Editorial Travel Photographer Susan Seubert shoots Portland, Oregon for Dutch National Geographic Traveler

Editorial Travel Photographer Susan Seubert shoots Portland, Oregon for Dutch National Geographic Traveler

Last summer I had the privilege of photographing an assignment for the Dutch edition of National Geographic Traveler to cover my home town of Portland, Oregon.  It was great fun to explore my own city!  I was able to revisit some of my favorite places such as the Portland Farmers’ Market, Forest Park, and Ned Ludd, but also assigned to shoot new locations like the tiny house Caravan and a wonderful restaurant called Tusk.

Although it’s always exciting to hop on a plane and go to new places, it’s just as fun to discover interesting, (and delicious), places in my own back yard.

Here is a copy of the spread, as it is only available for sale in The Netherlands.

Enjoy and thank you for visiting!

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Commercial Photographer Susan Seubert Photographs the Oregon Solar Eclipse

Commercial Photographer Susan Seubert Photographs the Oregon Solar Eclipse

Greetings fellow Earthlings!  The eclipse on August 21, 2017 was the first eclipse to pass over the entire continental United States in more than a century, and millions of people donned their safety glasses to witness the event.  Because I live in Oregon, the path of totality was less than 50 miles from my home, so off I went, iPhone in hand.  “Leave taking pictures of it to the professionals,” my wise father advised, which I did, except that I didn’t.  I have a small GoSky spotting scope with an attachment for my iPhone so with a little planning, I made a very easy setup that included a tripod and some solar mylar, courtesy of the Oregon Tourism Board’s glasses that they had distributed for the event.  After all, our great state was the first to get a glimpse of this celestial event, so why not make sure everyone can watch?  Thank you, Travel Oregon! Unbelievably enough, the weather was perfect for viewing in the Willamette Valley.  It was a spectacular sight to see the moon block out the sun for a total of 1 minute.  I, along with the small crowd that had gathered at Linfield College, was stunned at the beauty of it.

Below are a few photographs of my simple but effective setup, along with some images of the event.  I hope you enjoy the photos as the next one that we’ll have a chance to see here in Oregon won’t happen until October 5, 2108. For more photos, follow me on Instagram! Thanks for visiting.

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The GoSky spotting scope, iPhone, iPhone attachment plus mylar glasses to use as a filter over the camera lens, set up on a tripod.

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I had to make up a dark cloth so I could see the screen in order to get the camera and scope in the proper position.

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The action begins!

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Totality!!!!

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This phase is known as the “Diamond Ring” effect, as the glare from the surface of the moon looks like its namesake.

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Susan Seubert at the 2017 Venice Biennale: Virtual Tour

My show at the 2017 Venice Biennale opened last week and there was much rejoicing.  This is a true milestone in my career as an artist, so a group of us gathered, drank Prosecco and toasted to the beautiful city of Venice.  I’ll be heading back later this year to the Palazzo Bembo, where the show, “Personal Structures,” will be on display until November 26th.  If you are going to be in Venice, this 15th century building is about a block from the Rialto Bridge and admission is free. If you can’t make it, here is a 360 degree view of the installation of my work, from the, “Asphyxiation” series.  You can also look at the work on my web site here.

 

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.

Portland Photojournalist Susan Seubert shoots for the New York Times

I had the incredible pleasure of spending a day at home with Wendy Burden, author of the forthcoming book, “Dead End Gene Pool.” The assignment was for the Homes and Gardens section of the New York Times and the story was just posted this afternoon on the Times’ web site.  We spent the day photographing her amazing collections of ephemera, her arrangements of said objects and, of course, her.  There is an online web gallery of the photographs on the New York Times’ web site which you can see here. The book is scheduled to be released April 1st and promises to be a fantastic read.  It’s a witty memoir about growing up in luxurious surroundings but in a deeply dysfunctional family.  She is an absolutely lovely woman and I’m looking forward to reading the book.  I’ve pre-ordered it from Amazon and am sad that I won’t be in town for her reading at Powell’s (downtown Portland) on Thursday April 15th.

Click here for the web gallery of photos from the shoot

Susan Seubert Food Photographer

Although the majority of what I photograph is travel, when I look back through the majority of my assignments, I discovered that food photography is a huge component of travel photography.  As I think back on some of the most memorable moments of my travels over the years, food stands out as one of the most defining aspects of the places I’ve been.  This year my husband and I will be celebrating our ten year wedding anniversary.  For our honeymoon, we blew all of our frequent flyer miles and went on a dream trip to Italy.  Of course, all of the usual architectural and art suspects stand out, but the most memorable part of the trip was an amazing lunch in Tuscany at a private villa.  Details to follow, but I thought it would be a good thing to start my year’s blog posts with a few images relating to food from assignments over the years.  As Julia Child would say, toujours bon appétit!

Chocolates from Cacao in Portland, Salt from the Meadow in Portland

Chocolates from Cacao in Portland, Salt from the Meadow in Portland

The Sydney Opera House and Kylie Kwong's famous crispy duck

Truffled Egg Pasta and a Fish Monger in Sydney

Truffled Egg Pasta and a Fish Monger in Sydney

Casa Cruz in Buenos Aires and Oregon Wine Country

Casa Cruz in Buenos Aires and Oregon Wine Country

Sardines at a fish market, Chinese dim sum

Susan Seubert shoots for the New York Times

Sometimes, assignments come across the desk which end up being more of a gift than a job. This story for the New York Times came through at last minute: the evening before the shoot was to take place.  Technically, I was already booked, so although I ended up a wee bit late for the other gig, I felt I had to meet this extraordinary youngster.

My favorite quote from Kyra’s story is the following: “Sometimes your dreams get crushed but you just keep going.”

It is my understanding that not only is she an actress, but also proficient gymnast and ballerina.

Let this young girl be an example to us all.

Here's a screen shot from the New York Times story.  Click on it to read.

Here are a few other images from the take:

Kyra Siegel, understudy for Abigail Breslin, star of the Broadway production of The Miracle Worker, about the life of Helen Keller

Kyra Siegel, understudy for Abigail Breslin, star of the Broadway production of The Miracle Worker, about the life of Helen Keller

Kyra Siegel, understudy for Abigail Breslin, star of the Broadway production of The Miracle Worker, about the life of Helen Keller

The photos were taken with the 5D Mark II and a 24-105mm f/4 IS USM lens and processed in Adobe’s Lightroom.