Hey friends, it’s been a intense few days! My assistant Dalton and I were up at 8500 ft in the Enchantment Lakes shooting a new campaign about wilderness survival. More on that later, but I thought I’d share with you some of the gear preparations it takes to go up and shoot at elevation in the mountains in the winter. Shooting up there can be really challenging but the landscapes are truly mind-blowing and the mountain goats unbelievably persistent. Makes me miss my days running survival courses in Oregon. So what did we pack and how the hell did we get our packs down to 35lbs each while carrying all our camera gear and delicious food? (more…)
Hey folks, my new commercial photo studio is opening next weekend in Seattle, on November 9th. Also opening is the exhibition for the ROCK series. If you are local, time to step away from the computer or off the crag and stop by for some wine and cheese!
ROCK: The Essence of Climbing in Photographs by Kiliii Fish
FStoppers interviewed me about my recent series on rock climbing, called ROCK.
It made me think hard about the the vision and production behind my favorite work to date. I also talk about the struggle between the limitations of documentary photography and the necessity of artistic invention.
Native artist Louie Gong, who runs 8thgen, was featured on the cover of Native Peoples this month. We did this shoot a year ago and Louie still looks good, with his hybrid street art/nw coast/asian style on a skateboard deck. I still don’t have a copy yet so here’s what Louie texted me.
Now that Interview Magazine has officially premiered the video for Chaos Chaos, “My Hands”, I can show it you! I worked with the band in the Pocono mountains of Pennsylvania and had an absolute blast working my Steadicam backwards (though not in heels like Ginger Rogers). The whip pans you see are all carefully timed and synced, resulting in a video that required almost no time in post-production. Great fun with Asy, Chloe and stylist Maia Saavedra.
This last year I traveled extensively around the North Pacific rim to photograph indigenous people I call ‘modern traditionalists’. Here’s a behind the scenes look at all the amazing people and places and the stories I found along the way.
To be native in the year 2012 is to be modern. As a whole, we are both modern and traditional, full of culture and spirit passed down from many generations, but seeking to live in this new world and embrace it.
I began the NATIVE project, taking portraits of modern indigenous people last spring, not knowing it would evolve into a huge undertaking. It’s taken me from the cold interiors of traditional houses in Alaska to the bright summery forests of Oregon. I’ve learned so much about what it means to be a modern traditionalist native myself, as well as more about all the diversity that surrounds native attitudes from the big city to the remote village.
There’s so much to say about this kind of portraiture, steeped in sepia tones and shot with artificial light, but I’ll let you, the viewer, have the fun of diving in yourself. Thanks for letting me share.
Many thanks to the NW Portland Indian Health Board, the Alaska Native Heritage Center, and Daybreak Star Cultural Center for their help in making these portraits.
A few months ago, I had the opportunity to work with Tracy Rector and Longhouse Media on the promo poster for their new film, Clear Water. Longhouse Media’s an unusual media company– awarded by National Geographic for their work on films about indigenous peoples and minority issues.
As a young indigenous photographer, it was great working with both elders and younger Suquamish tribal members to produce their portraits– it felt like doing important work. I felt like I was catching a brief glimpse in time as the Suquamish continue to blend the modern world with their strong culture.
One woman still freedives for Geoduck clams, some 30ft down in the icy waters of the Salish Sea (Puget Sound). Amazing, and such a strong spirit. I hope that with these portraits I can share some of that strength with you.