Operation Ophelia: I

You become a real photographer when you work in series.  You become a real photographer when you don't have to spell everything out in a single photo-but lead your viewers to your idea (or any idea I suppose) through multiple images.  Art is not meant to be simple.  

The difference between an artistic photo and fine art is the meaning behind a piece.  Did you put it there, and does the viewer see it?  Can multiple answers or questions be pulled from your photo?  Does the viewer leave your work with a better understanding, or a realization that they don't know enough? Does your art require a second look, does it make them want to search for the details?  Or do they walk away with an instantaneous answer?

These are the questions I asked about my own work, only to realize I didn't like the answers.  My photos were very simple: pretty photo with a statement, an emotional goal, something that could be captured in a glance: nothing that required thought or effort.  Even some of my more advanced works were still simple- the answers were more coded, but the answer was still clear.  

(Code Name) Operation Ophelia is my first real attempt at fine art.  I'm using a concept I have seen repeated and repeated in my work: duality.  I am fascinated by the idea of opposing forces: light and dark, good and evil, and now beauty and fear.  

Whether you're looking at an attractive woman, or a car crash: you can't look away.

Model: Kaitlin M.

MUA: Danielle Johnson

Costume: Yours truly

Assistant: James C.

Operation Ophelia: I

Outtake

Behind the scenes

I decided to start the series with the ophelia rendition because the Ophelia painting by Millais was what first inspired this series.  How can you tell she is dead?  She looks perfect: beautiful location, beautiful dress, and still pink with life.  What would happen if we started to pull apart the perfection of beauty?

I started with the dress before I even had my model: I hand sewed 30 pearls onto the lace of the dress, braided the neckline with ribbon, and embellished the bust with flowers.  I wanted her dress to be soft and delicate-more than the simple gown I bought from St. Vinnies.  

The shoot started with makeup, with my makeup asking: "How dead do you want her?" to which I replied: "Pretty dead.  But not so dead you want to pock her with a stick."  "Got it."

I had unwittingly scheduled our shoot to be the same weekend as the Waukesha Summer Fair: meaning that the quiet and relaxed atmosphere I had been hoping for was ruined by the sound of carnival rides, screaming children, and latin music.

The water was freezing, and by the end we were all more wet than we had planned. I ended up sitting right in the water, and we were all covered in algae, plant matter, and waukesha gunk.

We also drew a bit of a crowd; they were confused on "what kind of fishing" we were doing.  One guy even stood and watched us the entire shoot.  As I guessed, the cops stopped by to ask what we were doing, but had no qualms with me shooting.

By the end, Kaitlin could hardly look calm and relaxed-her teeth were chattering and she had been in the water for almost an hour.  I took a few last shots and we called it quits.  

I am so proud of this beginning  I think that through this series I will grow not only as a photographer, but as a fine art artist. Stay tuned to see the next images for this series; I plan to be shooting all summer.

P.S.

We made Kaitlin do thriller: