Home' Trinidad and Tobago Guardian : August 25th 2013 Contents Lyndersay believes that
a career in creative endeavours
involves a balance between the
work that you get and honing your
craft. In photography, "You can
work at craft. You can work at
developing a vision, a way of
approaching pictures, a way of
Lyndersay hastened to add that
working on craft is more than a
focus on equipment. "I don t have
a fetish about equipment. Cameras
don t take pictures. The gear is a
conduit through which you can
express your thoughts, feelings
and view of the world. It is not
the gear. It is you."
Studio 30 talks are organised
by photographer Antony Scully,
who aims to foster a community
of "creatives" with similar inter-
ests. Sessions will take place
monthly at 30A Warren Street,
Woodbrook. The next in the series
is scheduled for September 18.
Sunday Guardian www.guardian.co.tt August 25, 2013
One of Mark Lyndersay's photos
from the series La Fleur Morte.
PHOTO COURTESY MARK LYNDERSAY
Photographer Mark Lyndersay speaking at Studio 30 on Warren Street, Woodbrook, August 14.
PHOTO COURTESY RELATE STUDIOS
CONTINUES FROM PAGE B29
Eistrup said, "Pitch is earth
that is worth so much. It is a
rich source of possibilities."
For the artist, Pitch Molded
Animability carries several lay-
ers of signification with its
attention to sound, light and
movement in space, but fun-
damentally the video considers,
as she put it, "whether we are
constructing societies in which
we can live---societies that are
for our benefit."
Blocks away from Alice Yard,
at the Augustus Williams
Woodbrook Playground, chick-
ens marched across the grass,
while children spun on a
merry-go-round and adults
chatted on the periphery.
• More info:
Reshaping and moulding
"The best pictures you take in your
life will be the ones that you care
about. When you get that synergy
between you and the subject, some-
thing emerges that is bigger than the
subject and you," said veteran pho-
tographer Mark Lyndersay, a Sunday
Arts Section contributor, who spoke
on August 14 at the first in a series
of photographer learning/networking
sessions at Studio 30, Woodbrook.
Lyndersay gave a presentation on
the topic of relevance as a photogra-
pher in the face of changing times,
trends and technology. He set that
theme in the context of his career over
the past 35 years and was careful to
acknowledge that what he had to share
was specifically related to him.
"This is about my experiences, solu-
tions and approaches. What I am talk-
ing about here is relevant to me but
at the end of the day, I d like you to
leave thinking about something that
is relevant to you."
Indeed, Lyndersay offered lessons
and viewpoints that resonated beyond
his personal relationship with pho-
tography. His talk was punctuated
with advice that was pertinent to
early-career photographers and per-
sons working in other creative fields
like graphic design and videography.
Lyndersay said asking key questions
is an important part of one s practice:
what is everyone doing? Is that me?
What do clients want? Is it something
"I shot everything when I began,"
said Lyndersay, "I was lousy at about
half of it.
"Be clear about what you don t want
to do. Work that does not satisfy you
is really very sad work."
To have a satisfying career, he
explained, you had to go after it. In
his experience, creative people rarely
get paid to do what they want.
"Clients don t care about your art.
They care about the product, the event
and the managing director. You are
the medium to get what they want,"
This knowledge led Lyndersay to a
number of self-initiated image-making
projects over the years, including a
series entitled La Fleur Morte, which
explores the process of aging through
photographs of dying flowers.
"There is this work that you do for
yourself and then there is work that
you do for clients. Sometimes the two
things meet," Lyndersay observed as
he talked about a similar aesthetic he
achieved in portraits done for the judi-
ciary and the personal work of pho-
tographing the hosts of Gayelle Tel-
In talking about personal work, he
also raised an intriguing mathematical
equation. If personal work is done for
the love of the medium and amateur
work is also executed for the same
reason, then personal work must equal
"Every professional cherishes the
opportunity to do personal work. They
set aside time to fulfil that dream of
what they want their pictures to look
like. Why then are you rushing to
become a professional? People rush
to become a pro before figuring out
what is happening with the medium
and how they fit into it and what
works for them."
The photographer described a cre-
ative career filled with possibilities
and pitfalls. He remembered what he
called his first rip-off in 1978 with a
photograph he took of Michael Jackson
kissing Janelle "Penny" Commissiong
on the cheek.
"The guys from Epic Records knew
that I had no idea what I was doing
and they paid me a pittance to send
the picture off to Jet Magazine and
"It was a very valuable lesson. It is
a picture that I have on my wall to
this day as a reminder both of oppor-
tunity and the kind of thing that comes
along once in a lifetime and the way
that people take advantage of you if
you don t really know quite clearly
what you are doing."
T&T Guardian's Mark Lyndersay
inaugurates Sessions @ Studio 30
not the gear
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