WATER BALLOON FIGHT!

We had a family water balloon fight.  Monsoon season has been in full-swing for a good two months, and we were sick of chilling indoors.  We hail from Seattle, afterall.  The rain let up long enough for us to get each other soaking wet. :)

The last image was focused, recomposed and taken by our three-year-old, Justin (Juju).  The kid is a prodigy.  So excited to watch him grow and learn.  He's already taught me so much about life and the things that really matter.

(All shot on a Canon Elan 7 w/ Kodak 400)

PENTAPORT ROCK FESTIVAL ON KODAK FILM

I was fortunate enough to win a pair of free weekend tickets to Pentaport Rock Festival just outside Seoul this past weekend, courtesy of Groove Korea magazine.  I haven't shot a concert in forever, and I've just recently rediscovered my love for film, so it was a bit of a challenge to shoot.  I pushed Kodak Gold 400 to 1600 ISO and had my lab in Chungmuro ftp me the scans.  B&W conversion was done one-by-one in photoshop.

The first band is the Plain White T's, whom you may remember for such timeless classics as "Hey There, Delilah" and "1, 2, 3, 4".  But really, their recent hit, "Rhythm of Love" had the crowd chanting and it's been stuck in my head since Saturday, in the most delightful way.

The second band is Korn, and, yes, they are still around.  Jonathan Davis rocked it as well as he ever did, in his favorite red kilt, of course.

36 FRAMES SOOC

This is every frame from my first roll of film in about 4.5 years.  Shot on my trusty Canon Elan 7 with a nifty-fifty, on Kodak Gold Max 400.  The camera had been sitting patiently in my camera roller for the last 4 years.  I learned much of what I know today on a classic Minolta X-700 during and after high school.  It accompanied me on a 9-month journey across America in that turbulent time between high school and university, from 2002-03.

My wife, Jenny, took a few shots of me and Justin.  Justin took the second to last frame, of his friend JJ, with just a little help from daddy.

It feels so good to be shooting film again.  It feels good to be home.

HOLIDAY

I'm on holiday with my family at the Shilla Hotel through the end of the week.  All inquiries and emails will be promptly addressed when I'm back in the office on Monday.

Have a wonderful weekend!

KOREA HERALD FEATURED INTERVIEW

I was fortunate enough to catch the eye of Paul Kerry, a senior reporter at the Korea Herald here in Seoul.  We chatted a bit about the state of the wedding photography industry here, and what I felt had to change.  I had to opportunity to share a bit about my project, SHIFT/TILT, and the workshop that I have planned with Fer Juaristi in Seoul Oct. 1-2.

You can see the online version of the story here.  I've copied the unedited interview below.

I think this is what Malcolm Gladwell would refer to as a 'tipping point'.  :)

____________

Paul Kerry: Have you always been based in Seoul, or have you just come here?

Romin:  I've been in Seoul with my wife and our two young boys (3.5 years and 10 mos.) since last December.  My wife and I are both fortunate to be half-Korean and be eligible for F-4 Heritage visas.  We hail from New York City by way of Seattle.

How long have you been working in photography?

I've been shooting for pleasure since middle school; I've been shooting professionally for 6 years.  Weddings, portraits, corporate events, editorial assignments, personal documentary projects; workshops for 4 years.

What do you think is wrong with wedding photography in Korea and how do you think it should be changed?

Simply put, everything.  From my observations, Korea is the last major Asian country to embrace the documentary/PJ approach to wedding photography.  I've come across countless horror stories--mostly from Western men married to Korean women--about the "pre-wedding shoot".  They are subjected to an average of 8-10 hours of non-stop studio photography before the wedding day itself, as well as multiple wardrobe changes and commands for plastic smiles.  I feel a bit like Holden Caulfield when regarding the Korean wedding photography industry.  The single biggest problem with it is that it is phony.  Ironic, considering Koreans tend to have very strong and real emotions, and have quite a deep love for story and narrative.  Wedding photography is stuck in 1992 -- I hope to help modernize it, and make it more real.  The pre-wedding shoot takes precedence over the story of the wedding day itself -- this is the first thing that must (and eventually will) change.

Also, who is Fer Juaristi and what is he well known for?

In our industry, Fer is generally regarded as the best wedding photographer in Mexico.  He is a destination photographer, and is in very high demand as both a photographer and workshop leader on the international stage.

What aspects of photography is he good at (and you)?

Fer and I both have a documentary approach to weddings, with a fine-art flair; he skews fine-art, while I skew documentary.

Also, what goes on in the portfolio reviews?

Students are asked to bring 15-20 hand-picked images from their portfolio for a session of constructive criticism.  I believe the most efficient way one can grow as an artist is not only by immersing oneself in one's craft, but by learning from weaknesses and mistakes.  The portfolio review is the first step of that process.

Will Fer Juaristi be there for the second day?

Yes, of course.  In fact, we are planning an informal "Day 0" the evening before the workshop start for interested parties -- dinner, drinks, gear talk, etc. at the Intercontinental COEX, open to anyone.  We'll be available to chat for as long as there is interest.  The evening may or may not end at a karaoke..

Apart from the presentation, what will he do?

We are co-presenting the entire workshop -- this includes both portfolio reviews and all the portrait sessions.  He will simply take lead on day 1; I will take lead on day 2.  Further, I just confirmed a guest speaker on Day 2, David Kim, who will give a short primer on the importance of keeping film photography alive.

Finally, $1,000 is a lot of money. How many people are going to attend [the Seoul SHIFT/TILT workshop]?

$1,000 is indeed a chunk of change, but it must be viewed as an investment in one's craft.  To wit, most professional camera lenses begin at $1000.  We've spared no expenses with the workshop -- a lush hotel suite for the weekend for "getting ready" and portrait photos; I'm flying Fer out from Mexico to lead Day 1; we've arranged for professional and amateur models for many of our shoots.

This is intended to be a very intimate and intensive workshop.  We will not accept more than 8-10 students.