It's hard to believe, but it's been nearly a year since my ebook, Close to Home: Finding Great Photographs in Your Own Back Yard was published by Craft & Vision, I've been amazed by the response I've gotten from readers all over the world. Many of you have taken its message to heart and looked deeper into the places where you live to make some pretty cool photographs. (Check out the Close to Home Flickr group for some fantastic photographs made close to these photographers' homes.) I'm sincerely gratified that so many of you have found the book to be useful and inspiring. You have my heartfelt thanks for that. I've also had several folks ask me about how they can learn more about how to find extraordinary photographs in the familiar and seemingly mundane places where we live. Well, I'm happy to announce that now you can. I've partnered with photographer Ray Ketcham in Port Townsend, Washington to present the first Close to Home Photography Workshop, September 29 - October 1, 2011.

Close to Home Workshop in Port Townsend, Washington

Ray is a great photographer and teacher, and spends a lot of time working with his students to get them to slow down and pay attention to their world, and to show others how they feel about it. He is also the founder and Editor-in-Chief of Rear Curtain, a thought-provoking web site about photographic storytelling. I'm thrilled to have Ray join me in his home town.

As many of you know, I visited Port Townsend recently for the Artists' Round Table and I have to say, it's pretty amazing and a great place to kick off what I hope will be a series of these workshops. Port Townsend, or just "PT" as it's known locally, is an enclave of artists, musicians, performers, and writers and you can feel yourself relaxing your pace as soon as you arrive. You'll start to slow down a bit and pay closer attention to your photography and how much it's a part of your life. In this small harbor town, we'll spend two and a half days exploring, working through exercises, and tackling your own individual assignments to help you see more clearly and creatively.

So, if you're interested in joining Ray and me for two and a half days of slowing down and looking deeper into your photographic creativity, then head on over to the Close to Home Workshops web site to find out more and to register for the Port Townsend workshop.

I'd really love to see you there.

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AuthorStuart

  Reach

If you know me at all, you know I like to try to be clever. My first instinct for this post was to create a clever title, throw in a few clever turns of phrase and make you laugh a little and think "how clever." But I don't want to. Not about this.

So I'm going to tell you the truth.

I went into this long weekend feeling that something was wrong. Despite my recent photographic successes, things felt a little hollow; a little false. I had no idea why, but I had a feeling coming to ART could help, although my participation was a last minute thing. I had really wanted to come and I didn't think it would work out, but in the end, a few things in my life rearranged themselves and I found that I had the time. To say that I'm glad I did would be vastly understating what happened here.

From the beginning, I knew this was something special. Of course, I know Ray and Sabrina pretty well, and I also knew that they would do their best to make sure everyone came away with what they needed. Not what they needed to hear, necessarily, but what each of us needed to take the next step in this journey. (More on that in a bit.)

I also knew the other participants electronically, through Twitter mostly, and I was eager to meet them. I felt it would be an interesting mix of people and I thought they would be some very strong voices at the round table. I was also right about that. The work we did together over three days was clear and strong and purposeful. The contributions from Sabrina, Ray, and our guest presenters stimulated a lot of thought and created fascinating discussions about recognizing our individual voices and expressing that in our art.

But it was the conversation that trumped it all. It started the first day and never let up. It was clear and honest and empathetic. It made us think and reflect and even cry. We turned to each other to help each other find not only our photographic voice, but perhaps even our life's direction and to discover the work it would take to fulfill it—even if for some of us, that work ultimately might not be photography. This was not a workshop, but a revelation.

For me personally, all of it came to a rather dramatic climax at dinner Saturday night. It was one of our final chances to talk about all of the things we'd experienced during the weekend and I knew was still fighting something. I listened and watched and talked for three days about photography and art, and I felt I was creeping closer to an answer. There was something trying to get through, but I still couldn't identify it.

All week, several folks—especially Ray—had been telling me that they thought I had been making "other people's photographs." In other words, my voice was being obscured by my influences. I was reinterpreting photographs I had seen others make, thinking they were my own. I was not making photographs that said what I wanted to say and that reflected what I wanted to do and what I wanted to give to the world.

To be honest, I didn't believe it. I was still on the defensive about it and I thought it was a bit of much ado about nothing. Then I had dinner with Anita, Ray, Sabrina, and Ellie on Saturday. At some point in the evening, I said to Ray and Anita something along the lines of "If the photographs I've been making aren't mine, what do I do now? Where do I go from here?" I opened the door… and Anita dragged me through it.

"Well, what is it you want to say? What is it you want to do with your photography?"

I was lost for a moment. I didn't know what to say because that seemed to be a pretty big answer. My first instinct was to rattle off something glib… or clever. But something told me that the answer was important and it wasn't just about photography. It wasn't about making photographs at all, but finding my reason for making photographs. My photographs. And I said the thing I've never been able to say.

I want to save the world.

No one laughed. No one made a joke or a sarcastic remark. In fact, no one said anything. And in that moment, I believed it. I knew it was true because I had said it out loud and no one said it was crazy. No one said I couldn't do it; that it was impossible or I was out of my mind. They believed I could do it… and now, so did I.

I don't yet know how I'm going to do it (but I have some ideas), and "saving the world" raises a lot of questions (Save it from what?). But I am going to figure out what I can do and then spend the rest of my life doing it. Yes, there will be people who will laugh. There will be people who say I'm crazy. There will even be people who will try to stop me. But I'm going to continue to move forward; to do the work. To save the world.

It's time to take off the glasses. This is a job for… me.

 

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AuthorStuart
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If you've been reading this blog for very long, you know that I live in rural Indiana. Living here and wrangling photographs from what is—let's face it—not the first place you think of when you're looking for places to photograph is something I've been doing for a long time. The quest to find the extraordinary in the ordinary forms the the basis for my book, Close to Home: Finding Great Photographs in Your Own Back Yard. My philosophy has always been to open your eyes to your surroundings and look deeply into the place where you live. Abandoned

Sometimes that view can be ugly. Because of the recession and the problems in the housing market, there are several homes in the area that have been foreclosed upon—and in some cases, completely abandoned by their owners. I drive by these houses on a daily basis on my commute to work and I've always been interested in learning more about them. Inspired by the launch of Rear Curtain—a new photographic storytelling web site curated by my friends Ray Ketcham, Sabrina Henry and Matt Connors—I decided this weekend to start a photography project to document these homes and perhaps tell a story of economic hardship and loss.

What I found what was a completely different story.

Hidden Hate

This house was abandoned by its owners about 18 months ago. I don't know how or why it happened. One day they were there; the next they weren't. (If it's been foreclosed, the bank apparently wasn't worried about getting their money out of it, since it's never been for sale or rent.) It sits along a lightly traveled county road, making it an easy target for vandals. All of the windows are broken, the back door hangs open, and it's been through two winters in this condition. Sad that it came to this, no?

But the vandalism has exposed something, at least to me, that many of us might think shouldn't possibly exist at the beginning of the 21st century. Something beyond just trashing an abandoned house. Something ugly.

Pure, unadulterated hate.

The words on that wall are a shocking reminder that we still have so far to go, even in an age where we can be more educated and enlightened than ever before. Darkness still exists, and it's out there. It's in my neighborhood and yours, no matter how things seem on the surface. The fact that these words are inside the house speaks volumes, and it saddens me to know that someone living somewhere near me has these words in their heart. It shows me a wholly different view of "close to home."

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AuthorStuart
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