Art Photography Virtual Open House with Alumni + Faculty

All right so I’m going to begin. Hi everyone uh welcome to our open house webinar at the art photography program at Syracuse University. My name is Yasser Agour. I’m joined by my colleagues Laura Heyman, Doug Dubois, and Susannah Saylor. We are here to have a conversation with some alumni who are going to talk to us a little bit about kind of real world experiences of what it’s like to leave Syracuse and try to make a living Just a few housekeeping issues of those of you that are just coming in late we are trying to figure out the closed caption but once that’s available you should see a little icon on the bottom of your screen that you can turn on or off For those of you that are here to talk about the program as soon as the panel discussion is over we will be, the faculty will be available to answer any specific questions you have for both the undergraduate and the graduate program so please do stay. You’ll see that we have both Q&A function and a chat function we’re going to use a chat function for this information You can see our, the faculty email as well as our panelists instagrams and websites and any other kind of information that will be available for us throughout the uh question and answer, however, if you do want to have a specific question later for the panelists please use your Q&A icon on the center of the bottom of Zoom okay. So let me uh once again I wanted to say one of our big traditions at Syracuse photography, those of you alumni will remember this, that every year we have a big uh event in NYC where we invite alumni to NYC uh to my house and we have a big dinner party and current students and alumni get to interact and we get to you know meet our old students and see what they’re up to. Obviously because of COVID that was not possible this year. A lot of things got canceled, a lot of bad things obviously from the fallout uh in COVID but it does, COVID did provide us with this great opportunity to bring together a lot of our former alumni. We have six alumni here, three undergraduates and three graduate students. We’re going to ask them a few questions about their experiences both at SU and mainly about what it’s like to go on to the job market, what the job market is like these days. One advantage of course of COVID is that we can all dress fairly comfortably. I’m in my sweatpants so we have very nice designer sweatpants but sweatpants nonetheless So we can all be relaxed from our homes Our students from Syracuse after they graduate they kind of scatter all over the country uh and indeed all over the world at this point. I just wanted to ask real quick where where our panelists are right now uh Aaron I am in uh Cincinnati, Ohio. Okay Jamie I’m in Syracuse. I’m in central Florida close to Sarasota but I live in Miami. Cool so you’re the one we’re the most jealous of right now. Joe I’m in Newport, New York where I live Cool and India. I’m in Atlanta, Georgia Atlanta and Ohima. Brooklyn. Brooklyn I’m in Brooklyn as well. I think uh the rest of the faculty I believe are in Syracuse so I’m just going to begin with bios. Laura is going to show a PowerPoint as I talk through this and um at the end of each introduction I’m going to ask each of you a question so be prepared. I’m doing it alphabetically so India you’re first Media Blast is a visual artist who grew up in Ithaca, NY and currently resides in Atlanta Georgia she holds a BS from Ithaca college and received her MFA from Syracuse in 2016 She’s currently an assistant professor in the department of art and visual culture at Spillman College in Atlanta, Georgia she also works as a freelance photographer for clients such as the New York Times, the Atlantic, the Washington Post and the New Yorker. She uses photography, collage, video and books to address matters of sexuality, intimacy and her lived experience as a girl, woman and mother. She delicately weaves stories concerning circumstance, value and power and uses her work to create a physical and allegorical space presented through a black feminine lens.The result is an environment that is dependent upon the belief that in order to maintain resiliency a magical outlook is necessary. She has completed artist residencies at Constance Sultan’s Soul foundation for the Arts and the Center for Photography at Woodstock

Her work has been featured in the book Mufon, a journal of women photographers of the African Diaspora, the Huffington Post, Dazed and Confused Magazine, Strange Fire, Collective Refinery 29, Hypoallergic pdn Photography magazine and more media is recognized for her body of work entitled ‘the girls who spun gold’ which is a collection of images that resulted from a girl empowerment group that she founded after observing a lack of space in community for teen girls of African descent in Ithaca New York. In 2019 she was named one to watch by the British journal of photography I just want to add you know I definitely would recommend going on everyone’s websites. We only have like four images just uh in terms of the introduction but everyone here I promise you, has made great work and I highly encourage you to go on to their websites So Nydia how’s how’s Atlanta. Atlanta is good, it’s great. Big change right.Yes very big change. You grew up almost all your life in the Northeast and now. Yeah my entire life yeah this is my first big move so yeah wow. And how is it hard to find models now? It is. I’m like I photograph people I know and I don’t really know anybody especially with COVID um but I’ve been doing a lot of freelance work which is great um and getting to know people as much as I can and so my practice has shifted I think a little bit but I’m excited to kind of see what happens All right so I’ll be back in a moment more discussion. How long have you been in school now sorry. I’m in my second year second year. Yeah so it’s hard I guess it’s like uh uh to have uh starting school in the middle of I mean it’s hard for students but it’s also hard for faculty I would imagine I feel bad for the students mostly All right so Rose. Hi Rose. Rosemary Cromwell is a photo and video artist whose work explores the effects of globalization on human interaction and social politics. She’s also interested in the tenuous space between the political and the spiritual. Rose is originally from Seattle. She spent the last 15 years between New York and Latin America and is currently based in Miami (jealousy) Her first book a libro supremo de la suerte was published in 2018 by TIS books as and was awarded the lightwork photobook prize It was named one of the 25 best photo books of 2018 by Time magazine. In this book Rose explores the complexities of her time in Cuba through non-linear narratives alluding to the mystical ways of luck She is currently working on her second book which is a 10-year project about a community living alongside the panama canal and history of U.S. military intervention in Panama. She’s she has also had solo exhibitions at Diablo Rosso Gallery and Anticipate Gallery both in Panama City, Panama Her work has been exhibited Aperture Foundation in New York, Prism Art Fair in Miami, the Philadelphia Photo Art Center and the Silver Eye Art Center in Pittsburgh. Among many others Rose is a recipient of a full bike grant a Getty Reportage grant and was a Lightwork artist in residence She also works as a freelance editorial journalist and commercial photographer. Clients include the New York Times, the New Yorker, Time, Calvin Klein and Apple. She is represented by Claxton projects Rose is also a small wave surfer and became a mother last December. How’s it with an infant by the way during this COVID stuff. You know I think having an infant is better than having a five-year-old perhaps because she doesn’t need to be in school um and I’ve also been able to spend a lot of time with her yeah when otherwise you know I would maybe be traveling a lot for work Another question I have because what’s it like to have a gigantic billboard and to like be on the street and see that image. You know I’ve only experienced it through like my phone You haven’t seen it in person? No I haven’t been in- I haven’t left uh Florida in a year Ah so you know I gave you know I gave birth and then COVID started so Wow. Yasser you should go see it and tell me I’ve seen it you know I have something that was like I was like wow. I was jealous actually to be honest when I saw it, that was my reaction But it’s great it was really great to see Thank you. All right um next up is Ohima Ohima Dixon is a photographer located in the New York area.She received her BFA last spring from SU Her interdisciplinary work focuses on capturing moments of the black experience and black feminine narratives through the mechanisms of afrofuturist thought and the archive

Since graduating the pandemic has brought challenges, however, she’s been able to work through it and achieve many things. In the wake of the unrest in June she was able to produce a print sale of her work with one hundred percent of the profits going towards black visions collective, raising over twenty-five hundred dollars Additionally, she has produced her thesis which is now on show at the Candela gallery in Richmond, Virginia until December 31st She’s additionally published a book a photo book titled TanpaIzin which is available internationally and featured in publications such as Office Magazine and the British Journal of Photography. It’s a great book that has to do with your travels in Indonesia. I highly recommend um Omgimo also works contractually for Sky High Farm doing digital communication So um I actually have two questions for you, one not so serious and one a little bit more serious How does one get an employee discount for… I know because I think the first time I mentioned yes too right now I’m on contract because like that’s part of the thing with the pandemic so I don’t even have a discount yet I just kind of do contractually and I’m really close with the team over there but what I when I know I’ll let you know. Just in case anyone from Columbia someone’s listening I’m wearing one of your shirts, kind of promotion, so if you want to give me a discount totally uh please uh but a more serious question what was it like to uh to put your work in the in that sort of heart of the confederacy the old capital of the confederacy what was the reception? Like well it was super interesting because it was right at the time of the election the day my show opened was actually the day that it was like I’ve decided so like as I was driving up the street to see everything there was like a group of Trump supporters blocks down at the city hall um but Richmond’s a really interesting place for those conversations because it’s a city that represents. It was the heart of the confederacy and now a lot of those ideas are being taken down but those old attitudes are still there um so it made a really interesting kind of dynamic in the town. I think if you’ve been there it’s like a lot different than what you expect um especially like the main arts row there um but it brought up a lot of interesting conversations and people for sure In a way it’s almost like a site-specific project it’s almost like the perfect place to Yeah and I didn’t think about it at first when it first happened and then as I like was thinking about like the placement of it um it was like very serendipitous like kind of what was happening Cool so uh next up is Erin Geideman Erin’s undergraduate thesis in 2013 culminated in a photo book titled I Can See Right Through You This work chronicles the ramifications her best friend faced after he was shot in the stomach during a mugging in 2010 working with both candid and staged images, film and digital formats. Erin combined a unique sequence of images that articulated the intimacy alienation and pain caused by the events I Can See Right Through You has been featured in several publications including Muse Magazine, Gup magazine, F-stop and Burn, and selected photographs have been exhibited in group shows at the Cincinnati Art Museum, the Center for Fine Art Photography in Fort Collins, Colorado. Yes sir. Art Center in Paducah Kentucky, Barrett Art Center in Poughkeepsie, New York Beard and Well galleries in Norton, Massachusetts and Portobello Photography Gallery in London. Since graduation Erin relocated to her hometown of Cincinnati, Ohio and shifted focus from creating art to supporting artists. For the last five years she has worked at the Cincinnati Art Museum starting in the museum’s mailroom Erin leveraged the skills obtained during her undergraduate studies and within a year pivoted to a position in the museum’s marketing department as project manager of design and marketing for the museum. She is responsible for the management of the museum’s award-winning quarterly magazine 1881 as well as countless other design projects. In addition Erin aids the marketing department in creating photographic assets for publication and social media accounts. Hi Erin. Hi Yasser. So uh a little bit of like interesting art history A lot of you may have in your back of your head Cincinnati was the site of a very famous court case back in 1989 uh your sister museum. I think the Cincinnati Contemporary Arts Center. You are correct the uh the curator there Dennis Berry was actually arrested for obscenity for um curating a show on Maplethorpe back in 1989. He was eventually found not guilty but I figured as you work in the marketing department and public relations you probably have access to a lot of complaints from from uh from uh the public. Do you wanna, can you share any of those kinds of more interesting

complaints that you’ve heard. Well most of the complaints that I receive are about the magazine that I manage and most of them have to do with legibility so we, I actually sit on my museum’s accessibility committee so I’m always striving to make my magazine more successful so I can get rid of those complaints. Cool thank you. Next up Joe Lingamon grew up between Indiana and Ohio, the son of a sculptor and a librarian. He likes to make pictures that are fun to look at especially when they involve food, garbage or vanilla objects and spaces. His work has appeared in New York Magazine, Time, The New York Times, Vanity Fair, Allure and his work has been exhibited nationally. Joe graduated from our MFA program in 2013. He lives in NY with his wife and two children. Joe was another person I would definitely recommend going through his website and Instagram. It’s just like this carnival of beautiful color and beautiful lighting He’s like a true stylist it’s really great to see to see his work. I have a couple two of my favorite images actually in there um one was the the the bus photograph. I think that’s next on the slide Yes this was part of an assignment no um but this is a bus so Do you okay so I’ll tell you I guess. I live in Newport and I’m from Newport. There’s a Trailways bus that drives from here to the city Tthat’s like how people commute in and it’s like an hour and a half drive and it’s sort of like um if you’ve ever seen Jim Jarmusch’s Dead Man, the scene where he like travels from NYC out west- the riders on the bus sort of gradually become more like grizzled um that’s kind of like um what it’s like to ride this bus you sort of start at this like rural outpost and then you go um into port authority. Anyway so these are the buses right they’re like this tacky stuff yeah yeah it just reminds me of so many like I think we’ve all experienced like a greyhound or a trailblazer’s glass. You’re like how did I yeah. This is a trailways yeah it’s great uh and then I think there’s another picture after this it’s uh of is this is it was this a commercial worker. Was this more personal work? No, it’s that was uh uh at a Holiday Inn Express in I think it was like in Chinatown This is just it wasn’t like you weren’t working for holiday. No this is just what I like about your work is sometimes it can be hard to tell like where where the commercial begins and where the where the art begins. I think that’s true for a lot of you uh actually but uh I think most specifically with Joe’s work I love these last two images by the way Thanks Jason um so uh last but not least we have Jamie Pershing’s personal work has been largely environmentally based his largest project was, which he has been working on for three years, revolves around the Onondaga Lake, which is about five miles northwest of the university for those of you not from Syracuse, is considered the most polluted lake in America. 25 years ago for the seventh generation is a research-based body of work that combines present-day imagery, archival photographs and images created with the assistance of the polluted waters of Onondaga Lake Jamie has stayed in Syracuse to continue working on a thesis project in order to turn it into a book. He currently has a job as a canvasser as a local environmental nonprofit called Citizens Campaign for the Environment and recently he began working part-time at Lightwork to assist with printing and distribution of the States of Change Fundraiser. He most recently designed a virtual exhibition we with CNY Arts for an annual show which had to be online due to COVID. Jamie grew up outside Washington D.C. and rode his bicycle from NYC to San Francisco with his sister in the summer of 2017. Hi Jamie hello how are you doing You’re doing all right. You and Ohima are like our most recent and you both graduated Oh yeah in this crazy moment COVID grads, yeah but what I want to ask you actually is about any thoughts about graduate school. Yeah um I definitely am planning on it at some point. I need a break from education for a while. I spent the last

I don’t even know how many years like 15 years in education so I’m taking a break like doing something with my life and then definitely in the next couple years thinking about grad school Okay so um that’s our bios.I’m going to start asking questions um don’t feel like everyone has to answer every question. I’m going to probably um first question I’m going to actually point initially to Rose and Joe uh but obviously everyone can jump in at a certain point partly because I’m asking you because you guys are you know hustling. You’re on your- paychecks are dependent upon um freelancing and so I just wanted to get your sense of what publishers and employers are looking for right now in terms of uh photographic photography in the field and how covid has affected everything I found a lot of magazines have actually closed down, not to be not to start off on a negative note but I’d say, you know especially you know I had a couple of travel magazines as clients and they’re gone or they’re on hold for now. But I also feel like now the landscape is really about pitching um you know coming to publications with stories which is something that I started, I have always done, so I’m in luck But now it’s even more competitive um so um I do you know I think a lot of people I know are still working you know it’s not like it’s um there’s still jobs to be had. For sure. It’s not all negative but just I think things are just changing all the time you know and editors are moving around, creative directors are moving around, nothing is static. How’s that for you Joe? What’s the sense of things? I think people definitely want, I mean I shoot mostly kind of still life and food and definitely the kind of work that I, the kind of still life work that I do is you know people are definitely looking for a unique voice um. I think my understanding is that you know there’s there’s a time where you know you just sort of take direction from an art director um sort of execute what they want. When I was assisting I assisted on jobs like that, um but that’s not usually the kind of stuff that people end up hiring me for You know kind of the stronger your voice as an author is your voice as an artist is kind of the better off you’re going to be um. COVID has not been bad for me um, well I think it kind of halted some momentum that I that my career had um but um I have a studio at home and I can kind of play stylist um so I’ve been able to shoot a lot of stuff here um some commercial work even um as well as some magazine work so that’s been good. What’s that, did you set up the studio beforehand or do you always have that or does it? It yeah I had a space that I used as a studio but um it became a shooting studio um and if uh my commercial clients are like beauty clients so you know they’re like lipsticks and things like that so you don’t need that much space It doesn’t have much space but you can’t get a deep shadow really um just because it’s like small and the walls are white um but uh but yeah as far as what um employers are looking for and what photo editors are looking for I think definitely like a strong strong creative voice for sure I also, thank you, I also wanted to hear from our most recent graduates You’re the ones I think they’re dealing with at the in a way the most intensely uh Jamie um Jamie first I mean I don’t know because I didn’t like end up going directly into something related to my field so I found a job to pay my rent um that’s like how I went about it Given that covid’s been just kind of crazy and the job market especially in the Syracuse area which is where I knew I wanted to be is not the most lucrative for the photo world um but I don’t know. I think the biggest things I’ve found not even related to like any sort of art skills is just like your interpersonal skills and how you’re able to interact and make connections with people and use those connections to advance yourself in whatever direction you want to go even if it isn’t art based. I think from the university that’s one of the biggest things i

learned um and then translating that into the employment world um just that’s like been the biggest thing for me is how you’re able to keep connections and keep up to date with people yeah um I in terms of like shooting active work right now I honestly like around like maybe September this all got a little too bleak for me so like I just kind of wanted to focus on my old stuff and not work on anything new so I didn’t really like put in my usual efforts for things I’m supposed to start shooting editorial for Teen Vogue in the New Year but I don’t even have my camera right now for like I’ll just like keep it real. um I don’t have my camera right now for like any like really new work, besides I’m just finishing up old stuff but really what I’ve found is just I’ve been approached by editors and just kind of like keeping up those kind of relationships in general um and also um the number one thing I did that I think that helped me was I made a skill set outside of photography which is communications um and so what I’ve found is that um those two realms interact in like a really nice way so a lot of times I’ll be in a place um working with like you know com let’s say and then I’ll be brought in then for photo um and so that’s kind of been what I’ve been doing lately um in terms of that and like shooting active stuff and yeah Great thank you. My next question, and then this is what we in the business call a leading question, how did the photo program help you prepare for professional life, and this is where you’re supposed to really gush about SU so I’m going to start with Nydia for this one. Why thank you! I think that I talk about this when I give my artist talk a lot is that I think undergrad helped me um like solidify that photography was something that I wanted to do and that I wanted to use photography as a tool to talk about things that were really important to me like race and and gender and sexuality and then I think at SU what was really important that I really took away was how to go about making a body of work like really figuring out uh what the work needs, what is the best way I would say even simply from like shooting, like how to go about like getting what I need in terms of uh my ideas right and then I think at one point my work needed lighting and so then there was that so I think crit was like a good space for that um uh to figure out those types of things like um. Then I also worked with books or I worked with video or I worked you know different ways to figure out um you know the best way to see my work or interact with the work um but I also think the connections that I made at Syracuse were really important um. I think uh people that I’m in school I’m like working with an hour they reach out to do things or, Leah just edited some of my photos for me the other day, stuff like uh that was really helpful. But yeah right and I think somewhere in there I was just decided that I was gonna teach um somewhere at Syracuse, I was like I’m just going to teach and I’m going to make some work that I really want to make and people are going to like reach out to me to ask me to make work like my work and and so luckily that’s kind of, I manifested that It’s worked out well. Yeah Erin how about you, can you talk a little bit about your experiences at SU and working at a museum? Yes of course. I think one of the most instrumental things um that I got from the SU program was my work experience I was awarded a work-study grant for all four years while I was there and through that I was able to get two separate jobs that I think very much informed my later career decisions. So for my freshman and sophomore year I worked in an art gallery in downtown Syracuse that I think now is a Funk and Waffles. As things kind of go here um and that experience was instrumental in getting to know how galleries work installation things like that very applicable to the museum field and then as a junior, Susannah had come on as a professor, and her and her partner were looking for an assistant for their non-profit Canary Project which I believe is now called Tool Shed and I worked with them for two years as their assistant um and I learned instrumental skills through my time working with Susannah and Ed um that were, are still so valuable to me to this day um. So I think those two big opportunities were what was what I was able to leverage to get into the museum field when I had relocated back home on top of that I would say that you know the networking aspect provided by Syracuse was really great but it’s something to consider if you are relocating back to another city um can be something that you lose. So um you know the professors and things didn’t really have many contacts back in Cincinnati when I come back home um so it did take me a little bit longer to break into that field I think because of that Just something else to consider as you’re looking at programs. Great you know a big part of our program is our is the thesis experience all of

you have gone, through either a BFA or a MFA thesis, any particular memories from that? I know for Jamie and Ohima they were the ones that didn’t quite get to um complete their thesis in the way they would have wanted to at SU though Ohima you did get to show it in Richmond but um could any of you talk about you know your last year at SU and those experiences. I think um one thing that I learned really well and my thesis was just about work, so the curriculum in your last year is really kind of focused on here’s your idea but what are the things kind of around and kind of extrapolating all the different aspects um and I think the more and more I come into like contact with a lot of different people that work in photography maybe without same background, I realize like you know those like little things that you pay for like those nuances as you know there’s the network but also things like having an active quit group but also just like knowing how to write about your work um and that was a big thing kind of working on that with you know all of our professors and so I think that’s one thing I think in terms of thesis development that was really helpful. I’ll always, I’ve always said to like anyone who’s ever asked me about joining a photo program is I think the number one thing that you really gain is a group of people that you can work and show your work with and get criticism from um and learning how to like work with criticism learning how you know having that many opinions available um you know kind of putting your ego down working with work and knowing how to do that and it really helps you kind of leave it being able to look at your work um with like you know a new lens and not just always your own, just all focused on what you have to say. Sarah you have turned actually your thesis work into books like Rose, you’re one of them I feel like my three years in the in the MFA program at Syracuse was an incubator for that work and the work I came into the program looks so different than the work three years later that I went out with it and it’s probably been one of the most productive uh times in my life for my personal work um because it gave me that time and space to really concentrate and the critical feedback that you’re not you’re not going to get else elsewhere and um you know the body of work that I developed and then continued to develop after after school and then eventually turn into a book has been like the launching pad of my freelance career. You know like Joe was saying you know editors um or [ __ ] was saying too they you know they hire you for your strong personal vision and I think that also these days that really people love to see people making personal work. You know, I know that’s not why we all make it but it definitely helps to come out with something finished or finish something soon afterwards and publish it and that found that to be really helpful in in becoming and going fully freelance I also want to say that you know light work obviously is a huge you know meeting a lot of artists that were um doing residencies at lightwork provided me with a professional network that I wouldn’t have had otherwise which has been helpful too might be a good segue for Laura. She’s uh take over uh and ask some questions That’s a question that’s a yeah there’s a specific question about that and a lot of you I mean I think all of you spent a lot of time at Light Work in different ways so um. Rose has already spoken about it um can someone else share their experience Joe you worked there on your own but also on like other artist projects. I always saw you you were working with um Sam and doing some work for me um can you talk a little bit about that Yeah for sure I mean I went in a pretty different direction my work kind of went in a pretty different direction after graduate school um and I basically started over and I went back to like photo assisting um and kind of the path to that which I don’t know if I necessarily advise that um you know in your 30s but um uh but the the catalyst for that came from um some experiences that light work um working with there was one month where uh photographer named daniel shea and uh calpegra were there and it was sort of like oh okay here are these like two working photographers who are like you know toughing it out in the freelance world um taking pictures for a living and that was kind of um let me say this i guess and i think this this applies to most people’s practices i think being at light work exposed me and would probably expose a lot of people to a lot of different types of photographic practice um you know not all those people are working photographers or teaching or um or whatever so

it’s because they’re kind of seeing how everyone’s um sort of lives intersect with photography and i was able to see that light work and that kind of led me down the path that i took for sure and um nydia i know that you were printing not so long ago like remotely at light work have you like um this is one of the great things like artists that work in residence there and also students continue to print there um can you talk a little bit about your experience with him i just accepted a quote today from lightwork so i still get uh um stuff printed at lightwork if anybody knows me you know that i don’t edit my photos too it’s just uh i was always really um wanting to support people who are really good at that and i just didn’t put much time ever into that i was more conceptual and worried about my vision and what i had to say so light work was really helpful um to me with my thesis too and working with somebody who helped um edit my work or i helped them edit my work and i still get stuff printed from there all the time and i’m in touch with light work probably once a month so yeah it’s super helpful and jamie you’re freelancing there now right yeah um so i don’t i don’t know how many people heard about the states of change fundraiser um that lightwork ended up printing but they sold like upwards of 12 000 prints um all of the money about 1.5 million dollars is or went towards fighting voter suppression in swing states for the election so it was like this incredibly cool fundraiser but for those who have printed work 12 000 prints it’s just kind of a ridiculous number um so i’m helping out there really just trimming and packaging prints um but it’s i can’t say enough about light work as far as like up like a place and its affiliation with the university it’s i think it’s just one of the best things about the university is that there is this space with all of these people who are incredibly knowledgeable about what they’re doing um and it’s just like this this other outlet for people at the university to get affiliated with like others have said how you can translate your life whatever that may be into the photo world um but it’s just this collection of incredible people and just like this great resource that i can’t say enough about but yeah and for those who are um tuned in who are unfamiliar lightwork is a center for photography located on campus that’s a sort of a quasi-university entity it’s a partnership with the university they have they run a residency program an international residency program that literally any photographer of any import that you could think of from the past 30 years has come through that space either as an artist in residence either been published in their magazine contact sheet or they’ve been exhibited in their gallery and um we have another alumni uh sending something in the chat hey jason um it is a non-profit um and uh for people that want to support it it’s um doug put the link in the chat yes they are a non-profit and can always uh like all non-profits um use additional funds so all of our students are have memberships at lightwork and have access to their facilities and end up as you can hear working really closely with the artists that come through that program um so uh i’m gonna in the interest of time jump to our next question which was about um international experience um some of you have uh like during your time as a student participated in some of the international programs um some official and some less official ohima i know you did and nydia you um participated in like a one time only um situation that wasn’t uh repeated um but uh if the two of you could talk about that ohima if you want to start yeah um so i did the regular abroad program in the fall in italy and then that kind of brought me into the whole world of just um international experiences and then i got the creative works grant um from the undergraduate research office and that was actually to do more archive based photo work in paris um and then so i was like three things at once i did that and then i also got hired at an arts magazine to be a an arts editor there and then i also was doing the peri noir program there which was like the black diaspora program from syracuse um led by dr janice mays um kind of exploring that whole world so that got me like at least four months of work experience working

in paris and around and that even brought me then down to indonesia to do the work that i did there um so i really really valued that and i also really valued um it was it’s a very different scene i think one thing i was like working in the art so heavily not shooting a lot of back to work in pairs but just in that whole world and just like in particularly it’s not at all like this like how you can kind of move so freely and like maybe like a new york art scene this is like a lot more bureaucratic and a lot more like you know there’s like one main school and things like that and so it’s interesting getting those different experiences um i really want to go to germany to berlin they have like great public arts funding so there’s a lot of like really cool international art experiences and photo experiences um that can be available not just but just i think sometimes we forget as photo majors that we have a visual skill set so just you know arts magazines and you know all these different things that you get involved in and oh yeah and um i think only that was in my last year um getting my mfa got to travel sorry did you want to follow up with that laura oh no i just i just was sort of interested generally in in people’s experiences of any kind of international experience that students had had while they were at campus it’s kind of a yeah so i just was presented with a unique opportunity to go to rome italy i think for 10 days i went with another student and we got to work on a william kentridge project in the city of rome i think it was called tetravino um again it was just a really cool experience we got to make videos also in addition to photos um and i think that was like the day after the mfa show i had to like hop on a plane to rome but it was uh it was unexpected and really really dope yeah so the school has official um intern has official semester-long experiences available in like a really wide range of places but we also are always trying to build in these other opportunities and that was a partnership with a really long running project that we were able to get students involved in the actual final production the work for that project had been ongoing for years um so um and did anyone else here do erin yeah did you go um so i actually focused on my minor while i did my study abroad which was in art history and i studied in london during my second semester my sophomore year and while i was there i took two very important art history classes that helped introduce me to the museum field i think each class met one day a week in class and then the other day a week at a london museum so it was just for me a really great exposure into that kind of non-profit museum field as well i went to berlin with um with doug for picture berlin the the i think the spring of my final year at syracuse and that was amazing three weeks where we visited artists studios in berlin and we had a local artist facilitator april girler and you know went to amazing museums and galleries in berlin it just was an immersion in a different city that a lot of us hadn’t spent time in either yeah so there was a picture of berlin and then there was a similar project that another faculty member is running in moscow and april of course is now running portfolio berlin that’s it an independent project that’s a really fascinating project people are interested in that um i’m gonna pass questions now over to susanna thanks laura um i know jamie also uh spent a semester in copenhagen and i always say to my undergrads like in the first year you know you really can go wherever you want um globally as long as you plan it um you know it’s it’s very easy to go to the programs where we have offer photography classes and you know and you don’t have to plan ahead too much to do that but like jamie really wanted to study in copenhagen and he was able to do that because he took care of his requirements and while he was there he actually didn’t take that many photography classes but he planned ahead and was able to do that um yeah so i wanted um i wanted to ask the the group to talk a little bit about how social media functions for you professionally um you know this is sort of a really i think important emerging um method for promoting your work and um and i just hoped you could talk a little bit about that i’ll just throw it out to everyone because i think you all are doing um great things with your instagram well maybe i’ll point to joe because i love you i love your instagram joe thanks um

yeah i mean instagram for me is huge um i think my first meeting with a photo editor he just sent a quick email um he said he found my work on instagram you know i don’t even have like that many followers you know i’m not like instagram famous um but i remember there came a point um i felt like okay you know like i have all these pictures and i’m not really they’re not like out in the world um and i just kind of decided one day i’m just gonna like put you know real photographs on instagram and um yeah and so uh i don’t you know what happens after that i have no idea but i think that started again when i started when i finished my degree i started working in the city as a photo assistant um i started assisting with this guy daniel arnold anyone know daniel being harold okay um i think uh getting to know him uh his he’s a street photographer who’s i think came to prominence through instagram i think um and working with him and being in contact with him i was like oh maybe this is like a legitimate platform but now you know like art directors and photo editors um are constantly kind of coming to me from instagram that’s like i had a meeting with um gemma fletcher who’s like an art director type person she does these mentorship um sort of sessions um and she’s like yeah the first thing that a photo editor or an art buyer is going to look at is going to be your instagram then your website at least in the kind of commercial commercially world so it’s like everything kind of for me yeah social media has been like i think definitely the number one thing that has connected like so much like just like a random anecdote like one day like i logged on and i see this dm this is wolfgang’s and i thought it was like a spam account and then it was like the real person saying that he like liked my work and like wanted to get involved i was like wait why it was confusing and like just that goes to show just like the world that lies out there i think my first collector came off of instagram i think almost any editor i’ve ever met came off of instagram i constantly am like reaching out to like editors and magazines on instagram so it’s like definitely a place where so much happens especially because it’s one of the main places where we have image proliferation that exists on a platform and it’s so so powerful i’m like kind of bad where like i don’t really post like my work like very like you know whatever um but still like just as a tool and like who you can meet off of there and just the accessibility um like i’ve met like huge figureheads off of that i got jobs off of it you know whenever i send an email to anyone i always follow up on instagram dm i’m like i know it’s you know not normal but i just wanted to make sure i reached out here as well and you know it’s been really really helpful in that sense that’s great advice i love that anybody else it’s a good research tool as well you know you kind of um you can figure out something that can be can be hard to figure out who works where like if you want to work for a certain magazine or newspaper but everybody’s on instagram and usually when other photographers work for other people they tag them and so when i was starting out i found i did a lot of my research through instagram and i also find that people will hire you like for your casual photography or they also will know where you are because you’re posting on instagram and um one thing too i forgot to mention when you guys asked about what people are looking for these days and especially in times of covet i think they like they want it to and when the photographer has to do a lot more like perhaps photograph you know people around them or produce they they want to know a little bit more about you and however it’s hard for me to you know to put myself out there but i think it’s important these days that you have a little bit of online personality um yeah great um what about you aaron i mean you’re actually in marketing so i’d love to hear your um yeah um social media is um instrumental for the museum um i know we have kind of switched gears in the past four years that i’ve been working with them from doing mostly print advertising to uh social media advertising i know the museum focuses mostly on our facebook page and our instagram account but we have you know seen success with other people um starting to use tick tock and some of the newer platforms that are coming out as well but i think one of the main things that we have found just kind of as a non-profit institution and

you know if you’re somebody that wants to start a magazine or you know your own sort of non-profit paid promotion on social media platforms works um you can get all sorts of data analytics um all sorts of anything um and it’s just a really great way um to kind of um reach your audience um and develop an audience and to gain a following um i think on top of that i would also say that um i think uh sorry i lost my train of thought um oh i found a lot of um job opportunities and uh calls for empty on um instagram and facebook as well so i think you can find a lot of resources um like that upon those platforms there’s a great instagram account called or something and they post like art grants like every single day um and there’s like lots of accounts like that i think it’s pick up the flow. i’ll find it i’ll put it but there’s like there’s so many great resources like all the grants and everything that are on their jobs it’s really great for that stuff i think we could do a whole panel on on social media thanks oh he may be great if you can put that in the chat um well we we’re wanting to move to q a in about six minutes so i’m actually going to hand it over to doug to take over the questions though i have sort of the uh for lack of a better word the up questions which the first one is really simple but hard which is where do y’all see yourselves in five years which you know out because of of a certain age i know that five years go by really quick so my answer would be i’d be five years older but um i also know that you all are really if not you know you’re very ambitious group of people and i have seen your trajectory i mean looking at like sort of certainly rose joe and nida who have been out the longest um aaron as well actually um you know you you are on a really good five-year plan you know i i’m i’m very impressed of where how you landed and where and what you have done so if you could talk about maybe just where you’re headed some things that maybe you have in the works and how you kind of organize yourselves to achieve your goals that would be terrific um i can talk uh jeez i just was realizing i need some new goals i’ve kind of like met the goals that i had and felt like i was working towards for a long time um i’m a really big believer in like manifesting what you want um and uh and so i i don’t know i’m feeling i’m working on some books right now i’m talking about a book of the girls who spun gold i’m working on another book um for some work that i’m making about the south and about atlanta um so that’s really great because books was something that i was kind of doing at first at syracuse and then i kind of fell off so it’s nice to return to them i’ve been looking at some of my uh work that i’ve never done anything with that’s and kind of making sense of that some polaroids and some other stuff um but yeah i just see myself i would like to i think shoot some more fashion um photography i’m so i’m kind of thinking more commercial in that way i really like teaching i’m in a 10-year track position um and i really like atlanta and so i see myself here for a while um and yeah so i’m working on some new goals i also really like making video i’d like to work maybe in video or films and so yeah so i’m going somewhere i just have to figure it out and then again uh yeah you definitely are going somewhere it’s great it’s great to hear that that’s fantastic well rose i know you’re you’re working on you have a book in the works right um and um you know it’s an amazing book because yeah i’ve seen i’ve seen it it’s really fantastic you want to talk about where you’re where you’re headed and a new child as well so yeah um yeah i’m working on this a second book that’s been a long term project about a community that that was located next to the panama canal an old us military barracks and i i worked there um i helped found a non-profit with a pastor who who grew up there and um i photographed a lot of some of his adopted boys and then also um not only telling the story of coming of age in the space but also the parallel history of u.s military intervention in panama

and so i’m trying to combine these you know a personal narrative with a political narrative and my book now is like all over my wall in my studio and i think it’s going to be a one or two year process you know my uh the last book i took i published took a couple years after you know putting um the images on the wall and editing it into a book and and but i mean i’m trying to embrace this process you know for me photography making the images is the fun part and putting it all together is a confusing and hard and complicated part for me um but you know that’s really my five-year goal is to spend more time on personal work and now that you know i spent the last five years developing a stable freelance practice i feel like now my you know my next five-year goals are to go back in to the studio and spend more time on personal work you know through um through grants or through print sales you know i’m not exactly sure how but that that’s probably in the next five years yeah fantastic fantastic anyone else joe what do you got going um so i feel like i’m on the earlier part of rose’s curve i feel like i’m still kind of um getting serious i shouldn’t say getting serious because i am serious obviously but like i need to sort of level up um my commercial work um most of what i’m shooting is editorial stuff and i have a you know a couple commercial clients so right now i’m in a pretty serious push to find a rep um who can sort of help me um you know with as much of the picture um uh as they can um you know when from you know bidding higher to um you know figuring out contracts and things like that um definitely i need to learn motion which i have like very little experience with um so that’s a major thing that i feel like i have to kind of wrap my arms around and i think that’s going to be important probably for every photographer and it is now that’s something that i found that people are also asking for a lot now these days is video too no yeah absolutely absolutely but y’all i’m going to tell you i get i get always so jazzed when i see your work and i and i get really excited when i look at an image and i go i think that’s joe and then i checked the credit and i did it sometimes like it’s good so it’s really terrific cool aaron you start you um yeah no it really is it really is amazing yeah so clearly yourself in a magazine oh yeah yeah it’s like oh cool even if it’s like a weird beauty product oh good oh good um aaron you you started you know did it am i did i hear that right you were you were in the mail room there in uh yes that’s amazing so you you had you you i don’t know man i don’t know if you plotted your eyes you’re like okay it’s interesting um because the reason i ended up at the museum was the job that i was working at prior um where i was at fidelity investments trying to just make money to you know pay your expenses and not caring about necessarily being in the field and doing art on the side um i found that that was not the path for me um but i was able to leverage that skill um you know the mail room position at the museum was in the finance department and so that was my um and my i guess my um entry into that field was through my finance experience not necessarily my art experience but my interview was with the cfo and i was very transparent with her that this was not my end goal that i was going to use this position to show you what i was capable of and you were going to promote me and it happened within 11 months um there was an opening over in the marketing department um you know and my current boss jill dunn who is a um incredible mentor to me um just professionally and what have you um you know recognized my skills in photography um you know there was a marketing department of two people they didn’t have a photographer that was making um you know things for their brochures their social media accounts um and she wanted my skill set so um within you know that 11 months i got that promotion i think i’ve had four job titles at the museum um so now i’m the project manager of design and marketing um and as for where i see myself going in five years um right before the pandemic i was interviewing for a job in seattle at the frey museum of art for um i think it was a director of public or not a director a manager of publications and exhibitions um and i think i would really like to get more into the exhibition side um of the museum field or publications um now i am tied to nonprofit work for the next five years while i’m trying to get my

federal student loans forgiven um but that could all change on jan 21st if biden signs that um that law um so we’ll see how that goes um but if i don’t stay in the museum realm um i really enjoy working on the magazine that i manage um and i could definitely see myself getting into finer publishing as well um so supporting artists who are making books and things like that fantastic fantastic and just jamie and ohima you are you all are on year one year one of the five year plan so you’re just beginning to take the long view i think right so one of the was one of the things that happened when you’re when you become out on your own you got to look a little more to the horizon and work it out so what do you have in the works where do you think you’re headed um go ahead go ahead you go you go you go um i think like in school for the longest time i had so many projects at once so then i could kind of like always go to like another idea and so i found myself in the fandom that’s like what’s my next things that i want to do um i have some work um working off of a family archive from my family down south um so i think i’m gonna start working on some grant um to get that funded and i met some cool people um candela in richmond that kind of want to help me get that done and then in the long term i one thing i’ve realized um kind of like leaving syracuse and not having like spaces like work in the studio at the basement is i need a space to work so i’m kind of like working on finding like a cool studio space here that’s just like a cool deal off so i could like have a separate space to like do all that kind of work um and i would like to get you know do some do a big cycle of applying for grants and fellowships hopefully like next year or maybe the end of this year who knows mainly jamie yeah um so my biggest thing is like finishing my thesis work and planning on publishing a book um sometime in 2021 so that’s like a short-term goal and the reason i stayed in syracuse as far as like long-term goals um i’ve been working in the non-profit world for the last few months and i’ve actually loved it and think it’s like this great space to be um so probably continuing along that sort of trajectory and then maybe towards the end of that five years going to grad school um sort of like the end goal maybe around that i’ll be finishing that up i don’t really know um five years is a long time at this point in my life so like i don’t know but yeah that’s that’s that’s sort of my my ideas very good really good really good um i think we i think we need you know i have uh uh sort of if anybody has uh an additional point they want to um you know get across the wall that we didn’t have a chance to talk about but i think we’re also in need of headed to the um some questions from our attendees and i think because of our timing we might want to just jump into that unless anybody has something that um i wanna i wanna say one thing um which is just like as far as this program goes the faculty are like my favorite part of it you guys are awesome um even like post graduation everyone’s been like incredibly helpful responsive willing to work with beyond what i’m doing now and just like those connections for me were the most valuable thing about the program so i just wanted to say thank you guys oh that’s sweet i think one thing i would say quickly to before the q a i think one thing i also realized graduating so quickly is how much you take for granted being in such a creative space and i would say i wish i printed like more work i uh and like print all the work you can because having space is like light work there where you have it like in like walking distance and can print on a big printer like that like it’s just i mean are there space like that in new york of course yes but it’s not the same access um so just like use all those like its fullest extent like having studio lighting with yaser and like all these different things you know yeah full extent yeah back students can always come back we’re always like super happy to welcome people to come back to syracuse um yeah actually i wanted to to highlight that about light work um because in addition to the artist residency program and the exhibitions and all that’s going on there it is like one of the probably state-of-the-art printing and scanning facilities in the world i mean people all kinds of professional artists send their work there to be printed or come to do it and our students actually have access to the to this to print their work which is extraordinary um so yeah this would be a great time to move into the q a um we’ve got about 20 minutes and um there’s a few questions

um are coming up in the q a and um feel free to throw more in there also um anyone who’s uh got got other things they want to talk about um uh max wants to know what kind of cameras y’all use that’s a great question if you’re thinking about school and what kind of equipment to come so um anyone want to reveal their their tools nikon d850 or 10 um i mean my my personal camera is a canon 6d but largely i used equipment in the cage um so there’s like great access to other gear that i can’t afford um especially while you’re a student which is awesome so i see one of the questions it’s doing if you shoot on film i shot a lot of film while i was in school i’m doing less of that now because i can’t afford it but um there’s just any gear that you want to use is available if you’re a student so that’s i used like the sony’s and i used the mia a lot while i was in school i’m so that’s what i would say to that i definitely agree i loved having access to the cage and even i could check it out and take it like uh i was traveling a lot to cuba during that time i’d take it to cuba and bring it back of course but um you know i i just actually ended up buying a mamia rz and i used to always check that camera out from the from the cage um i shoot on the back camera mia 7 both film cameras medium format for all my personal work and my editorial and commercial is mainly on it’s mainly digital these days just the canon 5d mark v i think um mark iv i can’t even remember but with fixed lenses and then crop it to make it look like film but these days like there’s no time and then a lot of people don’t want to pay for film and i kind of realized that if you crop it and you have you know you can um have somebody who can help you can do it yourself to like make the colors look more filmic then you’re pretty much good to go in that regard yeah i’ll film in graduate school large format and medium format and uh probably a lot of what i do now is have you know came from the transition to digital but i really had to like get a fixed lens on the digital camera to kind of make it feel like the momia 7 you know um you know you can get manual focus though modern manual focus lenses that will work on the nikon cameras so um great um uh there’s a really good question here coming from um joshua atkins in the um chat um and he’s asking how much overlap or freedom for interdisciplinary practice is available um in the mfa program um and so any of you mfa folks like to talk about that guess not my experience was as pretty much a straight photographer in the program um but i did feel like there were some opportunities um i think in laura’s practicing in public class that’s like code was at the time of co-taught by sam van aiken um and so you know that was an opportunity where i feel like we had to sort of like interact with you know people outside of the transmedia world sorry i think you could take whatever classes you wanted to well i mean i definitely remember a lot of people did like joe or sorry jay was in poetry class and um you know i know i definitely interacted a lot with um the latin american studies department and like and also ran a film like a film series through them um so i didn’t you know i wasn’t making sculptures but i think you definitely could if you wanted to yeah we have a lot of students who you know in their thesis incorporate um video and sculpture um so that’s that’s pretty common and um taking and and we really encourage uh students to take critiques outside of the photo area as much as possible and and welcome those students and into our critique as well so um yeah i think that’s that’s really welcome we’ve got a couple questions um coming in about book publishing um from timmy

and and rita um timmy asks to the people who published books how was that process and how did you manage to find and sort through who you wanted to work with i think i had a really different like exposure to that whole world it was like super informal because i just happened to know two people who were starting um this kind of like starting off in publishing and they kind of known that i had this project at first i definitely had a very different exposure to the book world than like most people do um and so they approached me about it and i already had in john o’toole’s class i had kind of developed it and kind of made it into a physical dummy um so i had that all done and they kind of came and they didn’t want to you know design they just wanted to give me the money to sponsor um that so it was like a really really nice process their name is catastrophe media they do a lot of like cool kind of environmental and kind of their focuses on catastrophes of the world and kind of like looking at these different issues um it’s founded by josie strick and angela ricardi and they’re really really great um so i really enjoy them and i kind of it’s nice because i don’t like to a lot of rules and they feel like a pretty free wrong to work and everything um for me i had a very long road into finding the right publisher i had designed my book dummy with a designer a friend of mine and it was very specific and it also was complicated my book has some pages are half pages there’s a small book within the book you know i didn’t i had never published the books i didn’t realize how expensive that would be to make a book like that um and i also became kind of stuck on that idea so um a lot of publishers you know um were turned off by the complications of my book um and or or slash wanted to design the book themselves and um and also you know a lot of publishers want um you know ten twenty thirty thousand dollars like that you have to sell fund and i didn’t have access to that those funds um so i was looking for somebody who would be able to um to to uh to front the costs and publishing and i actually i met um nelson chan through through doug at one an apad fair like a number of years uh prior and he had asked me to speak to nelson chan who is also a teacher and asked me to speak to one of his classes and and i had kind of just kept up communication with him and that he was one of the publishers that i approached and we had a number of continuing conversations about the book and eventually um you know he he told me that if i would you know make some concessions and that bookmaking is an act of compromise that he wanted to do it and i really had a great experience with um with tis books and it was also really great that lightwork awarded the book its first book prize which then we were able uh with with pis we published 500 copies um and then lightwork the with the support from lightwork we were able to make it 700 copies so um but my advice would be to be to look at um to look for publishers that um who are making books that you like and where you think your work might fit alongside those other books and then um i know it’s really tempting to approach people at book fairs but i think that’s really hard for publishers to look then but perhaps you know see who who the publishers are are and maybe see who somebody who knows them somebody you may know may know them and a lot of times they also have open submissions as well but networking your way to somebody is i think a good approach that sounds kind of similar to um like galleries right in some ways i feel like the book world for photography has supplanted the gallery system to a certain degree but the process um is similar right don’t cold call you have connections make sure it fits yeah i think so suzanne i think you’re muted i think okay okay um i have an interesting question here um so um this is kind of about i would say about like artistic motivation or and style um so the question is are there questions you ask yourself when it came to developing your personal or artistic photographic style or is there any advice you can give when starting this process of trying to learn yourself how to vocalize your personal style does it help to see if you can find these themes in your work

sorry this is a long question um but yeah does anyone want to speak to that about like how you can how you find your personal style and you know where you look for that inspiration um i think i can a little bit um so i think it’s important i work really intuitively so i just make things um and i found my process is that i make and make and then after i remember doing this with yasser like looking at all my work on like a white board and being like oh my gosh what is this about and i felt so overwhelmed like i i knew kind of what i was making and the ideas that i that i was having but when i saw all the finished work i was like like what is this all about like what have i been doing this entire time and for me i sort of worked backwards to understand um uh understand my work so like what themes were reoccurring what colors were i using what do those colors mean why where like i use gold right what does gold mean what do these reference um and then how does that and then how did i tie that into the things that i was already thinking about right so like how to make like a color relevant and speak to the work that i was already making about a group of girls and about power and sexuality right and race and gender and so i think it’s really important my bit of advice is is to like i know that we’re in school and we have to know right like that’s part of school is the knowing part but also i um i always tell my students like i don’t want that to bog you down so much that you don’t make and that you get in this spot where like you’re scared to make things or you’re like i have to know so i can’t make it or if i don’t know i can’t make it so i would say to like just make and make and not always think too much about it um think but don’t think too much about it and then to sort of like maybe work backwards to to understand um i remember thinking a lot about like my even where did i first become introduced to images why are they even important to me and um and then i think uh you know you’re the really the most important thing about your work too right and nobody is you nobody is you in your body where you grew up the experiences you had and can make the things that you make um so also like reflection on yourself and like who you are as a person and where you came from and all that good stuff i would say uh just to piggyback on uh nydia’s comment there i feel like so much of what you call style kind of happens like by intuition or by accident um and i think um yeah it’s i think her advice is so good to just make and make and make and then see what you made and look backward you know look back and kind of work backwards it’s definitely what i have done in a couple different stages but um yeah by intuition by accident actually i remember it was i think maybe my first week in the program it was john um oh my gosh bill viola came to talk at light work and he spoke about how art should be like just an extension of the body and making art should just be an extension of the body and i feel like um uh that that’s a thing that i think about a lot when i when i look at one of my images and when i think about making images like is this my picture you know does this feel like something that’s from me um those are really great responses thank you um so this is um more of a question for our bfa um people on the panel um devin’s asking what’s the most important advice you would give to an incoming photography first-year student i mean i think for me it’s like i went in knowing that i wanted to study photography but no idea like what that meant at all um and just like being totally open to the feedback that you’re receiving from everyone else in your class and just like i think trying to integrate yourself with your class i think our class is really close as far as i mean i don’t really know because i wasn’t any of the other ones but i feel like our class had really good connections with each other and just like tried try and make your photo class your friends because i think they have so much great insight that you can take from what they’re doing and they’ll give you feedback on what you’re doing but like those connections try and embrace them i think that’d be my biggest piece of advice yeah i would say definitely make friends of your peers like speaking to jamie here like jamie

i always kind of go to him when i have like certain specific questions about like let’s say like framing or like more technical things um and like you know game would kind of go back to me and talk about more like creative and whatever and having that kind of like using your classmate because we all are talented in like various ways and there’s so many cool cool people like even like my cohort like there’s so many people um and then i think another thing that kind of reflects on something video was saying was i think when you first get into the photo program and like you know the second first modern introduction to photography it can be a little intimidating you’re showing like all these images and you’re sitting there and you’re not taking that great rid of pictures yet and you’re like wait my work doesn’t look like any of this like what’s going on and i think i found like sometimes i try to cycle my voice or try to make it look like other things and i would say like your freshman year to just like metaphorically word vomit like every idea you have shoot it any question you have you know do it and just put it all out and then start to sort through like don’t worry about i think i kept trying to make like good work my freshman year and like i just needed to accept the reality that it wasn’t going to be that great in terms of like a long run but just like pushing it all out there and like letting yourself really be like free creatively and then kind of working back and then filtering from there it’s a lot easier sometimes i think than trying to start off and do specific things um we have a great question from a high school photography teacher in uh in florida actually um and asking advice and i think this is kind of a question for the faculty um asking about uh what students high school students should think about as they’re putting together their portfolios or applications i think students conversations about relying on each other in terms of getting advice from their peers show that work to somebody else it’s possible to do a portfolio review before submitting your portfolio you can reach out to the recruiting department also like show your friends if you have a program at school talk to your teachers um ask your family right to get some to get outside of your own head to a certain degree is really useful in that regard uh because you know the other really simple thing to say is oh show your best work but it’s as you can um hear from everyone’s conversations it can be sort of difficult to negotiate that to kind of parse that out um another another takeaway that i think the panelists also um sort of put out here is um try to communicate who you are and what makes you you because that’s something we’re gonna look for and there’s a couple ways to do that certainly it’s through the work to a certain degree but remember there’s a writing component in your application and that’s one of the best ways that we can hear your voice and um if we when we come across a singular voice that seems um full of potential um that’s speaks to us immediately immediately so work on that writing um tell us who you are tell us what’s in your head and um you’re gonna do great i would just add to that i think one one thing you see a lot of students will do feel like they need to do a travel photograph and a portrait and a document you know they they feel like they need to cover the full range full genre of photography but i would advise students to you know pay attention to what they care about most we’re not looking for someone who can photograph 10 different kinds of things but someone who has a clear point of view yeah i totally agree with that with what yasser just said um is like for us to be able to see that someone is already developing a voice or you know has ideas is really important and that’s what we wanna that’s what we’d love to see in the portfolio um okay i think we have time for one more question here um but the the faculty are gonna stay on after um so that if there are questions from possible applicants we can answer them but this question is this might be geared more towards recent graduates but i was wondering uh what was going through your minds as you started your final year at syracuse and might have realized that you would no longer have immediate educational safety um the safety bubble and the university resources is there any advice that you would give seniors in their last year anything you you know would make sure you do before you graduate um so

yeah anyone want to take that one on sounds like one of our students i know so i’m just gonna say i mean that this last year has been just a disaster um like on on in all every sense of the word um so i feel like i don’t know but i i think you could do it in a pandemic so in a year hopefully we’re no longer in this part of 2020 so um it’s i don’t know i think i think there’s so many opportunities out there in so many different parts of the world that even if immediately you’re not being not throwing yourself into your own field there’s so many different ways that you can apply yourself and your skill sets and to not put too much pressure on those first like two months out of school like it’s it’s gonna be okay i think what i would say um is think about like maybe like just like past like thesis and photo stuff but just think about like where it is that you want to go after school and um start doing research on places that are like studio and printing spaces um before you get there um i think one thing i’m just kind of being lazy maybe or just a little bit shy but i’m it’s hard for me to like now go do this work to like find this new space that’s not light work because i just don’t want to leave it and so kind of like doing that work beforehand so that you feel a little more comfortable perhaps and you know kind of like know their facilities um and i think the next thing i was gonna say um is it’s really nice like living in like art and things like that but it doesn’t start off like that immediately is one thing i would say and i would say that even though you’re developing your thesis and that you know i know this like maybe like super like i’m not a very corporate person that sounds like it it’s good to find a job um you’re gonna get out there and like you know photo jobs like you like right away um start off like doing like you know great commissions like right out of school and stuff um just like find something for you whatever that is that aids your bills um don’t just think about your thesis um like think about also like how you can have a roof so you can make more work um and i think sometimes that can be like kind of like lost on sometimes like photo students because like you focus so much on the photo and then you’re like oh wait um and so kind of like doing that work back from like november um you know back from early about just like what is it exactly that i’m gonna do to make all these great things happen eventually because it doesn’t always happen right off the bat also just adding to that i think for me going to syracuse was so much more than just the photo program um so like for me i partially decided to go there because it’s a huge university with all these other opportunities in different disciplines um and so like ohms said like realizing that you don’t have to be in that photo world right off the bat like i didn’t start there and now it’s sort of developing in that way for me and like opportunities are coming up but like there’s so many opportunities at the university to learn things in different disciplines and like using that and realizing that you have skills outside of photo um yeah i would say the two best also skill sets that i would say that i like observe in like my work um with just a photo background is communications and ux design if you can take a class web design or and like communications before you leave and build and also a video class i wish i did that um those three things are like they keep coming up in jobs and like i’m i’ve taught myself web design in communications but i wish i had a new video so just those three things tie in really nicely with the photo background and um being really useful for a job actually extremely it is totally golden advice um i really agree um and uh and it’s it’s it’s almost still november so oh oh recommended that you start looking for your job in november but we’re close enough so so i think you’ll have time um i’m also available oh sorry i feel like one thing too is that like i wish i reached out to more alum and like knew that they were there and i feel like i would i mean i’ll answer anything like to anybody like any email or dm i want to be like a like you know a help that i did not that i didn’t get but like i didn’t know that i had there so i’m like super super open like whatever whatever resources that i have really even just talking like to any student um yeah and you know it’s it what what you just mentioned um makes me think that this kind of event is like a really nice way for along to reconnect um and we’re actually going to do another one of these in january um from light work and i know there were a lot of um

there was a lot of interest in light work so we’ll be there um for the next one and sending that info about that um but just like a huge thanks to the panelists um this has been fantastic um thank you so much yes thanks everyone for participating this is really great to see you all really really nice to see you all the next alumni party at yasser’s is going to be really really big next time we meet in person i don’t know we might have to um annex the next door building or something yeah and rent some private jets there you go yes is this gonna be in 2023 something like that yeah i i actually do think that uh i really do think we’re gonna have a normal fall optimist i’m an optimist but i think fingers crossed i i do think that my guess is that there’s gonna be some kind of mandate for vaccines and that they seem to be very effective i think we’re gonna have normal fault i’m an optimist but it’s true okay um the faculty is going to stay on uh if people have questions and um thank you to all the panelists thank you thank you guys for having us thank you so much hi guys bye super proud of you guys good job definitely thanks