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The Creative Spark: Lauren Lemon, Creative Portrait Photographer

The Creative Spark: Lauren Lemon, Creative Portrait Photographer

with Lauren Randolph

 


Lauren Lemon is the online persona for Lauren Randolph, a photographer based in Los Angeles. She built her photography career in part through a series of personal projects, including taking one self-portrait a day for an entire year in 2009. She's also one of the most popular photographers on Instagram, with more than 200,000 followers.

In this first installment of The Creative Spark, she talks about the importance of social networks and personal projects in establishing a photography career. We follow Lauren for the day as she plans and choreographs a creative photo shoot in her distinctive visual style and uses Instagram as part of her creative process.

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author
Lauren Randolph
subject
Photography, Portraits, Documentaries, iPhone, iPod, iPad, Lighting, Creative Spark
software
Instagram
level
Appropriate for all
duration
17m 24s
released
Nov 21, 2012

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The Creative Spark
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Collapse this transcript
Lauren Lemon, creative portrait photographer
00:00Lauren Lemon: One, two, three. Perfect. Let's do a big laugh when you do it.
00:04One, two, three. Perfect. Let's do chin back.
00:08The Lauren Lemon thing actually started as a pure nickname from friends. They
00:14kind of gave it to me based on, I've always loved bright colors,
00:18all of my photography has always expressed the kind of quirkiness and
00:22colorful aspects of my work.
00:24So the Lauren Lemon think came along kind of when I was signing up for all of
00:28these internet things. Like I was like "Oh, this nickname that I'll use, I'll use
00:31as my handle for Twitter or for Flickr and then it just really stuck.
00:36(music playing)
00:41There's that famous quote that the best camera is the one that you carry with
00:45you and that becomes the iPhone now.
00:50Instagram created their Suggested Users list. They turned to a lot of the
00:55professional photographers who were using this platform and from then the
00:58following just kind of took off.
01:02Hold it with both hands. Yeah, right there.
01:04I think the community of Instagram is very beneficial for me, and as long as I'm
01:10constantly shooting, I know there's people viewing. And I've got over 100,000
01:15followers on Instagram, and that's kind of an overwhelming number, but I'm
01:20constantly practicing, I'm constantly shooting photos, I'm constantly looking
01:23for composition and if other people weren't looking or seeing or responding then
01:28maybe I'd get lazy or maybe I wouldn't shoot as much, and so it's nice to have
01:33like a community keeping you involved.
01:35This was an image that I made, and a lot these are students and a lot of them
01:41know my work through Instagram, my blog and through Flickr.
01:44So they were excited to see me come and watch my actual photo-making process.
01:49Many of these people were shooting photos while they were waiting for me to
01:54set up and everything.
01:55I figured the more people sharing, the more people talking about your work,
01:58the more people interacting, the better.
02:02(music playing)
02:06When I did the self-portrait project and posting on Flickr every day, that was
02:10the first instance that I really saw people starting to follow and that was
02:15kind of when I realized the power that you could have by having a following on
02:20these social media sites.
02:21(music playing)
02:35Most of my self-portraits, they aren't me; I'm playing a character or playing a
02:40role and there is a weird balance between obviously being in front of the
02:43camera and being behind it. And when I'm shooting other people I have a very directorial role.
02:49And so knowing how to do both I think helps me interact with models when I'm
02:54not shooting myself.
03:01When I'm approaching an idea or approaching a photo shoot, I basically
03:05think like what isn't possible and start from there, as big as I can get,
03:10and then kind of narrow it down to how I can create this outrageous idea or
03:14this outlandish idea.
03:16I like to do creative portraiture, I like to take a person and a personality and
03:21then maybe pull out little aspects of it that I think highlight them, or a
03:27character that they could play.
03:29(music playing)
03:40Right now I've kind of got a location for this super-bright-green kitchen.
03:45So I obviously know that I want to keep it green and really colorful and
03:50really coordinated.
03:51So I've come up with an idea to do like a little kitchen scene with a little
03:56'50s housewife. And I'm going to be making these kind of bright-green pies that,
04:01if I make them with whipped cream, my only next step is shooting these nice fun
04:07portraits but then making a bit mess of the scene or something too.
04:10So my brain kind of works with like a progression, a story within when I'm doing
04:14too. Like I'll start with her real clean, real posed, but then as I get that
04:20shoot maybe move to something else. Like what if you smashed the pie in your
04:24face? What if you put whip cream everywhere? Things like that. You never know,
04:29even if you map it out going into it, you could totally scratch the whole plan
04:33and go in a different direction.
04:35(music playing)
04:45I'm going for a dress that will match the kitchen that I'm shooting in, and
04:49luckily, for photo shoots sizing doesn't really matter because I can always make
04:55it work, and I can pin it in the back or something like that.
04:57So I'm more just looking for style and color and something like that will
05:02look good with an apron on it and match with what she's going to be holding and wearing.
05:08(music playing)
05:12It would be hard not to put my own vision or voice or taste into my work, and it's the
05:18greatest compliment when someone sees a picture that I took and they say, "Oh, I
05:21knew that was your photo," or, "Oh, I recognized your style," and that's the only
05:25thing I think I could really hope for as an artist or as a photographer is being
05:29able to have a vision that other people recognize as my own.
05:34A little bit more of a gasp. One, two, three. Keep that going. One, two, three.
05:40I think the biggest thing that I learned is just to constantly be shooting, and
05:44that's kind of what the 365 Project, when I was doing that, showed me too, is I
05:49was doing a portrait every day, I was setting up something every day, I was
05:52constantly practicing and people were responding to that and following these
05:56photos. And it's personal work that draws in clients, and it's personal work
06:00that catches people's attention.
06:02And I just try and constantly be working on something, whether it's an idea I'm
06:08building or a collaboration I'm starting or just the thought process; as long as
06:13it's always going, I feel like it's a way to keep moving forward.
Collapse this transcript
Extended Features
The Instagram story
00:00When I started Instagram, I think it was, the app had been released a day or
00:04two, and I've always shot photos with my cell phone. Even before I got an iPhone,
00:10I was taking you know little pictures with my little Samsung phone or Nokia
00:15phone or whatever it was.
00:17So when the iPhone came out and the camera was a million times better than
00:22any cell phone camera I had, I got really excited about any photo app that I
00:26could find and apps that could created panoramics or apps that edit and
00:30things. And so I was shooting all of these photos and editing all of the
00:34photos on my phone, but not really having any place to share them, because I
00:38am not putting them up on my website. I am not putting them up on my
00:42portfolio; they are just snapshots.
00:44So when Instagram came along, I had heard about it and basically it was like the
00:50perfect platform for me to share just those quick memories that I was shooting
00:55anyway with this platform that so many people could view it.
01:01When I first joined it, I was just trying to get my friends involved, to have
01:05them kind of follow my iPhone photos and so they can shoot too. And it became
01:10a very personal thing, but then Instagram grew so quickly, and I started just
01:17really turning to the app and using it all the time, shooting multiple photos a day.
01:22And when Instagram created their Suggested Users list, they turned to all of
01:28the photographers and professional photographers who were using this platform
01:32more socially or more freely than they would their regular work. So I was put on
01:37the Suggested Users list and from then just kind of the following just kind of took off.
01:43And I don't go anywhere without my cell phone, but I may leave the house without
01:47carrying my big digital SLR around.
01:49And you know I may not always have the money to develop film, but I am paying my
01:54cell phone bill no matter what. So it becomes the one camera that I really do
01:59always have on me and you know, it's incredible to be able to shoot a photo and
02:04have someone in a different country respond and see it.
02:08And I'll shoot something at breakfast and someone is like oh, I am at dinner
02:12now, because I'm all the way across the world. And it's become just like amazing
02:17network of people, or this community of people, who, just through little snapshots of
02:23life and everything, we can all follow along now.
Collapse this transcript
Shooting the 365 self-portrait project
00:00I've kind of always been into shooting photos and shooting my life and things,
00:04but it wasn't until college, I'd say, that I took my first photo class.
00:09I was getting assignments for shoot contrast, shoot you know texture, go out and
00:15shoot--show that you understand exposure.
00:18I was getting all of these assignments and then it was fun to basically put
00:22myself into these scenes because I loved shooting people.
00:24So if people weren't around, then I'd put myself in a scene because it would tell
00:29a story a little bit more than instead of just shooting landscape or just
00:32shooting wildlife or just shooting buildings.
00:35I would shoot a building but put a person in front of it, and all of a sudden, to
00:38me, it became way more interesting.
00:40So, I was still going out and shooting by myself a lot of times and going out
00:45alone with my camera and kind of exploring, but still wanted that element of
00:50portraiture or creating emotion with a person in the scene.
00:54So I started the 365 Project because I knew I'd be able to document my life, I'd
00:59be able to document the changes I was going through, but also it was a way to
01:04have fun with photography instead of creating work that I was going to get
01:07graded on and show for a teacher to critique and everything.
01:11This was my way to basically get out of school, go home, and just play, just have
01:16fun, just kind of explore how light works, how costumes work, how characters can
01:22be built based on a look or an expression. So that's when I started kind of
01:25having fun with, oh, maybe I am a bright colorful thing; maybe I am from an
01:30old-fashioned time; maybe I am a traveler, all these different roles that I
01:32could put myself in based on the location.
01:36There is a weird balance between obviously being in front of the camera and
01:41being behind it, and when I am shooting other people I have a very directorial
01:46role; I'm telling them exactly what to do or telling them very specific things.
01:50When you're sitting in front of the camera, it's a lot of times harder to, "Where
01:54do you need my hand, where should I look?" and so knowing how to do both I think
01:58helps me interact with models when I'm not shooting myself.
02:02You understand how light works and where eye lines make sense, and when you're
02:07telling a model like, "Oh, raise your arm," they're like, "That feels really unnatural, I
02:10don't get it." And I am like, "Yes, but it looks really good," so that's kind of
02:15the photographer/model role that I think has helped me shoot other portraits
02:19by shooting myself.
02:23I was doing a portrait every day, I was setting up something everyday, I was
02:27constantly practicing, and people were responding to that and following these
02:30photos and seeing those photos, and so this is the industry where everything
02:35changes so quickly, everything happens so fast, everything is constantly moving forward.
02:40So if you let yourself sit and kind of wait on an idea or wait on a project,
02:44the next month you might see someone who already shot it or already done that,
02:49and so it's like the most valuable lesson I learned here is just to never stop
02:54going, never stop moving forward, never stop shooting, because as soon as you
02:58do, someone else will surpass you and someone else will get the job that you
03:02could have gotten had you shot something that they were interested in.
03:07And it's personal work that draws in clients, and it's personal work that
03:12catches people's attention.
03:14I just try and constantly be working on something, whether it's an
03:18idea I'm building or a collaboration I am starting or just the thought process.
03:24As long as it's always going, I feel like it's a way to keep moving
03:29forward, basically.
Collapse this transcript
Planning a self-portrait photo shoot
00:01Once I come up with an idea for a shoot, I pretty much start brainstorming all
00:06the possible props and wardrobe that I need. That's part of how I come up with
00:10an idea is I've already kind of got a list of exactly how I want to look and so
00:15I just need to visualize it within the photo.
00:17So if I can, I like to be able to go to the location and maybe snap some scout photos.
00:23If it's a place I can't look at before the shoot, then I'll look up online or
00:29something to get a kind a visualization of the space that I'll be using.
00:33And then from there, I'll either do little sketches, in my journal or
00:38be able to print them out and kind of actually write down where subject will be,
00:43where props will be, where I'll potentially be putting lights.
00:46So that way when I show up to actually shoot, I have like a map of where
00:51to begin, basically.
00:52So, right now I've kind of got a location for this self-portrait in front of
00:58this big window. It's very pretty. It's got good light.
01:01And I'm thinking the shoot can go either, can go two ways.
01:06It can be really light and airy or kind of dark and moody, and that's actually
01:10something I might kind of play with once I get there. Figure out how--
01:15what works best for lighting and everything.
01:17And mostly what I do is try and tell a story within one photo, or kind of create
01:24something that the viewer may wonder what's going on outside of the frame or
01:29what's going to happen next, or maybe what just happened.
01:32So, kind of always alluding to something that's maybe not exactly pictured, but
01:37still all captured within one frame.
01:43And this way I like to be able to figure out how I am going to light things
01:46before I go on to this situation.
01:48For the self-portrait, I do want daylight kind of happening through, so I do
01:52know that I want to shoot that first when I get kind of this good dappled light on the trees.
01:57And I'll probably just kind of want it to be more simple and more about the environment.
02:01What I'll probably do more in this scene is remove elements that are already in
02:06the room and keep it very simple, so maybe move the couch out and maybe move a
02:12chair around and definitely the coffee table, but then bring maybe some flowers
02:18to kind of dress the scene, kind of bring in--something to bring the attention
02:22here without having too many extra elements.
02:24So, for this I've just kind of-- I need to keep an eye out for, like a nice
02:29light-colored dress, or I was thinking even like a nightgown because I am
02:34going to try and see if I can shoot by--during the day by--create a
02:41reflection on the window.
02:42So I want to try and light it so that I am lit from the front, facing the window,
02:48and then there is a slight reflection of maybe my face or the binoculars that
02:52I'm holding, reflected onto the window that you can see from camera.
02:57And I say I want to try because I've never really lit something like this.
03:01And a lot of times I'll use my self-portraits as tests for ideas that I have,
03:06that may or may not work out.
03:08So, I know I'm not going to get frustrated or annoyed if I am sitting there and
03:14lighting isn't working out. And part of the reason it's fun to do
03:17self-portraits is be able to kind of push to yourself and try things that you
03:20wouldn't necessarily have the patience for otherwise.
03:27If I try and get like a reflection, I'll be stoked, but if not, then I think I'll
03:31still be able to make something that I'll be happy to show.
Collapse this transcript


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