Fine Art Photography: The Digital Divide by Susan Seubert

Yet another long overdue post…

This year I was one of  24 artists/teams selected for the citywide Oregon Biennial, Portland2012 which was held earlier this year. Portland2012, the Biennial of Contemporary Art, is a major survey of work by visual artists who are defining and advancing the contemporary arts landscape in the state.  The show was presented by Disjecta and curated by Prudence F. Roberts.

My installation at Disjecta is titled, “The Digital Divide,” and consists of a series of QR codes installed in the gallery which, when scanned with a smart phone or other hand-held device, takes the viewer to videos and/or text.  The artist statement follows below.  You can view the installation on my fine art web site here.  The videos can be watched by scanning the QR codes from your computer screen, or by visiting the multimedia portion of my web site.  I would like to thank the fabulous people at Disjecta, Ms. Roberts, Marc Greenfield and all the volunteers that helped make this piece possible.  Tri-Met was a wonderful sponsor and included some stills from the videos on the sides of buses and on bus stop shelters throughout the city of Portland.

A still from, “The Digital Divide” installed on the side of a Tri-Met bus as part of Disjecta’s Portland2012, A Biennial of Contemporary Art

A still from “The Digital Divide,” an installation piece for Disjecta’s Portland2012, A Biennial of Contemporary Art.

The following is the artist statement for the piece:

To explore ideas of toxic waste, environmental impact due to rapid changes in technology, specifically communications technology, I have chosen to create a series of videos, which are accessible via QR codes using smart-phone technology. New methods of communication, (cell phones, smart phones, computers), have created forms of consumption which have had a direct correlation to the environmental impact of that consumption. Although not obvious, many natural resources are used to manufacture technological goods that we now rely on for communication. These materials are often harvested from third world nations, the most famous example being the Democratic Republic of the Congo where the thirst for Colton has fueled violent conflict. Some heavy metals are used in the manufacturing of communication technology such as cadmium, lead and arsenic. The rapid change in such things as processor speed and memory capacity has led to an enormous turnover in electronic hardware waste. (One statistic cites that the performance values of Information and Communication Technology double every 18 months.)
QR (Quick Response) codes are a type of matrix barcode, which consists of black modules arranged in a square pattern on a white background. They were designed by the Japanese in the early 1990′s to track vehicles during the manufacturing process. The use of the QR code is growing as a point-of-purchase symbol, where the consumer can scan the code and be taken to a video about whatever product to which the code is connected. The codes can be used for urls, text or numeric information. The problem is that the consumer must have a smart phone, access to the Internet and the application that allows the camera to read the code. Using QR codes as a method of communication, in order to see the actual visual information it conveys, most of which could normally be seen using our eyes through traditional media, one must use a camera. Eyes will simply no longer suffice to handle the task of reading, (i.e de-coding), the image.
Semaphore signal videos installed on the Internet, transmitted to the viewer via QR codes, emphasizes the digital divide that is currently prevailing in our global culture.
Working on the assumption that most viewers of this piece will not be able to read the semaphore signals as letters, (which form a sentence relevant to each location where the video was made), and that there will also be a number of viewers who will not have the relevant technology to read the QR codes, the piece will have effectively alienated the viewer from at least one critical portion of the piece, therefore encompassing both ends of the digital divide. I chose to use the Semaphore code because it is being phased out as a means of communication. Although it is still used in certain military situations, (such as refueling ships or moving munitions at sea), it will soon be gone as a method of communication. The Semaphore Flags system is used for conveying information at a distance by means of visual signals with hand-held flags.

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Multimedia Photographer Susan Seubert in Smithsonian

The current, (May 2012), issue of Smithsonian Magazine features an online multimedia piece about the meaning behind hula and I had a great time shooting the video and audio that comprise the bulk of the piece.  I had been assigned to illustrate a story written by Oahu resident and well known author Paul Theroux entitled, “Paul Theroux’s Quest to Define Hawaii.”  It was a pleasure to spend an afternoon with Paul, an extremely interesting and generous man. He’s always got a tale to tell and is engaging in conversation. I feel quite lucky to have now worked on two of his stories.  His story can be read here, the photo gallery can be seen here, and you can hear his thoughts, along with Kumu Hula Hinaleimoana Wong Kalu in the multimedia piece here.

One of the images made for the story, “Paul Theroux’s Quest to Define Hawaii” of the Waianae Mountains on the island of Oahu, Hawaii

All of the still images and video were made with Canon 5D Mark II bodies, Canon L series lenses and the audio was captured with a wireless Sennheiser mic system and the Zoom H4n hand-held audio recorder.  The stills were processed in Adobe Lightroom and Smithsonian’s in-house video editors compiled the raw material into the finished piece.  Go team Smithsonian!

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Editorial and Fine Art Photographer Susan Seubert on Oregon Public Broadcasting

Last night, Oregon Public Broadcasting aired their twice weekly segment on art, called Oregon Art Beat.  I was one of the three persons featured on the show.  It is so strange to watch myself on tv, as I’m used to being on the other side of the camera.  The piece is about the fact that I work both as an editorial photographer and a fine art photographer.  I would like to thank OPB, Jule Gilfillan, Tom Shrider and Randy Layton for putting together such a nice piece. I’d also like to thank This Old House for giving OPB permission to photograph us working on location for the March 2012 cover. I am also grateful to Michele Greco for allowing herself to be filmed while we were working – so a big thanks to my favorite stylist/producer. Although this feels like more shameless horn-tooting, I really hope that you’ll take a moment to watch the video.

Oregon Art Beat video about Susan Seubert Photography

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Multimedia Photographer Susan Seubert featured on Wonderfulmachine’s Blog

Last fall, I shot a feature story and multimedia piece for Smithsonian Magazine.  I landed the cover. (Yippee!!!) Smithsonian’s editing team took the raw footage and audio, and produced a very nice video to accompany the article as it appears online and on their iPad application.  Since I’m a Wonderfulmachine photographer, they decided to write a nice blog post about the job here.  I’m grateful to have Maria Luci on my team of supporters to help spread the word that I am capable of working in the field under challenging circumstances and produce great results.  This feels like shameless horn-tooting, but I feel that the only way to showcase my abilities is to get the word out through modern channels.   Thanks for your time!

The Sliding Sands trail, as seen from near the top of Haleakala below the visitor's center

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Landscape photographer Susan Seubert on the cover of Smithsonian Magazine

It is with great pleasure to announce the best holiday gift ever : the cover story for Smithsonian’s December 2011 issue.  In early October, I was assigned by the magazine to cover a story about the crater of Haleakala, located on the island of Maui.  Also available online is a multimedia piece which was edited in Washington D.C. at the magazine’s headquarters.  I provided the raw video and audio and the good people at Smithsonian put together a video featuring the park’s superintendent, Sarah Creachbaum. There is also a slideshow online of some more photos here.

This adventure into the volcano was a test of both my technical and physical capabilities.  My assistant and I covered approximately thirty miles of rough terrain, dealing with gusty winds, yellowjackets and the occasional passing rain shower.  We spent three days and two nights shooting as much of the landscape and volunteer work as possible.  We also shot video and collected audio as we simultaneously tried to shoot stills and keep up with the volunteer group, who had allowed us to tag along and stay with them in two of the three cabins located within the crater.

The eastern flank of this erosional depression is a cloud forest, essentially the top of Hana, an area famous for its rainforests and waterfalls.  If time had allowed, we would have hiked farther into the Kaupo Gap, a lush area filled with native Ohia trees and the chirping of native birds such as the I’iwi and the Apapane.  We saw plenty of Nene, the Native Hawaiian Goose, mostly around the cabins.  Although it’s illegal to feed them, they clearly understand that humans are a source of food, as they would brazenly approach anyone eating a snack.  At the end of the three day hike, we faced climbing out of the volcano up the Halemau’u trail that has an elevation gain of just over 1,000 feet in under 3 miles.  That was a difficult task as we were pretty exhausted by that point, having covered so much ground in such a short period of time.  The most challenging part of photographing was attempting to visually describe the vast landscape.  This was indeed an assignment of a lifetime.  I encourage anyone, who is ambulatory enough, to take the shorter 11 mile hike down the Keonehe’ehe’e, (Sliding Sands), trail.  It’s physically challenging, but to partake in this landscape is to witness the earth at its most primal.  A hui ho!

The Keonehe'ehe'e (Sliding Sands) trail, as seen from near the top of Haleakala, below the visitor's center, featured on the cover of the December 2011 issue of Smithsonian

Pele's Paintpot, located within the crater of Haleakala, features several different colors of lava rock. Off in the distance, in the far left-hand corner of the image on the crater rim, you can barely make out the Visitor's Center.

All the images and video were shot with Canon 5D Mark II Cameras, the Canon 24-105 F4L IS USM lens, the Canon 70-200mmL IS USM lens, (plus various others), all the images were processed using Adobe’s Lightroom software.  The audio was captured using a Zoom H4n Handy Recorder with an Audiotechnica condenser mic covered with a dead-cat windscreen.

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Back Yard Barred Owl -or- Why We Live in Portland, Oregon

Portland, Oregon is an amazing place to live for so many reasons:  the food scene, the forward-thinking development, the great public transportation  but for me, our home is the reason we have firmly planted roots here in the Pacific Northwest.  Our house backs into the Marquam Green Space which is tangential to Forest Park, the largest in-city park in the United States.  If you can figure the maps, it’s possible to walk out our back door and join up with the Pacific Crest Trail.   The other great part is that literally steps, (with a little bush-whacking), from our back yard is the newly developed 4-T Trail:  Trail, Tram, Trolly, Train.  If you are a resident or visitor, this is one great urban hike and a fantastic way to tour the city for under 5 bucks.  Last year we began the process of becoming certified for Backyard Habitat, a joint program between the Audubon Society and the Columbia Land trust.  This program acts as a guide in transforming your property to a haven for urban flora and fauna.  Since our property butts up against the Marquam Green Space, it made sense to get on board.  We’ve removed the bulk of invasive plants and re-planted our back yard with native plant species.  Now the battle with bindweed, holly and ivy begins!  The great part is that we’ve already noticed an increase in the wildlife that visits us, including this Barred Owl who spent a good deal of time on a branch about 5 feet from my office window.  You can hear us whispering to the owl as it sits nearby…

Back Yard Barred Owl

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Here is how difficult it was to photograph the owl

Wildlife photographer, in action!

In addition to the Barred Owls, we have regular avian visitors.  Tonight, while sitting outside having dinner, I noted the following species: Black-Headed Grosbeak, Spotted Towhee, Rufous Hummingbird, Anna’s Hummingbird, Chestnut-backed Chickadee, Black Capped Chickadee, Steller’s Jay, Red-breasted Nuthatch, Lesser Goldfinch, Pine Siskin, Band-tailed Pigeon, House Finch, Red Shafted Northern Flicker, Downy Woodpecker, Song Sparrow, and to top it off, a mother/son pair of Hairy Woodpeckers.  Below is our regular summer set-up for dinner.  Bon appétit!

summer backyard dining

a steller’s jay joins us for supper

The video was shot with a Canon 5D Mark II and a Canon 70-200 f2.8 IS USM L series lens and edited in iMovie.  The stills were shot with a Canon 5D Mark II and a Canon 24-105 IS USM L series lens and edited in Adobe’s Lightroom software.

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Multimedia Photographer Susan Seubert with National Geographic Expeditions in Alaska

Last week I spent aboard the National Geographic Sea Bird where we traversed Alaska’s Inside Passage.  The weather was constantly changing but it rained very little, much to my surprise and delight!  I will be writing more about this National Geographic Expedition in the next few days, but I was so excited about this footage that I felt that the blogsphere would be a better place if I could share the joy of watching a pair of Dall’s porpoises bow riding on the last day of our journey.  I was preparing for a slideshow presentation when I suddenly heard hoots of excitement coming from the front of the ship.  A group of these cetaceans had decided to join us and bow ride for a good deal of time.  For a while, there were as many as 5 in front of our ship, much to the delight of everyone on board.  People took turns looking over the bow as the animals jumped and played in the water.  I was fortunate enough to get some video footage of these amazing marine mammals.  Their distinguishing marks were made visible as they turned on their sides and it was wonderful to witness their agility as they frolicked in front of the ship.  I hope that the movie below transports you to Southeast Alaska for a moment and affords you a glimpse into what it’s like to be on board with National Geographic.

Dall’s Porpoises bow riding the National Geographic Sea Bird

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This video was made with a Canon 5D Mark II fitted with a 24-105 IS USM lens and processed in iMovie.

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Multimedia by Susan Seubert from National Geographic Expeditions, Among the Great Whales

Saturday night, or possibly Sunday morning, my 737 delivered me safely home to Portland after I spent 16 days in Bahia de Magdalena and the Gulf of California, otherwise known as the Sea of Cortez.  It was a thrilling adventure aboard the National Geographic Sea Bird where I was the National Geographic Photography Expert on board the ship.  I met many, many lovely people who had come from all corners of the earth to enjoy the extraordinary drama of this place.  In Bahia de Magdalena, one of three nurseries for Gray Whales along the Pacific Coast of the Baja Peninsula, we encountered these behemoths.  It is difficult to put into words the feeling when a month old baby whale sticks its head out of the water, looks directly at you, and invites a scratch on the chin.  The whales chose us as their companions and judging from the size of these cetaceans, we knew we had to follow their lead.  The expedition took us to many islands in the Gulf of California where amazing rock formations and incredible diversity of plant and animal life welcomed us.  The water changed color constantly depending on where we were in the Gulf. The shallow coves were inviting for kayaking, snorkeling and bbq’s under the star littered sky.  Our brief stop in San Jose del Cabo was a nice visit to terra firma and an opportunity to bird watch in the estuary.  Otherwise, shopping and sightseeing were an added treat to a trip dominated by the wild blue yonder.  We encountered not only Humpback whales and their calves frolicking in the ocean, but also numerous dolphins, and magnificent Blue Whales, the largest animals ever known to have existed.  Here is a very brief multimedia piece that I hope offers a tiny sliver of this incredible expedition with National Geographic and Lindblad.  Enjoy!

Among the Great Whales, Baja, California

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Editorial Multimedia photographer Susan Seubert and Barbados

The assignment I shot for National Geographic Traveler Magazine about Barbados was the first assignment where I brought along some sound equipment and although, due to a very tight shooting schedule, I didn’t have much time to gather audio, there was one interview with a couple of local women who go every morning to Enterprise Beach, otherwise known as Miami Beach, to have a sponge.  From my hotel room, I’d hear people walking down the road at dawn towards the water so one morning I followed.  It was glorious.  All manner of locals just hanging around, talking and floating in the clear, blue water.  This went on all day, every day, weather permitting.  The people of Barbados are so friendly and these two women really expressed this warmth while discussing the water they visit for social and medicinal purposes.  I’ve posted a video about it on my web site and also wanted to put it up here.  I find their voices uplifting and it brings joy to my heart to listen to their passionate love for their beach, Miami Beach in Barbados.

barbados_beach_seubert_web

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The photos were all made with a Canon 5D Mark II and processed in Adobe’s Lightroom.  The slideshow was put together using Final Cut Pro.  The audio was gathered using an Audio-technica omnidirectional condenser mic with a dead cat wind screen and an Edirol R-09HR recorder.  I use Bose noise-canceling headphones while recording audio.

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multimedia photographer Susan Seubert shoots baby goats for Culture Magazine

Culture Magazine is one of my new favorite niche publications.  It’s all about cheese, one of my favorite things to eat.  It’s a beautifully printed quarterly journal about all things cheese – travel, cheese-making, wine pairings… It’s obvious to me now that a magazine about cheese is just as, if not more so, useful as one about wine or other specialty periodicals.  I was assigned last year to photograph at Pholia Farm, a beautiful organic farm in southern Oregon, near Rogue River.  The back story is heartwarming – a young girl (Amelia) decided to raise Nigerian Dwarf Goats for her 4H project which ended up blossoming into a family cheese-making business.  My husband and I spend a day and a half with the Caldwell family – Gianaclis (mom and head cheese-maker), Vern and Amelia – along with their 60 or so herd of Nigerian Dwarf Goats.  The mothers were kidding while we were there and despite the warning from my art director to not take too many photos of the babies, I found it difficult to restrain myself.  You can see more photos from the story by clicking here to be taken to the outtakes.  Below is a video we took of two-day-old goats, just learning how to walk and stand.  I was literally lying on the ground, holding my 5D Mark II on my elbows and trying to follow focus on these adorable little critters who bounce around as though they’ve had too much coffee. They play classical music in the barn, which you can hear in the audio, as it’s been discovered that the music helps the gals produce more milk.

Baby Goats

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Vern, giving me a "lift" so I can get the shot of the farm

I’ve also posted a couple of behind the scenes photos, because we spent so much time trying to shoot the centerfold.  Unfortunately, the cheese we shot was the wrong age (groan) so they ended up sending the cheese to another photographer to shoot, so I didn’t get the whole story in photos in the issue.  Nonetheless, it was a marvelous assignment, and I look forward to my next story about cheese.

 

the challenges of working out of a studio environment - you use what you can get your hands on. Say cheese!

goats will, and do, eat anything... cameras included

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