HOW DO YOU TEACH?

Model: Ebony Sade
Class: Beauty Retouch 1o1
Instructor: Dallas J. Logan

This will be my last official entry for the year of 2009 and what a year it has been. It has been about personal growth, change and learning about myself. The new year will bring new challenges and one that's been coming to me is in the form of teaching. A talented and wise colleague of mine (and an AMAZING photographer I might add [please look him up - Joe Wigfall]) said to me when I first embarked on this wonderous journey; "you will be teaching soon. It is just a matter of time." I laughed at his comment never thinking in a million years that anyone would want to come to me to learn anything, because, I, myself, am in constant learning mode.

One question later, one assistant later, one protege and now I stand at the precipice of the possibility of teaching and I am scared. Not scared that I don't know what I am talking about. Trust me, I know what I am doing, and if I didn't know something, trust and believe I will ask. But as I look at soooooooooo many talented photographers around me and I study their lighting, their composition, their post production and all the while going "how do they do that?" The question(s) are now being thrown to me. How do I do what I do?

In an honest answer? I don't know. I just know what I do comes from the inside and once I tried to show/explain/teach I realize that I could not. Because, in all honesty, you cannot teach photography.

That was the very first words out of my mentor's mouth. "I cannot teach you photography. No one can." I was perplexed by that comment. I see you produce beautiful photos time and time again. I see you light a shot time and time again and I see you develop both film and digital time and time again, so what do you mean you cannot teach me photography? His reply. "I can teach you how to operate your camera. Everything else is up to you."

And that he did. And today it makes sense. Whenever anyone approaches me about photography, I cannot teach them. I can show them how their camera works to achieve a particular image, but I cannot tell them how to capture magic. To capture that defining moment. To make an awe inspiring image. You cannot teach that. That comes from within. That's like asking Leonardo da Vinci "how did you get the mouth on the Mona Lisa to look like that? Teach me."

Am I comparing myself to da Vinci? Not hardly. It is just an analogy to artistry. There's been times I've been in a photosession and the model is in hair and makeup and I am setting up lights, then I look at the model and I go "no, this light isn't going to work for her" while she is still being prepped. There's been times when I've had models getting prepped and walked in front of me and I've had to do complete lighting changes, because what I conceived in my head and the artistry of my makeup artist and hair stylist has put before me will not "connect." Or when I look at the face of a female model and say to myself "I have to light you like a guy." I know this on the inside of my core, but to stand in front of photographic neophytes and try to teach this is impossible.

Can I teach lighting? Yes, of course I can. No, let me rephrase that. I cannot teach lighting per se, but I can teach what light does. I can teach the rudiments of what a beauty dish does, what a softbox does, what a parabolic umbrella does. Practically any photographer can teach that, but what I cannot teach is why I would use one over the other in a particular case. Why hard light would work in one instance, but not in another. Honestly, no one can. That is something that you're going to have to pick up and figure out on your own.

So when you decide to approach a photographer and asks for lessons, understand exactly what you're asking, because odds are he/she will not be able to teach you anything, but the mechanics of photography or lighting or post production.

Have a happy and safe new year. I hope to see you in class.

ADHA ZELMA JEWELRY - FOR THOSE WHO LOVE THEMSELVES...

I bet you didn't think I would be writing yet another entry before year's end. Well guess what? Fooled you!!! Seriously, this entry was honestly written in October. I was just putting on the finishing pieces so I can now release it. Just in time for the Christmas Holidays!!!! Ladies and Gentlemen, I present to you Adha Zelma.

I had the wonderful fortune of photographing the new and exciting collection of Adha Zelma's jewelry known as "Rock and Bone". It's bold, vivacious, colorful and beautiful. It names means just that, the collection is an amalgamation of beautiful semi precious stones, animal bones, exotic feathers all in an amazing webbing of precious metals. It is eye catching as well as breathtaking and once you've seen an Adha Zelma creation, you will never forget it.

... Especially for those who love to adorn themselves, Adha Zelma is a jewelry line that connects you to your power and sensuality....

When one does a search for Adha Zelma, the above quote will appear in one of the entries. What does that mean? ... connects you to your power and sensuality....? I decided to find out more about this beautiful and amazing line belonging to Brooklyn's own Sheanan Bond and Cherise TrahanMiller.

Upon reading the profile link in their website (http://www.adhazelma.com/), you can get a gist of exactly what this dynamic duo is all about:

... Adha Zelma is an audacious and distinctly international, jewelry line created by long time best friends Sheanan Bond and Cherise TrahanMiller.

Inspired by world culture their line blends edge and elegance. The designs reflect a distinctively sexy yet sophisticated point of view. Adha Zelma experiments with traditional adornment concepts and reinterprets through a modern eye.

Each piece is handcrafted and, therefore, each is one of a kind. Themes include earth, air, fire and water.

Adha Zelma created the accessory line for MTV’s Spring Break Fashionably Loud in Cancun, Creations have also been featured by Dirty Girl Productions, worn by Jennifer Lopez, Ananda Lewis, Rosie Perez, Keri Hilson and celebrity make-up artist Scott Barnes.
All pieces are created in the Adha Zelma studio in Brooklyn, New York.

Just what makes this jewelry amazing... Let's ask the designers.

How long have you been designing jewelry and what is the process to how a Adha Zelma piece is designed?

I have been designing since I was about eight years old. It all started with my first doll, who I thought was quite boring. So I deconstructed her clothes and created a pair of earrings and a necklace for her. My designs are centered on bringing elements of traditionalism into the modern world, while allowing spirit to flow organically through the designs. Sometimes there is a specific design in mind and other times there is not.

As I see your colleciton grow and change you gone from "Rio" to "Aria" to "Rock and Bones" explain to us the transformation and the inspiration.

Rio came about on a rainy day in Brazil, the foliage, Ipanema, carnival, the colors, the spices and the history. The city had truly transcended me to another place on earth and that collection is the manifestation of that trip. I was inspired by a simple raindrop falling from a leaf, the color of the ocean and the relaxed nature of the city.

The transformation to Aria happened when I realized that a great deal of the pieces I design, sing when worn and are often quite light like air... hence, Aria. Just like arias over time, the collection moved from simple melodies into structured forms, which became the Aria collection.

The latest collection, Rock & Bone was inspired by the Papua; each tribe has its own beliefs and the people recognize spirits, deities, totems and ancestors unique to their clans. The Papua use a great deal of teeth and bone in their jewelry, worn as a remembrance and as a way to attract spiritual power. The Jivaro was also a huge inspiration. A variety of myths have been passed down through the generations to explain the origins of the Jivaro people. In one story, the Andean foothills were subject to a severe flood, killing all but two brothers. When the waters receded and the brothers returned to their shelter, they found dishes of food laid out for them by two parrots. One of the brothers caught one of the gift-bearing parrots and married her. This is where the inspiration for the use of feathers came into play. To bring in a modern twist I started thinking about what we as a culture see as deities, the Gods and Goddesses of Rock, Janis Joplin, Jimi Hendrix and Betty Davis. These are just a few artists who have influenced the collection.

As a woman, when you look at jewelry (your own and others), what exactly draws you to it?

Before written language, or the spoken word, there was jewelry. I am often lured by my desire to capture the essence of beauty, to posses its secrets, and to unlock its mysteries. It is funny because I am actually quite shy and what often draws me to a piece of jewelry is anything that draws attention to you. I look for jewelry that is bold, and that makes a statement.

What determines the materials used in making your jewelry?

I am interested in the balance of nature and explore material that represents earth, air, fire and water. I enjoy incorporating materials used traditionally for adornment like leather, feathers, snakeskin, minerals and bone, while mixing modern elements such as 24k gold electroplated Czech Charlottes.

Some people find jewelry to be an afterthought to the completion of an outfit, however, Adha Zelma seems to be the outfit. What are your thoughts?

Accessories are typically used as external visual symbols or for function. My designs are meant to be the complete opposite and form the fashion and anything else you choose to dawn is secondary to the statement.

Complete this sentence... "Adha Zelma to me is... "

Power and sensuality...

It most certainly is.

Rock and Bone Collection:

Model: May Satch
Photography: Dallas J. Logan

Rio Collection:

Photographer: Sean Toussaint
Model: Fabyiene Miranda

Aria Collection

Model: Bintou
Photography: Sean Toussaint

Places to purchase Adha Zelma Jewelry:

Michelle New York
376 Atlantic Avenue
Brooklyn, NY

Pieces of Brooklyn
671 Vanderbilt Avenue
Brooklyn, NY

Thistle & Clover
221 DeKalb Avenue
Brooklyn, NY

ShopFlickhttp://www.shopflick.com/stores/Adha-Zelma

By request
www.AdhaZelma.com
E: iwantmore@AdhaZelma.com
718.638.2822

WHEN INSANITY COMES TOGETHER...

Yeah, yeah, I know... Another entry!!!! And so soon! I had to tell you this. If I didn't, I would burst.

And I had to show you, because if I didn't, you would not believe me.

There are moments in our lives when events just come together in such a way that there had to be divine intervention in order to make it happen. When it occurs in a photo shoot, sometimes it has its plus and minuses. The plus is: a well thought out plan comes together to produce glorious photographs. The minus is: you wish to always achieve that kind of spectacular work all the time.

For those of you who have been following my work over the past few months may have noticed a shift in my direction of photography. As to where my work work was glitzy, polished and shiny, it is now going into a more editorial approach of story telling with photographs. Being the photographer that I am I was just plodding mindlessly down the road of commercial fashion and beauty photography looking only to shoot major campaigns, however, secretly deep down inside, I was longing for the beautiful photography of editorial style.

By then I came across Nick Perkins and Damian Adams the dynamic duo of ArtandExile. They saw the potential in me to develop an editorial eye. Under the art direction of Nick Perkins, he began to mold my eye and style and retouching in a whole new direction. I will always be grateful.

Let's fast forward... Here comes Steve Reganato a wonderful photographer who has been a TREMENDOUS TREMENDOUS influence in the technical growth of my shooting. When my 5D MarkII was stolen, he loaned me his 5D so I was able to continue working (without his help, I don't know what I would do), but then, he pushed yet in another direction. The magic of medium format photography.

I've always been a fan of medium format photography and I even own a Mamiya RZ67 and through Mr. Reganato's company (Digital Transitions) I was fortunate to get my hands on a Phase One P45 digital back. Steven, I am eternally in your debt.

Noooooooooooooooow let's fast forward, Tuesday, November 24, 2009 I am sitting in front of my computer, wondering just who was I going to shoot with this magnificent piece of machinery. It's Thanksgiving weekend approaching and I have no models to shoot and I have a P45 sitting in my lap. An instant message comes across my screen: "Dallas, I got this really really amazing stylist, do you have any time to shoot?"

Did divine intervention walk into the room? To make a long story short, California born model Lavante Isaac pulled together an incredible team of styling, hair and makeup together for one of the hottest editorials I have shot to date. It is based loosely on Hannibal Lecter's Silence of the Lamb... It is insanely hot and insanely beautiful. Look for it in the future in one of your favorite fashion magazines.

Hotness personified.

Time for Change...

change - [cheynj] –verb

To make the form, nature, content, future course, etc., of (something) different from what it is or from what it would be if left alone: to change one's name; to change one's opinion; to change the course of history.

Life is about change. It is about growth. It is about transformation. It is about evolution. Remember, either you evolve or you die. You can take this figuratively or literally. If a human-being doesn’t learn to change, form and adapt they die (think of a baby). If someone has a career, product or service, if they don’t evolve, they die (look at WordPerfect…). If you as an artist don’t grow and evolve over time, guess what? You will die as well. (Pick any artist of the 80s) So your whole life inside and out is about change and growth and that is the message of this blog today.

When I would look at photographers’ work, I would marvel at how the “biggies” evolved with their styles, talents, techniques and technology. When the Richard Avedon exhibit was in New York, I was amazed at the wonders of his photography and manipulation of negatives and prints (the precursor to Photoshop) to when he picked up a digital camera and moved along with the times. Could he have stayed with shooting film? Of course. He was (and still is) one of our film producing masters, however, he knew back then that when the digital world took hold, he had to shit or give off the proverbial pot. He chose the former and we are so much better for it today.

As a photographer and artist, for those who know me over the span of my life, I was always one to embark on something and give it my myopic obsessive all. I’ve studied and got my degree in classical music, I’ve traveled the globe as a singer. I’ve moved along with the vocal tides of the world’s changing music. I crossed over into health and fitness and began a career as a personal trainer for a short time. It was the same when I picked up the camera. It was an artistic tool for me to pick up and transform whatever I saw in front of me. I remember when I took my very first “professional” image (at the time, for me professional was not necessarily getting paid per se, but about to take a photographic image and knew what the hell I was doing). I was up and well on my way and through the influence of all things around me, like other photographers I began to develop a photographic style. Of those of you who know me, it developed into a very slick, glossy, vibrant expressive style (the kind of work you would see on campaigns). My lighting is intriguing, almost cinemagraphic in its approach and when people would ask me about my lighting, they would marvel at the simplicity of it. Photographers are about smoke and mirrors. It is our job to create an illusion that we want you to see. I got an incredible crew in place and we produce wondrous images.

But you get to a point where you go “been there, done that” and you have to go about making changes in yourself for yourself. I’ve seen photographers work I’ve admired two – three years ago and I view their work today, and guess what? Nothing has changed. It is still the same images they took yester-year. The same thing that would originally draw you to an image is now boring, mundane and lackluster. I realize that if I want to be successful in this business, I have to get on the bandwagon and go about changing my photographic style, yet, still keeping the true essence of Dallas in the mix.

How does one go about this? It may be something as simple as a lighting set up. All photographers have a signature lighting set up. If they tell you otherwise, they are lying. Some are so secretive about it, that they won’t even let you on their shoots. So you may change your lighting set up. You may change the angle in which you shoot. You may change the type of models you photograph, the styles of the garments, the way you wish to have hair and makeup done. It may take place in the post production. Whatever it is. It is about change. Not everyone is going to like it, and you know what? So what. Not everyone will like what you are doing now. But if you don’t challenge yourself and evolve, you and your talent will die. Those that were hot a few years ago are not so hot now. Think about it.

I’m moving onward and upward towards change. It is scary, it is exciting and it is new. And I am going to love every minute of it.

Talk amongst yourselves.

Over the years...

2007






2008

















2009

























2010

Wait and see...

THE GROUP SHOW - THERE IS HOTNESS IN WILLIAMSBURG

The Group Show: The Best Emerging Photographers

October 16, 2009 - October 25, 2009

Exhibit Opening is 7pm - 10pm (can be viewed anytime). Please visit www.3rdward.com for studios hours of operation.

Location: Third Ward Studios, 195 Morgan Avenue, Brooklyn, New York 11237, (718) 715-4961.

The show is sponsored by Rear Flag, Resource Magazine and Third Ward.

There was a photo competition sponsored by Third Ward Studios. Please check out their website for more information. The judges were: Peter van Agtmael (Magnum Photographer), Sean Fader (Fashion Institute of Technology) Amani Olu (Humble Arts Foundation) and Alexandra Niki (Resource Magazine).

Thousands of entries were submitted and this talented selection of judges picked 1 grand prize winner and 25 top photographers from entries submitted from not just the United States, but from around the world. The winners selected were:

Joshua Zucker Pluda (the grand prize winner).

Adam Abel
Jenny Anderson
Jesse Avina
Clint Baclawski
Craig Blankenhorn
Blane Bussey
Delphine Diallo
Amy Fichter
Ben Goddard
Erik Hagen
Ingrid Juliana Hernandez
Andrew Hirodo Grob
Frank Ishman
Jonathan Kambouris
Jito Lee
Dallas J. Logan (yours truly)
Chris Mackenzie
Evan Madin
Catharine Frances Maloney
Aaron McElroy
Elizabeth Raab
Jessica Rowe
Bernadette Torres
Cedric Yhuel
Joe Zorilla

I would love to post the images, but I want all of you who wish to attend to be pleasantly surprised, shocked, amazed and awe inspired (of course, next week, I will post the entries of each artist, but that will be after the exhibit opens). I wish I could say there was some central theme as to how the images were chosen. There was a wide range of selections from ethereal landscapes to road kill. The only thing we all had in common? We all produced some kind of hotness! Come through and join us. I know I will be there. I hope you will, too.

I will be updating this blog next week with everyones images.

ORIGINALITY?

I know as I type this blog it is going to cause a lot of controversy. But it was a long time coming. I also know that I will receive a lot of backlash because of it, but you know what? I don't care. It is something that needed to be discussed.

Photography has been around for almost 200 years in that time, everything and anything that can possibly be photographed has, from spectactular sunsets to awe inspiring landscapes. A baby's face to a flowing Valentino creation. Guess what, people? Nothing in photography is truly, truly original, which is the reason for writing this blog.

Photographers go through life viewing the world with their eyes. We see things that triggers emotions inside of us that forces our creative juices to bubble and froth and produce images that we as artist think are original, beautiful and one of a kind. Then you come to find out, that no, it isn't original, it isn't one of kind, however, it is yours.

Back in July, a wonderful California model (Milan Christopher) flew into town for a few short days and I got the inevitable call of "Dallas, I'm here, let's do this!!!!!" I rose to the occassion and I thought to myself; "just what am I going to do with this young man." I thought about it and lamented and in my quest to find something to do with him, I came across an beautiful Herb Ritts photograph where Naomi Campell is wrapped in black fabric that is blowing in an invisible wind. I loved it. I thought to myself; "that's a hot idea. Let me get some fabric."



Photographer: Herb Ritts

I thought about Milan's beautiful dark complexion and I thought about which color would go against him. I chose red. I set up the shoot, I shot it, I was was proud of it, and I posted it. Then, the fun began.

The first comment came from a model named Mike Mizzle. He says "damn, I know that imitation is a form of flattery, but couldn't you be original?" I asked myself "where did that come from?" Then I saw his image (he was photographed similarly by Tarrice Love just two week's prior - however, it wasn't until I posted this image that I realized this). The similarities? Black male models, entombed in flowing fabric.


Photographer: Tarrice Love
Model: Mike Mizzel

That was where the similarities stopped. Eventually it became a barrage of nasty slinging comments from Tarrice Love supporters as well as Dallas J. Logan supporters and all I wanted to do was produce a beautiful image. Does it look like Mr. Love's image, that is for you to decide. Did I look to Mr. Love for inspiration, no. But the ruckus this image caused almost made me want to shut this whole production down (and I am glad I didn't). I wasn't going to allow myself to be bullied into altering my artistry, because someone else thought something different about it. A piece of fabric and a fan and a model is not original. I wasn't the first to do it, and neither was Mr. Love (I can guarantee you that even Ritts wasn't the first to do it, either) and neither will we be the last. But it is amazing how such a simple concept caused such nonsensical uproar.

I know one thing it did prompt me to do. A series. And because of that series, it has now been commissioned into an exhibit. Adversity is the building blocks of strength.

Go figure.

Model: Milan Christopher










Model: Paulo Pascoal










Model: Rumando Kelley











There will be more to come.