can you identify one photo that you have taken but keep coming back to it for further introspection?

Maybe not one photo, but my images of Danny, a homeless young man, are possibly the most meaningful to me, and force me to keep asking why he is unable to make any change and why he effects me so. He touches my soul and sometimes in talking to him, I get teary-eyed. He means a great deal to me. I would like to do a book about him.

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You live here in Montclair and I have heard you mention your love for the area. What is it about this town that further fuels your passion?

I worked in Montclair when I was just out of college. I had a job here that I loved and grew very fond of this town. Perhaps it was the cultural environment, the integrated ethnicities, the upbeat and forward thinking environment. I always thought that Montclair was the most urban of the suburbs and the most sophisticated, with so many artists, musicians, theater and TV people, living here. I married and raised my children in Livingston but after my divorce, I came right back to Montclair. I felt that it was the right fit for a single woman, with access to so many cultural activities, as well as the proximity to NYC. I felt that it was the only suburb that didn’t fold up the sidewalks at night, which is very funny, since I rarely go out at night.

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What is your favorite coffee or tea beverage? 

I am a serious coffee person. I mostly drink my coffee black although I also love cappuccino. I love iced coffee, sometimes with a scoop of ice-cream, and cold brew. Coffee and dark chocolate are my life’s blood.

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Local Talk Series: Q+A with Maryanna Coleman

Your work ranges from real life to fantasy which is unique to other artists we have had at the shop. What inspiration drives your subject matter?

I love children’s books and their whimsical illustrations, as well as “realistic” paintings – of architecture, animals, nature, and more.  I try to weave a little of both styles into my paintings. 

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What artists were influential when you were honing your craft?

Ludwig Bemelmans (illustrator of the Madeline books), Caitlin McGauley, and Beatrix Potter’s whimsical styles and animals are some of my favorites!  Other influences (whether or not they show in my work) are Michael Sowa, Kathryn Freeman, Matisse, Maira Kalman, Janet Hill, Erin Armstrong, Wayne Thiebaud, Edward Gorey, Tracey Sylvester Harris, William Joyce, Erika Lee Sears, Dorothy Shain, Ashley Longshore, Cj Hendry, Donald Robertson, Pauline de Roussy de Sales, Charlie Mackesy, and many more.

 

How did you actually start your life as an artist? When did you know you had something special to share?

I’ve been making art since I was a kid, and continued to take art classes through high school.  I majored in Studio Art at Gettysburg College, and sketched/painted on the side for fun after graduation while working in “corporate” jobs.  I started an Instagram account of my art and sold a few pieces here and there – it gradually took off after that!  It’s fun to think back to locally hand-delivering some pieces, then eventually shipping internationally.  What initially started out as dog/pet portraits has evolved into wedding art (wedding scenes as gifts, invitations, etc), scenery and house/architectural portraits, and book illustrations (most recently Louise Penny’s past three books!).

 

Watercolors are such a specific art and clearly you are masterful with your approach. How did you address this particular discipline when developing your technique?

I taught myself!  I actually hadn’t “played” with watercolors since I was in grade school (or maybe early high school?).  I always worked in acrylics/oil/charcoal/drawing, but when I was in my small NYC apartment, there was next to no space for oil painting.  I started playing with watercolor when I realized it was the quickest/easiest set up/clean up, and could spend hours on something as small as 5x7” as opposed to a 5 ft canvas.  I definitely owe larger/general painting skills to my art professor from an oil painting class in Florence.

 

I see lots of animals in your show. Do you work on commissioned pieces as well?

I do!  I started with many dogs because I really wanted (and still want) one and am just drawn to them.  That developed into many commissions of pets – whether for a birthday, anniversary, wedding gift.  They always make for fun and meaningful presents.

 

My favorite is the dog in a military jacket. There's something about his posture and facial expression that is intriguing. Tell us about this piece.

My friends actually had me paint their dog in a British militia style coat for no other reason than they love history and think the dog looks British – and I love it!  He feels simultaneously refined and unsure of himself to me.

 

What does living in Montclair contribute to how you see the world through your work?

Living outside New York City gives me more space and quiet.  I am able to have both the greenery of suburbia as well as access to the buzz of NYC and Montclair.

 

What is your favorite coffee or tea beverage?

Iced coffee (or very specifically cold brew at Local!) with either almond milk or regular milk.

Thank you!

Learn more about Maryanna here:

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Local Talk - Q+A with Photographer Leah Morgan

Leah, we're so excited to show your work at Local as it captures such joyful moments and expressions of a land and culture historically known for expressing their love. For me, it's a constant reminder that it's a good day to have a good day. Please tell us why you pursued this project.

Thank you for showcasing Good Morning Jamaica! I pursued this project because I absolutely love the country. The landscape is spectacular, the food is delicious, the water is warm and crystal clear, and the people, well, their smiles are contagious and their love for life is inspiring. For me, visiting Jamaica is a time to bring balance back into my life. A time for me to slow down, in a place where I am surrounded by happy people and positives vibes. Every day in Jamaica is a good day to have a good day.

Each time I visit Jamaica, my love for the people, the landscape and the culture grows stronger. I am continuously impressed by the loving spirit of the local people, their value of hard work, and most of all, their smiles.  I am inspired to give back to the people that give me so much joy. I would love nothing more than to be able to take the proceeds from this exhibition and contribute it to the local communities. Giving back to the community is always the mission that drives my work as a social documentary photographer.

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Montclair is an interesting town where there is extreme levels of wealth but also poverty just around the corner and yet there seems to be dissatisfaction irrespective of social caste. How did you find the different classes of people vs. their general mood for the people in Jamaica?

I find the mood of Jamaicans is generally happy, no matter their class. When I ask locals how they are today, their response is usually given with a big loving smile and they say they are blessed. No matter what, rich or poor, big house or small house, showering with cold water or in a river, driving or walking to work, they feel happy and grateful to live another day.

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There is one image from this Good Morning Jamaica collection of a man standing alone along the shore but he is not looking out at the ocean. He is looking inland with hand extended. What is going on here?  

 That’s William. He's blind. Every day he walks alone, along the shore of Negril’s Seven Mile Beach with his cane in tow. He stops occasionally and puts his hand out, hoping someone will give him some spare change. I will continue to try to support him because having a disability is challenging enough, let alone in a place that doesn’t have as many resources. If you meet William, he greets you with a sweet smile and genuine gratitude, not just for the donation, but also for the time you invested in talking with him. 

 

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Your work has taken you all over the world and I can't help but ask if there was one project that has had the greatest impact on your discipline.

I studied with a National Geographic Photographer in Italy for many years. She made the greatest impact on me by teaching me how to get up close and personal with my subjects, encouraging me to step out of my comfort zone which enabled me to deepen my creativity.  She helped guide me into more of a fine arts style of shooting. I'm always looking forward to my next opportunity with her.

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A topic I've discussed with many of our Local photographers is that of digital/ cell phone photography vs. the more traditional camera. Do you have a POV for how or what is used in photography?

A few years ago, I might have said using a traditional camera was the best way to capture amazing images. But that’s not necessarily true anymore.  I believe it’s easier to approach a person with an iPhone because of its unobtrusive small size, and with today's technology, come away with stunning portraits.  Many of the images here in my exhibition were shot using my iPhone. 

  

I love that you extended your discipline into a charitable cause with Cards for Kids. Please tell us how you got started with this program and what it has meant to you.

 I started Cards for Kids after visiting and volunteering for several years at local schools in the Negril area of Jamaica. I noticed they needed so many supplies and necessities at these schools. Many of these children would arrive to class without items that we take for granted such as pencils, shoes or even food, which impacts their ability to learn properly. I simply can't allow that. It pains me to see families that are struggling to send their children to school and on top of that, worry about how their children are going to eat that day. I paired up with The Rockhouse Foundation and started donating to this amazing organization. The Rockhouse Foundation not only builds schools in impoverished areas, but they also provide the children with supplies, and most importantly, breakfast daily. 

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What's next for you and how best to stay in touch with your work?  

You can learn more about my projects through my website, leahmichelephotography.com. You can also follow me on Instagram and Facebook @leahmichelephotography.

 

What is your favorite coffee or tea beverage? 

My favorite coffee beverage is iced coffee. I love it and drink it all year long, even in the winter. Plus, I'm meticulously obsessive about how it's prepared, so I make it myself, using an old-school espresso maker. First, I make the espresso in advance and refrigerate. Then, I mix 2-3 shots with a little bit of half n half, agave sugar, and ice.  Delicious...which goes perfectly with the Granola Lab Cranberry Cashew Compound that I'm constantly picking up from Local Coffee. 

Local Talk - Q+A with Global Street Photographer Alan Holzman

What formal photography training, if any, have you had?

My parents gave me my first camera when I was 5 years old after I had my tonsils removed.  When I was in high school my dad and I built a darkroom in the cellar giving us a great opportunity to share the mutual passion of photography.   College, grad school and family had me place any serious photography on the back burner for many years.  About 5 years ago when I lost a job I really loved, in a school for emotionally disturbed kids, (I eventually earned a PhD in Clinical Social Work) I decided to turn back to photography.  Street photography helped me integrate my interest in connecting with people and and my love of making photos.  I feel I always develop a relationship with someone I photograph even it the connection only lasts a few seconds.

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I'm pretty much self taught.  I attend many lectures  on photography and have been involved in B & H's Event Space Portfolio Development program for several years.  This has helped me develop my skills considerably and also facilitated my acceptance into 3 group shows at Soho Photo Gallery in New York.  In addition, I've taken a few street photography workshops.

What camera/ cameras are your go-to for this particular discipline? 

I try to use film cameras as often as possible, however, I shoot with digital cameras as well.  My film cameras include a Yashica twin lens reflex, a Leica rangefinder and a Hasselblad.  Digitally I mostly use my Fujiflim x100t and my pocketable Ricoh GR II.

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There was a brief time when I was an aspiring photographer working on a studio in NYC and at the time, I recall the need to ‘get the shot’. Time, expense, film cost all contributed to this need. As film has moved to digital with time, expense and cost all but becoming a non-factor - are we better or worse for capturing that special shot?

I think "getting the shot" is more dependent upon the photographer than the gear.  Digital allows more flexibility and less cost no doubt, however, I find that film slows me down and forces me to pay more attention to subject matter.  I also enjoy the process of developing film.

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Images of people are very personal with the subject generally wanting to be viewed through a certain view. Who gets to decide on that view when you’re photographing someone?

When I photograph people on the street there is a combination of the subject's response and my timing.  Many of my street images, especially in India, are actually street portraits, where I ask a subject for permission and then they get to pose as they wish.  I often ask them not to smile but the rest is up to them.  I choose when to click the shutter.

We have galleries, museums and other venues like Local that aim to share artistic work with a public viewing audience. What is your favorite and/ or recommended channel for experiencing your work? 

I like seeing my images printed and hanging on a wall.  Physical images are very dear to me.  Whether in my home or a gallery or at Local, I much prefer a real, tangible photograph to a digital image on a screen.  With that said, I also find that sites like Instagram allow our work to reach a bigger audience.

What has been the most enlightening image you’ve ever captured - either at that moment of releasing the shutter or evaluating images afterwards?

I don't have one "most enlightening image."  However, photographs in which I've been able to capture emotion have the greatest impact on me.

What has been the most difficult shot to capture and why? 
You ask about the most difficult image I've ever captured. I don't have just one, but a few years ago I did a project in which I made street portraits of New York City police officers.  Initially, I was very intimidated.  Approaching  officers and asking them to pose was, at first,  quite stressful.  After some time I became more comfortable and had a really enjoyed talking with and photographing the officers of NYPD.

What do you hope comes of the public viewing your work?

I hope that people who come to Local and see my images are moved by the wonderful subjects that have become faces that I will forever remember.

What projects do you have coming up? 

Currently I'm working on a project about myself.  I'm scheduled for knee replacement surgery on January 30 and I'm attempting to document the entire process (not the surgery itself) from pre surgical visits to post surgical recovery.  

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What is your favorite coffee or tea beverage? 

Favorite coffee/tea:  I love a good cup of strong black coffee.  Also, Local makes a drink (I forget the name) with cayenne pepper that I really enjoy.  I'm also a big tea drinker.

ps. the drink is ‘Funktado’ :)

IG: @alanholzmanphoto

Inquiries: adhphd@gmail.com , Mobile: 973.985.1739

Local Talk - Interview with Local artist and Classic Man Barber Mike Lasovski

You are a barber by trade, and an amazing one - when did you know that you had a desire to capture and share your photography?
 

I've always had a passion for art, and I've been drawing ever since I can remember. I love fashion and music, and used to do styling for short films and sing in a progressive metal band.   Photography is just another creative outlet for me. I've been perusing it  for the last 3 years.    


In this age of cameras built into cellphones, do you take pictures on your phone or do you use an actual camera? If so, what type of camera?

I take pictures with my phone and make it more artistic by shooting different angles and using  effects. I use what I have for now, but would love to buy a camera in the near future to get better quality and details. 

Do you plan for time to go out and capture images or do you take photos here and there as you go throughout your day?

It is more about "capturing the moment" for me. If I see something interesting in the aspect of colors and angles or anything that I think would look good as a photograph, I'll stop what I'm doing and take a picture.

How does you full time job as a barber translate into your approach for taking photos? I know from hanging photos with you at the shop that your eye is quite good!

I am a perfectionist at my job as a barber and my clients know that! I don't like to leave out anything for the chance, and risk a haircut coming out not looking good. I see everything, every piece of hair. I treat my artwork the same way.

You are originally from Israel, how does your childhood in a different country inspire your approach to photography?

I grew up in the city of Jerusalem, a place that is very rich in history and culture. Jerusalem has spiritual energy, and that by itself inspires any creative individual. Also, growing up, I was surrounded by artistic friends (who later became musicians, fashion designers, photographers etc). Being surrounded by such people pushed me to develop the creative side in me as well. Photography has a universal language with which I can express myself.

What's next for building your photography craft? Are you seeking any type of arts + photography education?

I would love to take some additional photography classes and develop the skill further. I'd like to do more exhibits in the near future and reach a wider audience.

Tell us a bit about the photos you have shared with us @ Local.

The photographs reflect how I see the American culture. It is about my life as a barber. The pictures I have chosen have a dark vibe, capturing the spirit of Halloween 

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follow Mike on Instagram @mikey_thebaba.barber

Local Talk - Q+A with Illustrator Gina Stritch

How did you learn and hone your craft?

After fifty years, I'm still learning and honing. I'd say the best way to do anything is to just do it: sit down or stand up and draw, pencil and paper, pen and ink, computer, or whatever tool you have on hand.

Max, Aug 6, 2018 (for Robert and Adele Genovese).jpg

 

You interact with so many pets and pet parents, what has been the biggest learning for you?
 

I listen to what people say and draw the best drawing I can draw. I try not to intellectualize what I do. My philosophy is simple: draw the pet and make the owner happy, but NEVER compromise. Draw as if your drawing MUST stand the test of time. I don't aim for photo images, I aim for the best, simplest drawing I can draw. It's all about the drawing: pencil, ink, maybe a little watercolor, that's it. 

 

I've noted that pet sketches can come off extremely campy OR spot-on, with the artist being able to capture not just the image but the personality and character of the pet. Each of your sketches tells a different story and are so powerful, how do you approach each subject to extract that special something?
 

Source material: the better the photo, the better the drawing. If I get a good photo, you get a good drawing.

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Are there any particular artists that have influenced your approach?
 

Honestly, no, I'm into my sixth decade and am who I am. I don't try to be anyone else. I admire John Singer Sargent and many, mostly American artists. I admire the work ethic and business sense of Andy Warhol and I like the drawings of Al Hirschfeld, just to provide a few examples. Are they all commercial artists? Yes, but they were also extremely talented and intelligent and diligent.

 

Do you have pets, if so - tell us about them?
 

I have dozens and dozens, hundreds of pets, but they're all on paper. 

 

Tell us a bit about the images you have shared with us @ Local.
 

The drawings on the magnetic wall are all originals. Some are oil pastels and ink, (but I mostly stopped using oil pastel because it's messy and smears), and the others are watercolor and ink. Some are based on professional photos, but some are just good cell-phone photos. Some are popular breeds, some are unknown breeds. Some of my favorite drawings are mixed breeds. I used the drawings I used for a practical reason: it's what I had at hand. The drawings I don't have have been sold and the best artist is one who sells his or her work.

 

What's the best way for you to work with clients? Phone call, in-person meetings, simply sharing a photograph?
 

All I need is a good cell-phone photo emailed to me. I can work with a poor (hard copy) photo, tooand sometimes, maybe that's all a person has.

 

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Local Talk: Interview with Local featured artist Michael Stahl

Michael, we have known you for 14 years! I know this as you photographed our daughter when she was first born. What struck me then as it does now is that you absolutely love your craft. The initial consultation, the photography, the bracketing of images - the entire process. What is it about this discipline that keeps you so motivated?

Well, I've always been a darkroom rat.  I spent countless hours with my film and trays and chemicals making black and white prints.  So I just love the process of creating images.  I find it easy to stay motivated because every session is different and is nuanced in some way.  The important thing for me during a session is making it feel like the camera disappears.  In most cases that does happen as I strike up a rapport with the person in front of me. That's a special feeling.

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Alright...putting you on the spot - you have photographed countless families in the area, is there one that stands out for any particular reason? 

Nice try. But I cannot say that any ONE family stands out.  We've had memorable moments during session (newborn peeing on a dad, for example).  But we also do have families that we see over the years and it's very rewarding for us to see the children as they grow.  We've been doing this long enough to have toddlers that we've photographed come back in for a high school senior portraits.

 

Having been a photographer for 20+ years, what can you say is the greatest lesson learned thus far?  

Patience!  Of course there are days when our subjects might not be in the best mood for a portrait.  So we try to have a laid back approach in which there is plenty of time for even the most reluctant person to come around and present their true self to me.  

 

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What photographers (past or present) have been meaningful to you and why? Which should we take a moment and explore? 

Richard Avedon--I love the simplicity of his studio portraits.  George Hurrell for his dramatic images of Hollywood stars.  And I own Ansel Adams' series of technical books on creating the black and white print and of course his landscapes just stop you.  Bill Brandt broke a lot of "rules" with his edgy and stark portraits.

 

Montclair has been a geographical focus throughout your work. Why is this town so special for you?  

It's such an eclectic town so we get to meet so many interesting people, which results in interesting portraits.  We also love to do our part to support local organizations. The folks in town have really supported our efforts to help out the Food Pantry and animal rescue organizations.

 

In this world of cameras on a variety of devices, and filters to match any desired mood - how do you continue to articulate the essence of professional photography?  

I think it has to do with having a specific point of view and style.  I am flattered when people tell me that they can recognize our work.  Because style is not an app you can download or something one can copy.  It has to come from within.  But we also have to provide something that one cannot do for themselves.  That's why our focus continues to be well lit studio portraits.   

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Black and white seems to evoke quite a bit of emotion but color obviously has its purpose? How do you toggle between the two and ultimately commit to a particular direction?  

We default to black and white  That has always been my passion.  But color does have its place and we work closely with our clients to determine the direction to take.

 

What advice do you provide for someone considering a career in photography?  

Heed your passion.  Photograph things that are meaningful to you.  Seek out a mentor and look to professional organizations (PPA for example) for guidance and educational opportunities.  And don't forget that you are a businessperson, too.  Value yourself and your work and others will also.

 

Tell us something about photography that only you or a few people know. 

"I'm not photogenic" is BS.  There is something about everyone that is photogenic.

 

What is your favorite coffee or tea beverage?

Straight, strong drip with a little half and half--early and often!

 

www.portraitsbymichaelstahl.com

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