Biennale Photo Contest Jitters

It's not that I consider myself to be of the ranks of visual artists or of world press photographers, but entering a contest is something any photographer that aspires to get better should do. Why? Well, because it's an editing exercise, it's a challenge and it's rewarding if you do get exposure - and who knows, maybe even a prize?

A friend of mine told me about the Biennale Photo Contest, which is free to all applicants. I figured I needed to get my act together sooner or later, after having been shooting for just over a year now.

So, the editing exercise begins. One photo must be submitted, respecting a theme, of course, along with a artistic process (short essay form). I never thought I'd say this of my own work, but... ONLY one?

I've found there are many photographs of mine that I feel proud of or strongly about. But part of me wonders if you can really summarize one's work by one photograph? I suppose so, seeing as careers were built on unique shots - as it's often the case with Press or Celebrity/Fashion photogs.

I will keep you posted as to my Biennale adventures!

Diana Mini...Heart "Boom"

The Toy Camera Saga continues...

After a disappointing first experience with my Holga film not developping - for not having been properly set, I suspect - I wrapped up my Fisheye and Diana Mini rolls and dropped them off to be developed.

Cassandra. Shot/Diana Mini (c) M. Déziel-Hupé

Thinking I was sparing myself hassle by dropping them to a local photolab, I cost myself aggravation: I waited three weeks for films to be sent out, processed and sent back...and NOT get a call from the lab to notify me that my photos were ready. If the photolab is not professional, I take it this means you cannot expect professional customer service either. *sigh* To make matters worse, I received my half-frame photos developed in full frame!?! Say what? No wonder the package was so voluminous!

Wow. I will be shopping for a new photolab. Suggestions, anyone? That is, of course, until I take my own crash course in film development. I may swear and rant and smell like chemicals, by God, I'll know how to use a darkroom by end of June!

If you're not already wondering, my Fisheye photos are alright because of the flash. Most of them turned out fairly decently. As for my Diana photos, most were out of focus. I suppose this is a combination of novelty, absence of flash and sketchy shutter - which makes the whole plastic body shake at every shot. Hmm. Well, there's only one thing to do: load another film and go again!

For all of my toy camera successes, visit my photo blog!

8tracks: custom web radio

My boyfriend and I are social, art-loving, laid back kind of people. It just so happens that we also appreciate a wide range of music styles and discovering new ways to enjoy music is definitely a bonus.

Being a curious individual (an endearing and trying quality) and a trend-savvy Internet consumer, he naturally is a web radio user. Whenever we cook together, he instinctively puts on a new mix from a new site he's recently found. Once a fan of Grooveshark, he's been playing mixes from 8tracks, as of late.

I must say, I'm one of these people who is fascinated by technology - I am in awe of it. It's such that I feel wowed and intimidated by the wonders of the web. I don't know how to download or stream, not without major assistance, so digital piracy would probably always been way out of my league - thank goodness!

Courtesy of 8tracks - Hand Holding Mix

However, web radio is probably the ultimate pop-culture democracy. A site like 8tracks does not allow for free download or limitless skipping through playlists (and therefore consumerism) and as a social media platform, users generate the content. What better way to keep up with the trends, save money legally and boycott advertizements? It's brilliant!

I knew there was more to me liking my fella than his dancing, his charm, wit and good looks... I leave you with a cheesy hand-holding mix - quite the personal favourite, I must admit.

Moving Narratives: Contemporary Dance Meets Visual Art

(c) Mercedes Déziel-Hupé. Above: Julie Anne Ryan in Moving Narratives

I have had the pleasure of following bits of the creative process by Anik Bouvrette from Tara Luz Danse. Her collaboration with visual artist Reid McLachlan was an innovative one which gave birth to Moving Narratives. Guerilla Magazine's G-Gallery has given me the opportunity to report on this unique project. Enjoy the read and drop by the East End to see the show!

Article from G-Gallery:

Monday, March 14, 2011

Story and photo above by Mercedes Déziel-Hupé

What would happen if visual art were to meet contemporary dance? Would paintings come alive through a dancer's movement? Would dance affect our reading of a canvas? Such questions brought Ottawa choreographer Anik Bouvrette (founder of Tara Luz Danse) together with painter Reid McLachlan on a unique project marrying a fluid form of art with one typically frozen in time.
Moving Narratives debuted at the Ottawa School of Art gallery (Orleans campus) on Thursday, March 10, combining two choreographies based on an earlier Bouvrette work called Ludivine and more than twenty of McLachlan’s paintings.
“I was rehearsing in a space that exhibited Reid’s work and I fell in love,” explained Bouvrette. “I called him and explained ‘we have got to talk. It’s eerie how there are connections between our creations!’”
McLachlan’s paintings are introspective, exploring the human condition with recurring themes such as love, grief, destiny and faith. This appears clearly in the artist’s use of colour and in the facial expressions of the figures that he paints.
To echo Ludivine, Bouvrette and Tara Luz Danse created Sariana, a sister piece forged entirely within the gallery, involving the space as part of the creation. In both pieces, the dancers/sisters interact with McLachlan’s work through use of speech, the objects depicted on the canvases, and thematic use of paper.
Both sisters leave behind a trail—one a row of light bulbs, the other with writing on the floor and a paper airplane—showing kinship as well as difference. The audience appreciated humorous touches in Sariana as a marked change from the innocence of Ludivine.
Performed at opposite ends of the gallery, the choreographies created the impression that the sisters were facing each other, conversing. Music added context to the images and movement and framed the pieces. Both dancers, Jacqueline Ethier (Ludivine) and Julie Anne Ryan (Sariana) delivered poignant performances.
One quibble about Sariana: Though there was plenty of interesting movement in the piece, as a dancer and audience member, I wanted to see a bit more actual dancing.
“It is always exciting for me to engage in a choreographic process where I have the opportunity to work with artists from other disciplines,” said Bouvrette after the debut performance. “It challenges me to approach my work in a different way: in this case, I had to reflect on finding moments of connection between the characters in Reid's works with the movement and the women in Ludivine and Sariana.”
Upcoming performances of Moving Narratives are scheduled for March 19 at 3 p.m., March 26 and 7 p.m., and March 27 at 3 p.m. For more info on the show or on Ottawa School of Art visit http://www.artottawa.ca/.

In the Studio with my buddy Fred

This past week-end, Fred and I dragged ourselves to his sister's business (closed on week-ends) and took on the scary studio equipment.

I’m not quite ready to purchase a set of studio lights for myself. Fred decided to jump right in and bought some Bowens kit lights. Ready or not, I must tackle the tech-savvy genius inside me (which seems to be constantly on strike…) before I lose the edge. This would seem like a wise strategy mostly as to NOT forget any studio knowledge I may have acquired through my workshop with Harry Nowell and shadowing Gilda Furgiuele (Royale Boutique Photography).

So here we are on a sunny Sunday afternoon, inside an office space that has bright but locked windows and we are creating a space, building a set, finding a suitable background and putting the strobes together. In no time at all, the set starts looking like pros could be shooting there. Minus the soft box, the light-meter and synch flashes.

I went first.

Fred. (c) Mercedes Déziel-Hupé, 2011

Fred was my photographer client, looking for headshots for his website. That was the story anyway. I shimmied the lights around, played with the foolproof light wheels until I found a desired effect and I chatted with  my model. I improvised with props and poses. The results were surprising. I  must admit, I feel a spark of pride at the sight of my best shots. “Hey, I did that, all on my own!”

Then it was my turn to be a model.

I wonder if we are more difficult models, possibly even pickier than regular clients or if we are more easy-going as photographers in front of the lens… Somehow, I doubt that though. Could photographers be control freaks? Could it be that were are not able to withstand the sense of mystery from not looking through the viewfinder and being the subject? Or perhaps, is it that we don’t feel comfortable not being part of the creative process of a photo? In some cases, that could certainly be… My friend Alain, a fellow Pro Programmer, once told my boyfriend Scott (who was modeling with me that day)  that I “didn’t take too well to direction” -  a statement both of them found quite funny.

(c) Mercedes Déziel-Hupé, 2011

Ahem. Back to our shoot… Poor Fred; “Photoshop that. Crop there. Frame this differently. That’s not flattering at all: did you see the size of my arm? Why is there a shadow there? Maybe try this pose instead… Am I looking at you?” Regardless, Fred was patient and his results, although a very different style from mine, were quite unique. Maybe I’ll post a link to the photos he took, once they are up. One thing is for sure, it was a very constructive session for both of us.

Meanwhile, I am shooting Tara Luz Danse rehearsals at leisure and waiting on my Lomo Fisheye and Diana Mini rolls…