Nico Nordstrom

I first met Nico Nordstrom when she interviewed me for a video that a professor started recording at a group show that I was part of. I knew who she was of course. After that interview (that we actually never saw) I added her on facebook, so our friendship became official. We later had our thesis class at the same time and I loved having her in it. She was aways giving great advice on making our work stronger, and if you ever had a question about anything technical or conceptual she was great to talk to. Always willing to help you with a big smile. 

Nico Nordstrom is always working, always scheduling photoshoots, planning every little detail from the concept to the costumes, location, set designs, and lighting. She is the full package and the real deal.  She has been featured in Vogue Italia, Flickr, and Yahoo. She is one of the most talented and hardworking people I know and you should too. But I'll stop blabbing and I'll let you read her interview! Enjoy!

Tell me a little bit about yourself.

I’m a 23 year old photography student living in Austin while attending Texas State University. I’m a photographer, oil painter, pianist, and businesswoman. Most of my days are spent behind a computer screen, camera, sewing machine, or out adventuring for new locations to shoot in. I’ve been an artist and art history nerd all my life, and feel incredibly fortunate to call what I do “work”.

When did you realize you wanted to be a photographer?

I always knew that I wanted to be an artist, and I first became interested in photography when I was around 5 or 6. I would set up elaborate scenes with my Barbies and steal lamps from around the house to use as hot lights, and using a 35mm camera I’d have little “photoshoots” with them. My mom taught me how to sew, and I would design and sew little outfits for them to shoot with. Between then and high school I continued to learn about and experiment with art and photography.  So once I got older, it just felt like something that I needed to do – like the need to come up for air while swimming, it felt natural and driven. I took my first darkroom photo class freshmen year of high school, and fell in love. I’d go to school early and stay late just so I could stay in the darkroom and work - I knew then that this was definitely something that I was going to do for the rest of my life.

What type of photography do you do and where do you find the inspiration for your work?

I do conceptual portrait photography that blends elements of fine art, fashion, and painterly techniques together. I know it’s cliché to say, but I do my best to find inspiration everywhere. Whether it’s in music, poetry, art history, nature, fashion, cinema, or just thinking of obscure things. I try and make it a priority to find inspiration in the world around me, rather than in other’s work though – I’ve discovered that nothing leads to a lack of passion faster than trying to emulate someone or comparing yourself to them.  So, alternatively, I just try and appreciate how beautiful the world is (or could be) and incorporate that into my photography.

Do you like to shoot more film or digital?

Ahh that’s a difficult question! While in the midst of the craziness of shooting, I’d choose digital – just because it’s so reassuring to see what you’ve shot while you’re shooting it, and I don’t have to worry about cost per shots like with film. But once all is said and done, when I compare the digital vs. film shots, film always wins– there’s just a certain magic in the way medium format film and equipment behaves.

What equipment do you use?

My go to equipment is my Nikon D810 with an 85mm lens when shooting with digital. As far as film goes, I shoot with a Hasselblad 500CM with an 80mm lens and Kodak Portra 400 film. Also, just for fun I enjoy shooting Polaroids – I have a Polaroid 220 Land Camera, and a Polaroid SX-70. I also use Elinchrom strobes, usually paired with a large Octabox, and synced with PocketWizards (partially because PocketWizards are great, and partially because my team and I enjoy asking “Has anybody seen the Wizards?” in English accents while on set).

Can you tell us a little bit about your process?

Typically I start knowing that I want to create an image, so I take my sketchbook and write down lists of things that I’m inspired by – then I break it down from there and build the picture up from the list. It’s either very methodical like that, or I’ll think of a small thing I’m inspired by and instantly know exactly what picture to make. After I know the exact picture, I sketch it out so that I can start collecting my resources and build up a team. From there I contact models, makeup artists, assistants, and either design and sew the costume myself or reach out to a designer. Despite typically working with a team, (when I’m working on personal projects) I make all the executive decisions about the content of the final shots down to the most minute detail. By myself or with my team, we build props and costumes on a shoestring budget, usually fueled by espresso and wine. Shoots can take anywhere from 2 – 16 hours, and can be as small as just the model and myself, or as large as a 14 person team. After the shoot, I typically take 3+ hours of editing per photo to sculpt out depth, color tone, remove distractions, and add different effects.

You usually have a team helping you out in photo shoots. What is the hardest part about working with other people?

There are little to no downsides to working with a team actually. Being surrounded with like-minded, passionate, fun, and brilliant people makes the process that much more amazing. We laugh, cry, hustle, and collect injuries together (darn you, hot glue gun!). I guess the hardest part though is making sure that everyone’s vision meshes and matches, and that they’re happy with their role and contribution to the shoot. We can all become unsure sometimes, or really stuck on one idea that might not be the best, or just become overwhelmed by the amount of work that needs to be done. In the end though, it’s always worked out, and there are hugs and smiles all around.

What are you working on right now?

I’m working on so many things! Right now I’m wrapping up editing for an ad campaign I did for the F/W 2014 season for a hair salon/Aveda based in Houston (they were recently featured in Allure Magazine!). I’m also working on a massive super secret series with a very talented team of ladies; we’ve done 2/6 shoots thus far, and they’ve been some of the biggest and most elaborate that I’ve worked on. I have a few smaller shoots scattered in between to help keep my sanity and have fun, as well as a very exciting series of photos in the works with a Houston based fashion designer, that will be shot late November between myself and a photographer friend. In addition to these, I have some client work that I’m in the midst of, some that’s more commercial based than fine art based, and some commissioned shoots.

Your schedule is always so full and busy with different projects, can you give any advice on how to learn to organize your time?

Sometimes I think I might be working on too many things, I’m just never one to say “no” to an exciting opportunity. I’d rather be overworked for a little bit while planting seeds of opportunities - stress lasts for a little bit, but networking, photos, and connections last as long as you want them to. I’d say very meticulous organization and synchronization are key. I have everything in my calendar that is synced through my laptop, iPad, and phone so I’m never left unprepared. I also have lists in my sketchbook and on my desk of shoots that are upcoming, ones I need to plan, and ones I need to edit with the deadlines next to it. In addition to this, I have very detailed lists of each photo shoot that is in the works in a document on my laptop so that I’m not responsible for remembering any sort of details or concepts (I’ve learned the hard way that I will without a doubt forget everything unless it’s written down). So since I have it all broken down and organized, I have to do lists in my calendar of what I need to accomplish each day. Again, if I left myself to my own devices of “Oh, I’m sure I’ll remember that!” I can guarantee it will never get done, and the day will turn from productivity to watching Netflix with my cat.

If you guys want to keep following her work and her process, follow her on facebook and instagram and check out her website and flickr page.

Charlie Kitchen

You might be wondering why I am interviewing all these amazing people? Well, for me it’s a way to keep in touch, make new friends, and see what people are doing. I’ve always been inspired by people around. Each critique would be fascinating, listening to my peers talk with so much passion about their interest; explaining their process and seeing the progression of their evolving work.

Charlie Kitchen is one of my former peers at Texas State that I thought of right away when this process began. I barely got to know Charlie last year, but I was fortunate to have him in my thesis class. Charlie was always quiet and attentive but whenever he voiced opinions people would pay attention. I admire Charlie for being well spoken, which is something I feel at times lack.

He’s work is like nothing I’ve seen before. I think of Charlie as a young soul with the vision of an old one. His wondering eye and need to play with his medium captures a childlike essence that’s just as visually interesting as the idea behind it.

So I’ll stop babbling and let you see how amazing, talented, and interesting Charlie Kitchen is. 

Tell me a little bit about yourself. 

My name is Charlie Kitchen. I was born and raised in San Antonio, then attended undergrad at Texas State. I graduated earlier this spring, and now I'm back in San Antonio. 

Why did you decide to get a BFA in Photography? 

Photography was actually my third choice after mass communication and communication design. I quickly became dissatisfied with my previous majors, and finally chose photography. I had been shooting photos since I was a freshman in high school, so I felt the hobby consumed a large enough portion of my life to be a considered a possible career. I felt I could relate to my classmates much easier than I could in the other programs I tried out. Anyway, once I got a year or so into the program, photography really began to expose itself. Learning from Jason, Barry, Ben, Ricky, and whoever else I'm forgetting, had a profound effect on the way I perceive photography, as did sharing ideas with other dedicated classmates. 

What type of photography do you do and where do you find the inspiration for your work? 

My work has been all over the place, but one area I don't usually find myself working in is "straight" photography, unless it's for personal use to on road/camping trips. I enjoy using photography as a medium to construct a piece rather than as a recording device. If I were to generalize, I tend to lean towards alternative methods of making photographs. Much of the inspiration comes from artists like as Jessica Eaton and Hannah Whitaker, who experiment with analog processes. Also my professors at Texas State had a profound impact on the way I perceive photography. Now, I'm driven by the act of expanding the possibilities of the medium. But, I also shoot skateboarding and whatever else comes along. 

Do you like to shoot more film or digital? 

Ideally, I would prefer to always use film, but time and materials don't always allow. Digital is fine too, but doesn't feel as meaningful when I use it for a project. I think it's because I know, for the most part, the scientific process of exposing and processing a piece of film. Developing the film allows for a great deal of experimentation, which seems supportive to my work, but troublesome at times. Digital feels a less valuable to me, since it offers an endlessly expendable supply of images. That's not to say that I look down on digital, but film presents me with much more possibility, if I have money. Digital photography is intimidating in my opinion, since I don't understand the technology completely. If I were a computer scientist who understood the process, I would always use digital because I could easily manipulate it, but I am not. So film. 

What equipment do you use? 

It depends on the project. Right now I am using a 4x5 camera equipped with masks that expose certain pieces of the film. I prefer black and white film for this project as a way to abstract and flatten the image, which I am already doing by layering different images. And of course, with black and white film comes all the equipment needed to process the film, such as canisters, chemicals, darkroom, scanner, etc. Other projects, such as my Annihilation of Time and Space series, require the use of digital, since shooting and scanning 360 negatives would be an insane amount of work. In previous projects I have used a Bronica SQ-A, a square format 120 camera. I sometimes use the Bronny to shoot skateboarding. I also have two 35mm cameras for snapshots. 

Can you tell us a little bit about your process? 

I find myself attracted to alternatives forms of using photography. Indulging myself in this attraction, I try to focus on the use of 4x5 film, which is about as rudimentary as you can get with the photography the world knows and uses today. Much of the manipulation of the photograph is done in-camera in an attempt to preserve as much integrity of the procedure as photography. The great thing about using a 4x5 is its flexibility, which opens up a vast arena for me to manipulate exactly what I want. My drive at the moment is the investigation of the many paradoxes offered by photography. Now, with photography at it's most ubiquitous state, the development of photographic technology keeps the public confined to track of limited possibility. I find it relieving to branch off into unexplored terrain. In the physical world, I 
find myself drawn to areas that few or no people have been, and this tendency is reflected in my thought process while making work. 

What are you working on right now?

The current project I'm working on deals with merging different photographs to create a multi perspective viewing experience. I began this as a way to explore the possiblities of a 4x5 camera, but I have also played with a digital method that produces simlar results. The process resembles that of a lenticular image, but without the closure of two fully recognizable images. Instead, the images are merged in such a way that allows the viewer to interpret each image individually, filling in the blanks where the other image is exposed. A completely different viewing experience is offered when viewing the image as whole. This distortion of photography's ability to flawlessly record and convey information is the paradox that underlies this project. Some of the pieces I've made so far offer a seemingly three-dimensional appearance, but are, of course, only two-dimensional images. This method can also speak about time and objectivity, both inherent qualities of photography which I intend to explore in the coming projects.

If you loved Charlie's work and want to check his other stuff out go visit his website, you won't be disappointed.

You can also follow him on instagram @charliekitchen

Taylor Williams

Today, I am very excited to introduce you to another good friend of mine. Taylor Williams and I met about two years ago at Texas State. We where both photo majors, I just knew him as the guy that was always around working. I always admired his dedication. We didn't really talk until I got more involved with Middle Grey the Photography Association at Texas State. 

Taylor Williams is 50% of what he appears to be. He is very smart and talented, which you can notice right away from his outspoken nature and well made points. He is also one of the kindest individuals once you really know him.  (If you have read this post about the making of my thesis, I mentioned him as one of the people that helped me make it possible.)

Taylor has always been extremely helpful. Whenever I had a question, he had answers, and if he didn't have an answer he would look for them. He helped me built walls and when I needed a fashionable urban lumberjack look he was more than happy to pose. 

I met Taylor during my first thesis class, where I had the opportunity to hear him talk during our discussions. He's always have a lot to say and doesn't hold back, which is very refreshing. I admired the way Taylor communicates and expresses when talking about his work; he always gets your attention and makes you want to know more. So here is a little bit about him and what he's been doing recently.

Tell us a little bit about yourself. 

My name is Taylor Covey Williams, born 1990 in L.A. relocated to Austin in 1997 where I grew up. Currently based in Detroit, MI.

You graduated with a BFA in Photography, but you also work in other mediums. What are they? 

I sketch a lot in ball point pen, make large scale drawings in India Ink. I also make paintings and installations with found objects. 

You do a lot of Alternative Processes. What do you like about it?

I like alternative photographic processes because I can focus less on accurate representation of reality and more on the materials and their chemical properties. Making work this way is more interesting to me because the outcome is more random and exciting. 

Your work is very explorative. What is it that you explore in your work? Explain your thinking process when approaching a new project. 

I make things to better understand their properties. Most everything I work on whether it is photo based or a drawing or a painting, I work on it with the idea that I truly just want to see what something that I've never seen before and I want to learn something while in the process of making it. I also like to try and engage the viewer in a way that at least pushes them to start asking questions and hopefully start investigating something of their own. 

You are from California, lived in Texas and you just just moved to Detroit, Michigan. How is the art scene over there compared to Texas or California?

Detroit is a do it your self city. It is a small community in a very large geographical area which makes for a spread out scattered of mostly smaller pop up galleries. But of course there still a couple of big time galleries like Library Street Collective located in the down town area and Detroit Institute of Arts is an amazing resource as the largest museum in the city. Cranbrook and University of Michigan are also have great museums on there campus and are close by in neighboring cities. The best part about living in Detroit as an artist is the ability to do anything you want to do. If you have an idea you can find someone to help you with anything you need. 

What differences have you seen between Texas and Michigan in the art scene?

The scene in Texas, believe it or not, is a little less wholesome. Living in Detroit is not easy, there are harsh winters, no jobs and of course everyone knows how broke the city is. These things have brought the community closer than any community I have ever been apart of. Everyone shares here and everyone is interested in each other and what they are doing. My experience in Austin was shallow in that I felt like there was a crowd of respected people and I wasn’t apart of it. Also most of the gallery openings were more about what you were wearing and how much free beer you could chug before taking off to the next spot to chill. That being said Texas will always have a place in my heart. I would definitely not be where I am today without the professors I had at Texas State. 

What are you working on right now?

I am working on a series of Chemograms, which are an alternative photographic process which involves simultaneously exposing and developing dark room paper. The process was coined by a chemist named Pierre Cordier. I am also doing some large scale geometric drawings/paintings that focus on the idea of space and shapes distorting depth perception. Both of these projects will be displayed in a show shortly following a residency program I am participating in at Gallery 555 in southwest Detroit.

If you want to check out more of his work check out his website here. To see his process work and random photos of his life in Detroit follow him at @_quotidian on instagram.