Cynthia Henebry

Cynthia and I met when we were both juried into the Portfolio Showcase at The Kiernan Gallery, which is on view now until August 25th. I was intrigued by her way of delicately navigating the intricate nature of childhood in her photographs.

Visit her website to view more of her work: http://cynthiahenebryfilmphotography.com/

Ashley Kauschinger: Your series, Waking State, has an evocative sense of the complexity of childhood. How do you view the idea of childhood as a mother and also looking back at your own childhood?

Cynthia Henebry: Originally I started photographing my children because they're the subjects I have on hand. I also wanted to do what any parent does, capture moments that pass too quickly; make the mortal immortal; somehow figure out how to slow it all down or at least help myself to have some memories for later. But then I realized something else was at play for me, because I became just as interested in photographing my children's friends and cousins- really any child will do, if the kind of moment i'm looking for is going on. I have always been aware of how few memories I have of my own childhood, and I became aware that the process of taking pictures of the children in my life might help me to understand something about my own. 

Growing up is not a simple task for any human being, and a child's experience of the world is anything but. I don't think its necessarily more complex, but I believe a few things are true for children that are less true for adults. I think they feel things more deeply than we do, and also that so much of the world is completely out of their control. About four years ago, I had this moment with my oldest son when I realized that I could tell him anything and he would believe me. I could have said, when you wake up, there will be an ocean under your bed. And he would have said okay. Of course, that kind of open endedness when it comes to their lives also represents tremendous possibility and magic for children, and that's the part that we like to focus on. I do love that part about childhood, too. And I like to photograph it all. 

AK: Your images feel spontaneous, like they are living alongside your children. Do you plan your photographs or shoot in the moment? 

CH: Until now, I haven't planned my shots; in fact, the charge they carry relies upon the spontaneity of the moment I am capturing. At least this is the premise I have been operating under. I usually have a camera with me if I know there will opportunities for shooting, because you never know when the right moment or the right light will occur. Its almost like a sport for me. I am planning a couple of projects for the coming year that involve more formal and planned portraits, however, and I am truly curious to see whether I can accomplish that work in the way I imagine or hope to, without the spontaneity of a found scene.

AK: What are the children's reactions to being photographed?

CH: At the moment, our oldest son is more into it than his younger brother, but I try to be very careful to stop when either of them says they don't want their picture taken. I am mindful of the complexities of complicity when it comes to photographing any child- that even if they are okay with it in the moment, they (or their parents) might feel otherwise down the road. When at all possible, my goal is to ask for my subjects' permission both before the photograph is taken as well as before it is shown to a wider audience. But for now all of the children I photograph seem to really love it. To clarify: in the moment, they don't usually notice it happening; after the fact, they love seeing their picture in print. I have been pleasantly surprised at how much both the parents and children have appreciated more complex images of their children or themselves.

AK: What is your process of self promotion? How much time do you think is spent promoting your work and what sources do you utilize?

CH: I don't spend a whole lot of time doing self promotion. I'll apply to shows or grants if they look relevant or interesting, maybe one every month or so. I begin my MFA this Fall so perhaps I will be doing more of that then (or after), but up to this point I've been balancing the roles of mother, acupuncturist, and photographer, which is quite a lot. I'd much rather spend my non-photographing photography time doing things like talking to photographers like you, you know what I mean?

I do Cynthia! Thank you for taking the time to share your thoughts.

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Julia Kozerski

For Light Leaked's first post, I wanted to have a conversation with one my friends and inspirations, Julia Kozerski. Light Leaked's intent is to have content that is informative about photographic creation, both conceptually and in business, and to make connections between photographers. Julia and I have never met in person, but have shared our thoughts about life as photographers and made a real impact on each other. I think that our friendship is a metaphor for the future of Light Leaked. 

To view more of Julia's work, visit her website: http://juliakozerski.com/

Ashley Kauschinger: As an emerging photographer, how do you keep yourself motivated to continue to create strong work?

Julia Kozerski: Well. . . it's not always easy to stay motivated while you are "emerging." When you don't have a gallery representing you or a museum knocking down your door to acquire your pieces, the business of making work can sometimes be frustrating. At times you may even give up. Luckily, it's all part of the process. It's about asking questions and working towards answers. I've "thrown in the towel" many times, but always reemerged after a break. My work is inspired by life and I'll probably be making creative works (whether photographic or not) until the day I die. The way I stay motivated is to keep asking questions. I ask questions of myself and don't think about what an audience would think (at least not until later in the process.) Whatever motivates you to work is what you need to do. In order to accomplish anything in this business, you have to be sincere. I've learned the hard way that failure to stay true to yourself, your vision, and your questions will only lead to failure. Oh, and failure. . . deal with it! I was recently warned by my professors that I should prepare to make a lot of bad art in my time. The important thing is to keep moving forward, keep questioning.

AK: For the series Half, how did you begin to create this work and how did you maintain your vulnerability throughout? 

JK: "Half" was never meant to be seen by anyone besides me. When I began my transformation, I wanted to keep a record of my physical changes. I was in college at the time and started by introducing the detail shots of my skin to class critiques. As time passed my body changed dramatically, my emotional state shifted and I knew that that, too, needed to be documented. After awhile, and with the help and guidance of classmates, professors, and fellow photographers, I was able to comprehend the depth of my experience and understand that my images, while of me, were not "just" about me. The element of constant questioning is what aided me in staying true (vulnerable) throughout. During the creation of the images, I was living my life. I was making adjustments to my daily routine and things were changing rapidly. Until I began to assemble the series, I had no real grasp on what I had been through or what I was speaking about visually. For me, I had been questioning what was happening (inside and out) and, it wasn't until the editing process, that I was able to truly understand. The entire experience, physical and photographic, has proven cathartic.

AK: Your work has been getting a lot of attention recently. Does this affect your working process or how you view the work, knowing that many people will see it? 

JK: There are two sides to receiving attention. On one hand, I spend A LOT of time responding to emails and phone calls - there is a lot of clerical work that goes behind-the-scenes. A lot of money is spent printing, framing, and shipping work as well. For an emerging artist, this can all be very stressful. I'll admit to times of asking myself if it's worth it. And then the flip side, when I get an email from someone saying that they saw my work somewhere and that they can relate. People all over the world, from all walks of life have taken time to contact me - it's an absolutely incredible feeling. I do often think about what it would be like to make work that people want to buy and hang in their homes. I wonder what it would be like to not have to struggle to balance a paying job and making my personal work. But then I think, too, about the conversations I've shared with others. About the personal stories and intimate details that strangers have shared with me. In many ways, the dialogue that is created by my imagery is my payment. Knowing that people will see my work has helped encourage me to push boundaries and to continue questioning everything.

AK: What is your process of self promotion? How much time do you think is spent promoting your work vs photographing and what sources do you utilize  (juried show, publications, etc)? How do you create a balance between making work and promoting it? 

JK: Yikes! Life as a fine artist is tough! When I was in school, I always had this grand idea that I would be an artist and I would be so amazing that a gallery would pick me up, that my works would be in high demand and I could spend all my time being creative. WRONG! I've quickly come to learn that, while I suppose that dream is possible, it is definitely not probable. If I had to guess, I'd say that 90% of my time is spent sitting behind the computer, in the line at FedEx, or on the phone. Maybe (and that's a big "maybe") the remaining 10% is spent making art. As any artist knows, promotion is key. If you're lucky enough to be represented by a major gallery, you probably have a sizable budget and don't have to worry so much but, as a poor, emerging photographer talk is cheap. . . like free. I am a HUGE fan of social media. I try to stay active on Facebook, Twitter, Tumblr, Instagram, etc. I'm also a huge advocate of websites (and keeping them updated and current.) I used to apply to more juried shows than I do now (mainly because applying to everything can become expensive) and, with time, I've learned to make more calculated decisions about what shows to apply to (like the lottery.) The bulk of my time is spent networking. I enjoy attending events like Filter PhotoFest, Review Santa Fe, etc. I look at artists and photographers online and in galleries. I bookmark or make a note of those that pique my interest and I research them more. Often times I will reach out to other artists. The name of the game is staying active and involved within the community. It didn't take long to learn that everyone knows everyone and that there is a lot of creativity and support being shared.

As for balance. . . you'll have to ask me later. I graduated from undergrad in early May and haven't yet gained solid footing. Going forward, a resolution I have is to create a schedule. As it is now, I go with the flow. When an email comes in, I stop everything to respond. What I hope is that if I lay out specific time each day for clerical work, etc. I will feel less overwhelmed by the 90% and more fully enjoy my 10% creative time.

AK: What are you working on now and what's next for you? 

JK: I've got a lot of questions and I'm making a lot of work! Right now I'm working on a video piece that I am particularly excited about. I've also started keeping a journal next to my bed because I often wake up from dreams about potential projects or images so I'm excited to start wading through and creating more!

Thank you Julia for giving insight into your working process! 

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