Glennis Siverson

Tell us a bit of your history. How did you get to where you are (in a thumbnail version)?
I vividly remember taking my first photograph when I was 4 years old. My parents had an Instamatic, and I took a picture of them standing in the back yard. I still have the photo! I was a gifted musician and artist, and my 2 siblings are wonderful musicians. All three of us have music degrees. My dad was a high school band director, and my mom is a retired grade school vocal teacher who now paints. I got my first professional camera, a Canon A1, when I was a junior in high school. I eventually ended up in the Human Resources profession and had a great career in the entertainment and internet industries. I regularly got free-lance photography work, but didn’t seriously consider it as a career option until a few years ago. After my last corporate job got cut, I decided it was now or never. The timing seemed right to give this photography hobby a serious chance to grow and succeed. I have strong Christian beliefs, and I think that God is leading me to pursue my heart and soul’s calling, which is that of an artist. So I’m taking a step in faith and here I am. :) My business card now says “Photographer”.

Tell us about your time training with Mark Thiessen – what were the key lessons you took away from working with someone like that?
I spent a week with Mark last summer in Santa Fe, New Mexico, as part of a National Geographic Photography Expedition. It was a life-changing experience for many reasons. First, I love Mark’s photography. He is an amazing artist who has been on staff with Nat Geo since 1990. Watch for his cover story on wildfires coming up in the July issue of National Geographic. I just got an email from him saying it was the best assignment of his career to date. He is one of the nicest human beings I have ever met, and I have utmost respect and admiration for him.

The most significant take-away from Mark’s teaching is that he helped me gain the confidence to believe I am talented, and that I can do this. He helped me find the courage to go from hoping to believing. He helped me see my work differently, and feel it as being an extension of me – less mechanical, more “gut”. This is especially key because I lost much of my sight in 2004. Becoming visually disabled was the most traumatic experience of my life, on many levels. The way I live and function will never be the same, but the irony is that the disability has actually made me a better photographer. Now I can’t obsess over little details and composition that have nothing to do with an image’s emotional impact. I physically can’t see the details, so I just see the concept, feel it and shoot. Mark helped me connect the intuitive with the technical. Meaning, I now know how my camera really works, so I feel confident experimenting with settings, flash, temperature, etc., without worrying about messing up the image. I needed to get to that point before I could really let loose without constraint and succeed, because I needed to trust my camera just as much as I could once trust my eyesight. My camera really does help me see in new ways, and I now have the confidence to push the limits of my talent and the equipment. I will always be grateful for Mark’s guidance and encouragement. He recognized and took notice of who I am – an artist. Besides, he shoots with a Canon, so he’s gotta be a good guy!

What were some of the details you used to obsess over, and why are they no longer important to you?
I was too focused on pure composition. For example, when shooting portraits, I would have the subject move an inch here or an inch there, background had to be perfect – very stiff and micro – and it lacked emotion. If one hair was out of place, I would be unhappy with myself for not catching it. I have since learned that there is no such thing as “perfect”, and that capturing imperfections and feelings are what help draw people in. The difference can be compared to what it’s like looking at a perfect museum piece under glass vs. being able to touch and feel something real – to relate and recognize; not just to observe or admire. Mark called my perceived imperfections “a nice little surprise”, and he’d point them out as positives. I think that translates to many areas of life, and it’s very freeing.

How did you find your way to RedBubble, and now you’re here, what keeps you coming back?
I happened across RedBubble through another artist who sells her work on Zazzle, where I also have a profile.

I keep coming back because I enjoy communicating with other artists, and it’s a source of encouragement and inspiration. At first, my main objective for being here was to sell my work. That has changed because it didn’t take long to discover that this is a community of people who have a passion for art and for each other, and we all have that common thread. It’s wonderfully supportive.

Who are your absolute favourite artists? Are they from RB? If not, who are your favourite RB artists?
This is a difficult question to answer! There are so many. One of my favorite photographers is Richard Avedon. I have a wonderful documentary about his life and work. Where do you even start with a talent like that? Most know him for his fashion photography, and his portraits are stunning. The images he captured of his father during his last years are beyond moving. I learned a lot from his explanations and examples of how he’s pulled emotion out of people and captured that moment in an image. They are raw and real, not posed and fake. They have movement. If I could have anyone shoot my portraits, he would’ve been my photographer of choice, but he passed away in 2004. Another photographer on my list of favorites is Gregg Colbert. I flew to Los Angeles to see his Ashes and Snow exhibition, and it was so overwhelmingly beautiful that I cried. It was an “experience”, not just a bunch of work displayed. I have never reacted so strongly to another artist’s work. I also admire Terry Richardson, not because he shoots beautiful images, but because he’s not afraid to shoot images that make people a little uncomfortable. He’s a non- conformist. I only recently became aware of Terry’s work through a business acquaintance. He elicits reaction, and gets people talking and questioning. He also overcame tremendous obstacles, including horrible eyesight, to become one of the most in-demand photographers in the world. Thank God for auto-focus! And last, I cannot forget to mention my mother. She is an incredible artist and has been painting with oils for years. I have one of her works hanging in my living room.

Redbubble artists: There is no way I can name just one or two. The depth of talent is amazing. I can’t count how many times I’ve viewed a piece of work and my reaction is “Wow!” or “I wish I would’ve taken that shot!” It really is inspiring.

Hmm. Most people I interview have this problem it seems – too many to choose from. How about if I give you a limit of three? Who are your three favourite RB artists (acknowledging there are undoubtedly many more you love almost as much)?
OK – I’ll name some. I have many listed on my watchlist, and I love all of their work, so naming some here is difficult to do, and I need to list more than 3.
savosave – beautiful artistry in his photography
bobbymcleod – especially like “Out of the Dark” and his people shots
pryere – wonderfully imaginative
Doug Faircloth – gorgeous images of the female body; I’d trust him to take my own portrait.
butchart – daring and unique
Jean M. Laffitau – great use of light and mood
Shanina Conway – stunning work

Your photographic style covers a range of subjects. Do you think it’s important for artists to spread themselves across a broad range of styles, or is it part of the process of finding and discovering your vision?
I think it’s important for artists to do what they most enjoy doing, not what they think they “should” do. There are no rules. There is no right or wrong. Do what’s in your soul. This is essential, because although our art inspires us and opens doors to communicate in unique ways, our art can also be a bit isolating at times. It’s a double-edged sword.

For me personally, I get bored easily and like to push my creative boundaries. I like the challenge of trying new things and not allowing myself to feel too safe or comfortable in one area. It also helps me stay marketable to a broader audience, and keeps my stock images fresh and varied.

As a photographer, what subjects interest you most?
I most like shooting subjects that have an element of surprise or unpredictability. For example, with time exposure light painting, I never know what I’m going to get until the picture is shot. That is fun – it’s artistic. Portraiture is rewarding because I like the challenge of bringing out someone’s personality and getting it in an image. There’s an element of the unexpected in people – like looking for and finding a treasure. I like the two-way give and take. I don’t necessarily pose people, I interact with them – we work together. One of my most favorite things to do is grab my cameras and just drive somewhere to explore – spur of the moment – anywhere. I rarely shoot in a studio because it’s too controlled, too perfect. It feels “manufactured” to me. Sometimes it is necessary, but I just prefer to have the surroundings as natural as possible.

When doing photographs of people, what would be a standard approach you use? How do you get everyday folk to relax in front of a camera ie: photographing during conversation?
I love capturing personalities, and people have been my primary subject since I picked up a camera. In a portrait shoot, I try to spend a little time talking to the person first – get to know the person before I take the camera out of the bag. I almost always ask “What do you want people to see when they look at these images?” I will continue chatting while I get the camera, and I’ll clean the lens, do a few test shots, etc. The objective is to get the subject comfortable with me first, then with the camera, because the camera is usually what makes a person nervous. When they can relate to me instead of just seeing a giant lens pointed at them, it makes a world of difference. The camera is just a part of me. I tell them where to look in the lens, always compliment them and say thank you, and I continually ask them questions while I am shooting. Ask, don’t direct. I don’t overly pose folks. I sometimes pose for them to give an example of what I want and don’t want. We are just having a fun conversation, and I happen to be holding a camera. It’s very important that I not always have the camera in front of my face too. They need to see my eyes. Very important. Two-way interaction is key. Sometimes I will let them take a few photos of me so that they can see what I’m seeing through the lens. It’s all about them and helping the subject feel comfortable, thus allowing uniqueness to shine. My needs are at the bottom of list during the shoot.

For candid street shots or travel photography, I use different tactics depending upon where I am. Language, culture, and other factors influence my approach, but the most important factor is to try to relate to the person you are photographing. Tell them you’d like to take their photograph because you think they have a lovely face, or a gorgeous child, or whatever the case may be. Ask permission, show respect.

Don’t be afraid to share a little of who you are, and they will give you a lot of themselves. It’s wonderful to see.

Tell us about the shooting of these images (the shooting conditions, challenges you faced, the methods you used):
Bridges in Blue II

This is In Jacksonville, Florida, just after sunset on a cloudless night. One of my friends and I went for a walk along the river, where the bridges are bathed in gorgeous blue light. This was one of the last photographs I shot that evening, and I was messing around with zooming the lens using long shutter speeds. I used a 17 – 40 mm lens, and under-exposed a step so the blue light wouldn’t blow out. I was using a polarizer filter and was holding the camera without a tripod. I made some slight color corrections with iPhoto, but that’s it.

Guilin Night Lights

I shot this image in the city of Guilin, during a 2-1/2 week photography trip to China in late 2005. It was a gorgeous night, around midnight, and two of us were out exploring with our cameras. The entire city is lit with amazing colors. It is magical. I did not do anything special with settings or filters on this one, and I was holding the camera without a tripod. I have a very steady hand, thankfully!

Crash-o-rama

Here’s a shot from the tiny town of BIthlo, Florida, where they have the annual Crash-o-rama Races. I was looking forward to getting some good action shots, but discovered the track was not brightly lit (intentional, so the flames from the crashes show brighter – I’m not kidding!). I first positioned myself right at the base of the fence, and had my lens through one of the openings facing the track. But when the race got started, I promptly got severely pelted with flying dirt and debris, which was getting into my eyes, nose, ears, and camera. I moved back toward the bleachers and decided that instead of getting frustrated by the fence being an obstacle getting in the way of a good shot, I would incorporate it into the image. I used a 28 – 300 mm zoom and got just 2 shots before I had to pack up my camera to protect it from all the flying dirt.

Letting Go

This self-portrait has more meaning for me than any others. It was the result of a homework assignment from my therapist! ☺ I was told to visually capture how it feels to experience the pain of heartache. I decided to come up with a way to depict trying to hold on to something that cannot be held. It took me awhile to think of this image, and at first, I was considering using water in some way. Then I remembered some light painting photos I had done 20 years ago, and it dawned on me that light and love are very similar. I positioned the camera on top of a dresser in my bedroom and set the shutter at 25 seconds. I was sitting on my bed in the nude. I used a small flashlight to paint the heart and illuminate my face and body, and I didn’t use any other lighting. It took about 5 tries before I got this image, which visually depicts exactly what I felt when a man I loved deeply for many years no longer wanted me in his life. He broke my heart, and it still sometimes hurts. I miss him. But, taking this photograph proved to be very healing in many ways, and it’ll always be one of my favorites.

Angel of Light

This is my 4 year old niece, Olivia. She is my little muse and a kindred spirit. We created this image in my sister’s dining room. Olivia was sitting on a black ottoman in front of a dark brown wall. The camera was propped on the table and the shutter was set at 30 seconds. Right after clicking the shutter, I fired my flash unit, which I was holding in my hand off to the left slightly. Then I grabbed a small flashlight and painted the angel outline while I was standing behind Olivia. I also illuminated her face with it so that she’d look like she was emanating light from a halo and from heaven. The camera didn’t capture me because I was moving the whole time. I converted the final image into black and white, pumped up the black balance and contrast a bit in iPhoto, and ended up with this image. I didn’t do much editing, because if you use the flashlight correctly, you can get the right effects and not need to mess with photoshop or any type of retouching. And it looks better that way too.

Tagger

Tagger is an image from Spring Break in Daytona Beach, Florida. I was documenting a Christian missionary outreach for vacationing college students. The young man in the photo was painting at the graffiti wall, which was set up for the students. There was a bright spotlight behind him, and I noticed that he would silhouette when he stood in a certain spot at the right angle. I crouched low on the ground and just waited for the right moment. This is one of my favorites because you can see the paint actually spraying out from the can.

Lightning Over Adair

There is something about capturing lightning that I just love. I think it’s that element of the unexpected again – never know what you’re going to get. I was driving home one evening during a rainstorm here in Orlando, and I liked the way the wet street was reflecting the lights, the lines, tree, etc. I propped my camera on the dashboard and shot several 15 second exposure images. At first, there was no lightning about, and I was trying to get some good effects with the cars driving by. Suddenly it started to thunder and lightning, and I got just one shot of a bolt – the one you see here. It was pure luck how it backlit the tree and snakes across the frame. I was in the right place at the right time.

Reed Flute Cave

This is a wonderful cave in rural China. This particular scene is at the end of the trail. It seems larger in the photograph than it is in reality, and the lighting and colors are spectacular. I shot this image on 35 mm film, and have it framed and hanging in my home. I didn’t have a tripod with me, so I rested my elbow on a rock to help steady the camera. It was pretty dark, and several of the images were blurred, but thankfully I got some that turned out great, so I was pleased.

Have you considered dipping your toes into more planned long exposures (ie: tripod + bulb exposures on night-long expeditions), or do you prefer to take a more guerilla approach of capturing a moment as it happens?
Although I prefer a more guerilla approach just because that is what I’ve done most, I am brainstorming on some more planned long exposure shots. My sister lives in Albuquerque, New Mexico, where the night sky is gorgeous, and the elevation is high, so I’m thinking about a good spot to do some night sky shots… perhaps from the top of the Sandia Mountains. I’ve also been planning a series of light painting images that I will do in the studio with a tripod. I hope to get those done in the next 6 weeks or so – will be a mystical themed series, but that’s all I’m going to reveal for now. :)

Most artists seem to have something about their work that irks them (a quest for perfection as it were). If you had to identify something in your work that you’d like to improve, what would it be?
I am striving to get a little more gritty and messy, if that makes sense – darker emotions, moody, more intense sensuality, that sort of thing. I want to expand more beyond the “happy clappy” stuff and push into other human experiences; things that might feel more private and vulnerable. When someone sees one of my images, I hope for reactions that may not always be positive, but will be memorable…. Like “How did she know I was feeling that way?” Now that I am at a place in my life where I’m not afraid to go there emotionally or spiritually, it’ll likely show up in my work whether I am consciously trying to show it or not.

What’s ahead for you in the coming year?
My primary objectives are to get my work seen and to build diversified channels of income. I need to pay the mortgage. This is what I do now, and it’s a big step for me to leave a 20 year career in the corporate world. But it’s time. I have some work booked and have meetings in Los Angeles with stock agencies, am meeting with a business partner in Tucson, going to Atlanta to shoot some stock footage, doing an arts festival in September, and am networking like crazy. I’m also praying a lot! I believe that if you follow God’s leading, even when circumstances seem to indicate it’s crazy to do so, doors will open and your work will be blessed. It’s going to be an exciting year!