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Studio : Classroom
The Richard Kelly Experience
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Richard Kelly (b. 1965, New Castle, Pennsylvania)
Photographer • Educator • Filmmaker
For forty years, Richard Kelly has used photography to tell stories about people, organizations and ideas.
His life's work as a photographer is driven by curiosity—particularly about creative people, innovative organizations, media, technology and the arts. Whether working with still photography, motion or sound, people remain at the center of his work.
Kelly's career has moved between commercial and editorial photography, documentary storytelling, creative direction and education. His photographs have appeared in magazines, advertising, corporate communications, exhibitions and public collections, while his more recent work increasingly brings photography together with short-form documentary film, audio and emerging forms of visual storytelling.
From 2003–2007, Kelly served as Director of Photography for WQED and Pittsburgh Magazine. He later served as National President and Chair of the American Society of Media Photographers (ASMP) from 2009–2011. In 2011, he received the United Nations International Photographic Council Leadership Award for his advocacy on behalf of photographers and photographers' rights.
His long-term Artists & Scientists project received a Pennsylvania Council on the Arts Fellowship and has been published and exhibited in numerous venues. His photographs are held in public and private collections, including the Carnegie Museum of Art, the Senator John Heinz History Center, the Photography Museum of Lishui, China, and other institutional collections.
Kelly has spoken about photography, creativity, technology and professional practice at conferences and organizations including SXSW, PhotoPlus Expo, WPPI, NAB, National Geographic Creative, f/295, FotoFest, Photo LA and the Rocky Mountain School of Photography.
Teaching has become an important extension of his photographic practice. After more than fifteen years teaching at Pittsburgh Filmmakers, Kelly joined the BFA Photography program at Point Park University in 2019, where he continues to teach photography through a philosophy of practice over theory, curiosity, experimentation and developing each photographer's unique point of view.
He is President of Indigo Factory, Inc., the home of Richard Kelly Photography, and created the Richard Kelly Experience as a way to share photography with artists and enthusiasts beyond the traditional classroom.
Through all of these roles photographer, filmmaker, educator, creative director and advocate the underlying pursuit remains remarkably consistent: Who are you? What do you do? Why?
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Adipiscing at in tellus integer feugiat scelerisque varius morbi. Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit. Aliquam etiam erat velit scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim.
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April 5, 2019
July 04, 2017
Some visitors wonder why the bridge isn't gold, like made from actual gold (or at least gold painted). Others, like me, have long mistaken it for red. The color is actually called 'international orange' - a variation on the color used now for many astronaut jumpsuits. It was a beautiful accident. The steel parts arrived in an orangey red primer, which was quickly recognized to meld best with the scenery.
Purus sit amet volutpat consequat. Non sodales neque sodales ut etiam sit amet. A cras semper auctor neque vitae tempus quam pellentesque. Et leo duis ut diam quam nulla porttitor massa id. Vel pharetra vel turpis nunc eget lorem dolor. Et molestie ac feugiat sed lectus vestibulum.
Aenean euismod elementum nisi quis eleifend quam adipiscing vitae proin. Convallis aenean et tortor at risus viverra. Integer vitae justo eget magna fermentum iaculis eu non. Habitant morbi tristique senectus et netus et malesuada fames. Aliquam faucibus purus in massa tempor nec feugiat nisl. Sed arcu non odio euismod. Ac feugiat sed lectus vestibulum mattis. Mauris cursus mattis molestie a iaculis at erat pellentesque adipiscing.
May 17, 2017
Although we had never been to Taipei before, it felt very comfortable. Taipei offers a unique blend of what people love about South East Asia, combined with what people love from North East Asia. As soon as we reached Taipei Main Station, we went to collect our train tickets to Hualien at the ticket counter.
April 12, 2017
This is Scotland, and the weather can be unpredictable. Or maybe it is predictable, if you just expect it to be foggy and rain all of the time. Which it was during our three day visit to Quiraing. But it is gorgeous, even in the rain and fog.
As many of you know, Pittsburgh Filmmakers is going through some transformations. I was just as surprised as anyone that they announced that they were not doing classes in the Fall 2018 semester.
Two thoughts occurred to me. One was that I was gearing up for and had enrollments for my annual Portrait class. A class I have been teaching for several years and is my favorite course. Two, this seemed like a good time to try something different. I never wanted to create workshops to compete with PF because I felt a significant amount of loyalty to the community there. With this new information and a lot of unknowns moving forward, I decided to launch Richard Kelly Experience. The name comes from a friend and former assistant Kristi Jan Hoover who described to me the Richard Kelly Experience.
\"It's a bit magical, a little mysterious but we always learn a lot while practicing the craft and art of photography. \"
The first workshop is going to be the Portrait class as I have created it and taught it at Pittsburgh Filmmakers School - 14 weeks same as it ever was. We have a location in Bloomfield. We won't have an equipment office or access to a studio 24/7/365, but this course was never about that anyway. This course is about practicing the art of portraiture.
We need seven people to run the course we already have registration, and I hope you will consider workshopping with us starting August 30, 2018.
As always reach out to me with any comments or questions. rk@richardkelly.com
Stay tuned there will be several other types of workshops launching later this week. Please suggest some themes or topics you are interested in and think beyond traditional photography courses - this about what \"Experience\" you would like to have. [originally published August 6, 2018]
Inside the Richard Kelly Experience Portrait Photography Class - a 14-week look at the practice of Portrait Photography. This is what a student taking the class can expect.
If I were to summarize the experience I hope each photographer has during the course is that they look at the portrait(s) they make a lot differently. Everyone usually has a personal definition of a portrait and may even have a few that they like in their portfolios or hanging on their wall. But my goal for everyone is that we break through the expected and emerge on the other side with new ideas and expressions with our portraits.
We start out discussing what a portrait is? Sometimes we have time to follow up with other questions but one semester we stuck to that question for a whole class and the discussion was heated. We then take a look at four broadly defined genres of portrait photography.
Throughout the 14 weeks, we will have in class discussions, demo's, a field trip or two and the occasional guest instructor to wind us through a fascinating look at portraits and how we make them.
This class is not a lighting class, but we do talk about lighting and lighting equipment. This class will look at ideation, intention, and selection of a personal portfolio project that will be the capstone presentation at the end of the 14 weeks.
Together we will discuss pre-production, photographing on location and in the studio, image editing workflow, and post-production options. Whether you want to improve your photography skills at a higher level, follow your curiosity about making portraits and enjoy your hobby with other like-minded people this course will help you hone your photography skills and give you new tools and insights into making better pictures of people.
Students should have an understanding of their camera. You may use any format you choose - we will interchange between film and digital cameras - although most of the demos will be digital capture so that students will follow along with the process. We have had students use everything from toy cameras, tintype, instant film, smartphone cameras and medium format digital as well as D-SLR and mirrorless cameras. It is exciting for, and this course is about expanding your point of view not limiting it.
[Originally Published August 6, 2018]
The first day of class is the best day to start with portraits in class. I firmly believe that photographers must experience the act of being photographed to create better photographs themselves. Students at first may feel awkward and unprepared - and that’s okay - having that feeling is an essential part of the making of a portrait and knowing how your subjects may feel when they are in front of the camera is lesson one on the first day.
I usually try to use a camera that is unexpected, possibly a 4x5, or medium format film camera - I keep the set up simple and the amount of time is measured in seconds. The interaction is simple - move your chin there, look here, relax, you don’t have to smile and on and on. It's also an excellent time to look at each other. We are going to spend a lot of time together and these manufactured intimate moments between us are a great way to be introduced.
Students in a portrait class must be prepared to practice on each other. Learning about subject placement, how to direct, as well as running through all of the camera settings is a lot to practice. And we must do it over and over to make it part of our portrait experience. (Read the Zen and the Art of Archery by Eugen Herrigel ).
If you are looking for intensive experiential learning and making better portraits, please consider signing up for our Fall 2018 workshop. [Originally Published August 7, 2018]
[In the Fall Semester of 2007, I taught an engaged group of students in the B&W Film class, one student, a Carnegie Mellon University creative writing major, in particular, was extraordinary with her photography and she asked if she could write a profile about me for her magazine writing assignment. Kelly Anne Cahill I recently discovered her essay in a pile of studio papers and I was preparing to launch the Richard Kelly Experience - I think she captured the essence of what I am doing with these workshops. Posted here with permission in its entirety.]
Magazine Writing Assignment by Kelly Cahill
Richard Kelly thinks he must have been annoying as a child, the kind of little boy who tugged at the shirts of adults and obsessively, tirelessly asked “how” and “why.” He’s always been very curious about the way things work - people, machines. So I imagine learning to read was a very liberating time for Richard. The library must’ve been a sort of rabbit hole that he fell into, dizzied by the shelves and shelves dense with people, places, machines he’d never heard of; the answers to all his hows and whys. It was while Richard was systematically working his way through the books in the library that he first learned about photography.
He was maybe 10 or 11 at the time, and up until then he’d been most interested in music and art. But photography had a scientific component that appealed to Richard. He loved how complicated the cameras were, with their numbers and buttons and shutters. The precise formula of light, chemicals, and mechanical manipulation that produces a finished photographic print represented an intersection of art and science that was immediately fascinating.
Richard got his first camera in 7th grade. He bought it himself with savings from his paper route. The Minolta SRT202 cost $125, which was a good bit of money in 1978. He built a darkroom with the help of his fattier. For money to feed his photography habit, Richard took simple portraits for a local newspaper in his hometown of Beaver Falls, Pennsylvania for $25 a pop. When he was old enough, he got a job at the camera shop in Beaver Falls that had sold him his first camera and would sell him several more.
As a professional photographer, Richard now has lots of different cameras - digital, film, Polaroid; big, small, and in-between. Except for that first Minolta SRT202, which he traded in for another model, he still has every camera he’s ever owned. They all work.
In my Black & White I photography class at Pittsburgh Filmmakers, our first assignment was to make five prints demonstrating line, texture, light as the subject, depth of field, and use of the edge of the frame - fairly basic and broad concepts that are included in any introductory photography class.
It was the tail end of summer when I was shooting the film for that first assignment. The afternoon light was the brand of golden that signifies a dying season - everything seemed worth photographing. One weekend while walking around my neighborhood with a camera pressed to my face, I stumbled upon a street fair where local artists were selling their work. They were all doing such interesting projects. I photographed a man on his hands and knees doing a huge chalk drawing in the middle of the road and a woman decoupaging photographs onto wooden planks. I couldn’t wait to develop the film.
At our last class before the first assignment was due, I picked eight of my finished prints out of the shallow tub of water in the darkroom. Back in the classroom, I looked at each wet print carefully and started to panic. I had taken a lot of pretty pictures of art and artists, but not a lot of pictures that would work for my assignment One of the pictures, an 8” by 10” photograph of several pinwheels spinning on long plastic stalks, seemed like it might work as a demonstration of line.
Ever the nervous student, I decided to bring the photo to my professor. I wanted to do well in the class and I already felt like I had fallen behind my classmates, most of whom had taken photography classes before.
“Hi, Richard. Do you think this picture would work for the line part of our assignment? I thought that it might because these stalks are all right next to each other ... but I don’t really know. I don’t really have anything else for line.”
‘That’s a cool picture. I like that. Yeah, sure that works - if you think it works, then it works,” Richard said, sizing up the picture. He looked at me, smiling, “Don’t worry so much. This class is supposed to be fun. If you’re not having fun, you shouldn’t be here.”
After doing advanced studies in photography in high school, Richard was accepted into the Rochester Institute of Technology, a premier university for art and design. He studied photography at RIT for two quarters, but his formal education ended abruptly when there wasn’t enough money for him to return for the third quarter. So Richard began to cobble together his own real-world education, apprenticeship after apprenticeship. He moved to Fort Lauderdale, where a photographer named David Vance was looking for someone to do black and white photo printing for him. “David Vance, in the early ‘80’s, he was the most recognized glamour and fashion photographer that there was,” Richard says.
But Vance was just the first in a string of extremely talented and well-known photographers who mentored Richard. There was also Steve White, who split his time between Miami and Paris, and Art Kane, who photographed the likes of Bob Dylan, Janis Joplin, and Louis Armstrong.
When Richard speaks about the many well-known photographers he worked for, it is decidedly unlike the networker’s mantra of “It’s not what you know, it’s who you know.” Richard’s version would be something more along the lines of “It’s not who you know, it’s who believes in you.” “All along my life there’s been people who believed in me, who helped me believe in myself,” he explains. “I was fortunate along the way to have people who taught me what I needed to know and then let me go on to somebody else who taught me something different.”
Art Kane, for example, was kind of a big shot. His work is in museums. Kids study him in school. David Vance helped Richard get into one of Kane’s exclusive conceptual portraiture workshops in Maine. On the first day of the workshop, a 20-year- old Richard stood among advanced amateurs and mid-career photographers while Kane criticized the students’ portfolios anonymously. “Art was ripping these photographers’ work apart, and I thought they were good!” Richard says. He nervously awaited his turn. “When he got to my portfolio, he didn’t say anything for the longest time, and then he proceeded to tell me all these things about myself that I hadn’t told anybody. I hadn’t realized photographs could communicate that viscerally.” A while after the workshop, Kane asked Richard to help him with some fashion shoots. Richard eagerly accepted, and ended up working with Kane for some time - a period which Richard refers to as his version of grad school. “He let me use the equipment in his studio, and he was always encouraging me to work on my portfolio. Art Kane taught me a lot about the emotional and conceptual impact a photo can have, and a lot about how to edit,” Richard says. “And when he liked my photographs, he would tell his clients to hire me.”
Richard mentions nothing about the glamour of working for Kane; doesn’t talk about the celebrities and the beautiful people Kane photographed. Instead, he speaks of Kane the way he speaks of all of his other mentors: with a sincere reverence and gratitude.
I am embarrassed to say that when I first started taking the Black & White I class with Richard, I thought he might be sort of a hack photographer.
Before we started using real black and white film during the class, Richard had us shoot a roll of “CN” film, a special type of black and white film that you can drop off at the comer drug store for processing instead of sending it out to a professional black and white photo lab. The project was supposed to be informal. Fun. “Just take pictures of whatever interests you, and we’ll look at them as a class next week,” Richard said.
My first time using my parents’ 1970s-era Canon was a bit short of successful, thanks to my unsteady hands. Almost all of my shots were blurry, and because I didn’t yet know about light meters or apertures, the majority of the prints were either washed- out or too dark.
In class, as I laid the photos on a table for the class to see, Richard said, “So, tell us about these.” I tried to crack a joke about how I clearly didn’t know how to use a manual camera, but Richard interrupted. “Well, don’t worry about that, you’ll leam. What’s more interesting are these people you chose to photograph - tell us about them.” There was a sort of cultural assumption on my part that a truly professional or successful artist would be something of an elitist - an art snob. Richard seemed so uncritical of my technical errors that I thought he must not be all that great of a photographer.
Of course, that incident occurred during the second week of class and he might have been cutting me a break. But just last week a tall red-headed University of Pittsburgh student turned in a batch of similarly blurry prints for our critique. Even though we are three-quarters of the way through the semester and the student still hasn’t mastered basic camerawork, Richard said to her in class, “Well, you clearly have the subject matter. Now let’s try to refine what you’re doing so that you’re happy with your prints.” He encouraged her instead of embarrassing her. He turned the blurry photographs into an opportunity to philosophize about the nature of portraiture: “With these pictures, I kind of feel like they’re asking, ‘How little can I say and still get the point across? How much would be too much?”’
That’s classic Richard Kelly. He doesn’t overlook technical errors in photographs because he doesn’t notice them or care about them - he overlooks technical errors because he cares more about what the student wanted a print to look like than the way the print actually came out. Whenever a student indicates that they’re unhappy with their final product, Richard gives gentle suggestions about how to get the desired results:
Meter your light differently; Use a longer exposure.
Richard did his first professional magazine shoot at age 21, an age when most aspiring photographers are only working as assistants. You can find his work in any number of national and local magazines. He makes a living taking pictures that fulfill him personally and professionally - a rare feat in any profession. Richard is not a hack photographer, he is a rare gem: an extremely talented artist who wants to draw people into the field of photography instead of excluding them from it.
In our last class before our final critique, Richard said, “My goal in this class was mainly to get you to take the next level course - Black & White II.” He just wants people to be as passionate about photography as he is.
Richard spent most of the early ‘80’s living in Florida, but, like most artists, dreamed of the busy streets and abundant opportunities of New York City. In 1986, he finally had enough work in the city to move there. But three years later, after spending time touring with B.B. King in Mississippi, Richard started to think differently about living in New York. “B.B. King said to me something to the effect of, ‘Don’t let the place define the man, let the man define the place,”’ Richard says. And that made all the difference.
After returning home from the tour, Richard decided to do some exploring. He didn’t want to be “another New York photographer.” He packed up and spent a summer in Montana with Kurt Markus, a photographer friend. “That summer I went out with crazy women and drank a lot,” Richard says, laughing. After his time in Montana, Richard bounced from New York to LA and eventually landed in Pittsburgh, where he’s lived and worked since 1992.
Of his time spent touring with B.B. King, Richard doesn’t say much, aside from the lesson on geography that B.B. taught him. He does little to indulge my interest in the talented and famous, and ultimately I’m glad - he seems above it. Richard’s primary interest is in portraiture. He wants to leam about people - beautiful or average, famous or anonymous. Everyone is someone to be studied, researched, photographed, learned from. Richard has a mental encyclopedia of quotes from people who have taught him one life lesson or another. To most of the world, B.B. King is one of the greatest American blues musicians ever to have lived, but to Richard, he is one teacher among many teachers - he’s a “cool guy” in a world chock full of many cool guys.
Still, Richard does have a framed photograph of himself with B.B. King hanging in his Pittsburgh studio. Other than the Chuck Taylors and jean shorts he is wearing in the picture, Richard looks virtually the same as he did in 1989: boyish hair cut and bright eyes, with a camera slung over his shoulder.
Richard Kelly is a professional photographer who wishes he was a writer. He thinks writing is “the highest form of art.” Especially after taking Richard’s class at Filmmakers and speaking with him about his craft, I feel photography and writing are Two different ways of getting at the same goal. They both aim to capture the essence of something or someone, and to accurately and artfully convey that essence to others.
When Richard photographs people, he tries to reveal something about them. “I try to go beyond what the person looks like, beyond the facade of a person, and into a little bit more about them,” he says. Writing is much the same: It requires unearthing more than the basic facts, getting to what is at the very core of a thing through careful dissection.
On a more personal level, I think I want to write for the same reason that Richard wants to take pictures. “Photography is just an excuse to learn something new,” he says. Cameras and notebooks both give people a license to ask questions. Photographers and writers get to explore the world and then have the weighty task of interpreting it, making sense of it. Both art forms are for the insatiably curious; for those of us who may have been somewhat annoying children, constantly asking “how” and “why.”
I am terribly fond of writing, myself, but I wonder if a well-done portrait of Richard would’ve been just as effective as this piece I’ve written about him.
\"I WONDER IF A WELL-DONE PORTRAIT OF RICHARD WOULD’VE BEEN JUST AS EFFECTIVE AS THIS PIECE I’VE WRITTEN ABOUT HIM.\"
Kelly Cahill, in 2007 she was Creative Writing Major and Photography Student
- she also modeled for a photo shoot I was doing in the studio
\"I WONDER IF A WELL-DONE PORTRAIT OF RICHARD WOULD’VE BEEN JUST AS EFFECTIVE AS THIS PIECE I’VE WRITTEN ABOUT HIM.\"
Throughout the three classes I took with Richard Kelly at Pittsburgh Filmmakers – Portrait Photography, Advanced Portrait Photography and Studio Lighting – I could see what a vast amount of knowledge he had to share. In addition to his core curriculum, Kelly elicited from students what they wanted to get out of class, and he made it happen. For example, he helped me to better understand soft-boxes, transmitters/pocket wizards, front/side lighting placement and ratios, and meter readings, as well as how to improve posing and interact with subjects.
Kelly brought in guest lecturers and arranged visits to other artists in the community. He was always available to talk with me outside of class about my work, both while I was enrolled and afterwards. He said that once you’re a student of his, he’ll always be there for you.
Kelly encouraged his students to exhibit their photographs. When I had my first photography exhibition, he met with me about choosing a theme, selecting and narrowing down images to a manageable number, and editing with an eye toward how images would look in juxtaposition with each other. He advised me on choosing photo sizes, determining the best placement in a venue relative to other art work, sequencing photos to tell a story, and how to install and price photos.
Students talk about the “Richard Kelly experience.” He is down to earth, a knowledgeable and generous teacher, mentor and friend.
Paul Lyons earthlyon@icloud.com
Throughout the three classes I took with Richard Kelly at Pittsburgh Filmmakers – Portrait Photography, Advanced Portrait Photography and Studio Lighting – I could see what a vast amount of knowledge he had to share. In addition to his core curriculum, Kelly elicited from students what they wanted to get out of class, and he made it happen. For example, he helped me to better understand soft-boxes, transmitters/pocket wizards, front/side lighting placement and ratios, and meter readings, as well as how to improve posing and interact with subjects.
Kelly brought in guest lecturers and arranged visits to other artists in the community. He was always available to talk with me outside of class about my work, both while I was enrolled and afterwards. He said that once you’re a student of his, he’ll always be there for you.
Kelly encouraged his students to exhibit their photographs. When I had my first photography exhibition, he met with me about choosing a theme, selecting and narrowing down images to a manageable number, and editing with an eye toward how images would look in juxtaposition with each other. He advised me on choosing photo sizes, determining the best placement in a venue relative to other art work, sequencing photos to tell a story, and how to install and price photos.
Students talk about the “Richard Kelly experience.” He is down to earth, a knowledgeable and generous teacher, mentor and friend.
Paul Lyons earthlyon@icloud.com
Practice Over Theory
I learned photography through an accumulation of experiences—watching, doing, making mistakes, getting feedback and doing it again. That is how I teach.
Theory matters. Technique matters. History matters. Ultimately, we have to make pictures.
Photography is a practice, and the learning never really ends.
Your Photographer DNA
Knowing the history of photography and the photographers who came before us and how they connect with our point of view is essential. I call this assembling your Photographer DNA.
We learn from other photographers, artists, filmmakers and storytellers. We borrow, question, combine and transform those influences until they become part of our own way of seeing.
The goal is to develop your Unique Point of View:
What do you notice? What are you curious about? What do you care about? What does the world look like when you photograph it?
Learn the Craft and Then Break the Rules
Photography is both a creative practice and a technical craft.
Learn how light, exposure, lenses, color, composition and equipment work. Practice until those tools become familiar. Understand the rules and why they exist.
Then adapt them, transform them and, when the photograph calls for it, break them.
Technical craft gives you the freedom to make the photograph you intend to make.
Make pictures, fail often and learn together
A photograph that doesn't work is information. An lighting experiment that falls apart may lead us somewhere more interesting.
If everything you try works every time, you probably aren't trying enough new things.
And while photographers often work alone, I believe we learn photography better together. Through critique, collaboration, conversation we help one another solve problems which is fundamental to the photography experience.
Photography is a community.
Stay Curious
Ask questions. Make photographs. Look carefully. Try things.
I want the classroom to be a creative lab: hands-on demonstrations, history, contemporary photography, experimentation, critique, guest photographers, professional practice and connections to Pittsburgh's larger photographic community.
Every class, every course will be a little different because every group of students is different.
What I ask in return is three simple things:
1.Participate & engage fully. 2. Be curious. 3. Try everything.
I choose to live a creative life, and photography has allowed me to do that for most of my life. My hope is that you discover something in photography that stays with you—something that feeds your curiosity, creativity and joy.
Because photography can teach us something larger than how to operate a camera:
Photography can teach us to see rather than simply look.
Richard Kelly
In my Black and White One class I started a tradition of making at least one field trip as part of the courses look at Landscape, almost every class voted for an urban experience, and I have really enjoyed these expeditions. I have always said that a pleasant walk is one you take with your camera. It is an excellent wellness exercise, it's really the best way to explore a neighborhood and an excuse no matter what the weather to maybe meet someone new.
This tradition has taken us to Pittsburgh's Golden Triangle, Bloomfield, Lawrenceville, East Liberty, Wilkinsburg, New Kensington and this October 13 we will travel to Vandergrift in Westmorland County. For a little History:
A new tradition I am starting here at Richard Kelly Experience is that these field trips are open to any format, any camera to any skill level. They will be a two-part workshop, The first will be the on-location portion and then a few weeks later a review and critique. That is what makes this a bit different than a traditional photo walk. The review critique is where we really learn how to be better photographers.
This past week I ventured out to Vandergrift with my daughter Grace to location scout and previewed what might be possible. This is more than a place for urban landscapes, there are unique architecture and interesting people. In October the Sycamores on Washington Avenue should add color to the scenery, and the crisp air might just add a cyan blue sky, no matter what the weather I think Vandergrift may be one of my go-to photo destinations, If nothing else, the Sweetlane Chocolate shop is a new favorite malted milk balls and all.
Join us as we explore the unique intersections of Vandergrift Pennsylvania a company town like no other.
https://goo.gl/maps/ssmD6f5UvNp
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made on instant pack film.
I continue to be prolific in my photography practice. Often that means
creating image after image for personal projects, commercial assignments or
just plain to see what things and people look like when photographed. It is
how I process my world through a lens. Before the invention of the
connected web, photo blogs, Facebook and Instagram, this process of
constantly photographing resulted in box after box of images, memories, as
works in progress, projects unseen. Recently I have started to unearth these
captured moments from their tombs. I discovered a narrative emerging,
stories, untruths and legends that connect these unrelated images together.
The photographs I am initially responding to and are the beginning of That
Instant Moment are captured moments on instant film (made first by
Polaroid and later by Fujifilm) One of kind, no two alike, created very much
in an instant. I have been scanning these Instant Photographs well over two
thousand and selectively printing them on a chromogenic metallic paper.
I like that the chromogenic metallic paper mimics the glossy sheen of the
original picture. These scanned enlarged instant photographs although are
being viewed unnaturally. The original print size of 3 . x 4 . out of the
camera presented very precious and intimate pictures that were viewed in the
palm of your hand. Because of the size and viewing distance the image
quality and color were both limiting and uniquely beautiful, when enlarged
to 24 x 20 inches those idiosyncrasies become both noticeable and painterly
at the same time. The process of scanning and enlarging does require some
dust spotting with a little color toning to match the print processes. Other
than these brief tweaks these images are presented as I intended them to be
seen.
Richard Dale Kelly
List of Works
I. That Instant Moment- Before the paparazzi saw the starlet arriving was her only
peaceful time she remembered.;
Image capture 1998 - Print 2016
chromogenic metallic paper. 24 by 20 inches
II.That Instant Moment – before she revealed her true identity to him.
Image capture 1991 - Print 2016
chromogenic metallic paper. 24 by 20 inches
III. That Instant Moment – when she realized that everything she said to him
was a lie.;
Image capture 1991 - Print 2016
chromogenic metallic paper. 24 by 20 inches
“My life's work as a photographer is telling visual stories about innovative organizations and creative people, while feeding my own curiosity about media, technology and the arts.”
— Richard Kelly
Hi Richard,
I was recently thinking about your great intro to digital photography class I attended way back in 2012 at PFM, and I want to thank you for all the skills you gave me and all the encouragement and fun you put into teaching photography.
I recently had a chance to \"use everything I know\" behind a camera, and I was reminiscing about where I learned it -- you and your class!
Yours was the first photo class I ever took, and since then I've been continuing my photo hobby, taking headshots of friends for FB and documenting parties and events and such. I take pictures pretty much continuously, so much so that my wife's nieces nicknamed me \"shutterbug\".
I do enjoy taking portraits, and recently did a 12-hour, 7-model studio portrait session with some friends who wanted to document their creative \"Rare Birds\" performance art and costume project here in San Francisco. I want to share a link with you to behind-the-scene shots from that day, which tell the tale of the shoot from my perspective in the dressing room where the makeup process and opportunity for unusual angles was prolific. i felt this was a really fun day to be a photographer!
Thanks so much for everything, and best wishes for your current projects.
![](\"https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif\"){kind=spacer}
Brett Bowman
San Francisco, CA
-_-_-_-_-_-
Here is the short background info on this photo shoot:
Name of Organization: Rare Birds
Location: San Francisco, CA
Contact Info: rarebirdsshow@gmail.com
Brief description:
Rare Birds grew out of a single performance event performed in 2017 at Heron's Head park, a wildlife eco park located in San Francisco. Visitors to the park that morning were greeted by our troupe of \"Rare Birds\" placed in and among the sprawling 2 mile park. Our Birds danced, sang, played music and otherwise engaged the visitors with an immersive performance spectacle. The troupe has continued to design, build and create new characters and has been making frequent appearances at Bay area events.
Costume design by: Collaborative works by the performers with overall art direction by Rose Harden
Makeup by: Andrea Sendek, Rose Harden
Photography by: Brett Bowman
Goals of this shoot:
For Rare Birds performers, the goal of the shoot was to create promotional photos for their new website. Rare Birds hopes to grow their business of providing character entertainment at festivals, corporate events, and large-scale party events. The photos are supposed to be full body as well as close-ups, and I tried to make it look fun and mysterious and weird and playful all at once (yet also clearly lighted and not too creative photographically, more akin to a standard professional portrait, but in a bird costume!).
For myself, the goal of this photography was to practice shooting with studio lighting and working with models - this was one of the first handful of times I've used studio lighting, and it was a marathon all-day shoot of 7 performers in multiple costumes and a variety of backdrops. I had the assistance of the costume designer Rose Harden to position the models and provide encouragement and posing suggestions to the models. This was really quite helpful, as Rose knows what the costumes can do, and she is the final customer of these pictures. Thanks to her in-person review I could be sure we were getting the shots she wanted. It turned out we worked well together, by good luck.
All Photos © Brett Bowman
Talking Photography N'at
A Richard Kelly Experience
Hosted by Richard Kelly
Talking Photography N’at
is presented the second TUESDAY (New Day Same Time Same Channel) of each month 7:00 to 8:30 PM Eastern Time.
We meet using Zoom Meeting https://us02web.zoom.us/j/84978587017
Photographers Talking Photography N’at
(“N’at” is a regional Western Pennsylvania expression mashing up the words “and” & “that” with the meaning “et cetera”)
The Talking Photography N’at concept is simple: we gather to discuss photography, look at photography from works in progress to finished projects. Collectively we want to learn about your intention, motivation and process for making pictures.
Photographers are invited show of about 20 photographs in a slideshow format.
If you would like to make a presentation, send me an email rk@richardkelly.com
To prepare your photographs for presentation, send me your image files as jpegs, export them, or resize them to be 1024 pixels on the long side at 72 PPI save at high quality around 10. Larger files do not render the quality better; but they do slow down the process.
Rename your images with your last name and the order number for the show. (KELLY_01.jpg).
Please place them in a zip compressed folder and send me the link to rk@richardkelly.com
Please use Google Drive or We Transfer - I am currently not accepting DropBox Links.
Talking Photography N'at
Episode 19 2021/4/13
Episode 18 2021/3/10 - We looked at Barry Schwartz's A Victorian Rolls Through San Francisco https://barryschwartzphoto.com/PROJECTS/A-Victorian-Rolls-Through-San-Francicso/1
Eugene Wilson's Southside and Kristi Jan Hoover's Dancer and Defaced Portrait. We also dipped into Polly's challenges with Printing.
Episode 17 2021/2/10
Personal Projects - A continuing conversation about working on Personal Projects • looking at the works in progress of Marc Soracco, Gene Wilson, Jeff Williams, Christianna Kreiss and Richard Kelly.
Episode 16 2021/1/13
Personal Projects - It's a new year - what are you working on and what do you want to produce in 2021?
Episode 15 2020/12/09
An open discussion about photography, what are you working on and whats next for your projects.
Episode 14 2020/11/11
Virginia Farnsworth, Pittsburgh based photographer & Book Artist
https://www.virginiafarnsworth.com/artists-statement
John Altdorfer, Pittsburgh based photographer
https://jaltdorferphotography.com/
https://www.instagram.com/j_altdorfer/
Episode 13 2020/10/14
Steven Benson https://www.stevenbensonphotographer.com/
https://www.instagram.com/stevenbensonphotographer/
&
Teake Zuidema https://www.teakezuidema.com/225459330/huaorani-ecuador
Episode 12 2020/09/09
Art Becker - Finding Art - https://www.artbeckerphoto.com/
https://www.instagram.com/artbecker/
Episode 11 2020/08/18
Njaimeh Njie, Multimedia Produce http://www.njaimehnjie.com/
Hill Homecoming Project https://www.hillhomecoming.com/
Nairobi Jones, Photographer https://www.instagram.com/iamseton/
Episode 10 2020/08/4
Kevin Cooke - Graule Studio a look back the images of one of the oldest continuously operated photographic studio in the United States founded in 1892 in Rochester Pennsylvania http://www.graule.com/historyFrame.html
Timothy Burak - Images of Warhol - I unique project by artist Timothy Burak on the Images of Warhol
Episode 9 2020/07/21
Andrew Southam : Healthcare professionals: Portraits & Conversations.
There’s so much information and misinformation, science and terror out there now about the still to be contained Coronavirus, I wanted to speak to someone on the front lines of exposure to Covid 19 every day.
\"This begins a series of portraits and conversations with front line health care professionals; doctors, nurses, and therapists and people in supporting roles. These people have become central to this moment in ways none of them had foreseen. None of them describe themselves as a hero. But given the hours they’re working now, and the personal risk to themselves and their families they undertake to care for the public each day, I don’t think it would be an exaggeration. At first I had concerns about asking for time with people who are doing life and death work right now. But what I’ve discovered is that this is a story that health care people want to be told, but are far too busy to tell. I’ll be posting their portraits and a short excerpt from my conversations with them here. And my entire interviews with them in my website. Stay safe.\" Andrew Southam
https://www.instagram.com/andrewsoutham/
Justin Visnesky - Fourth of July Balloons and other photographs
http://www.justinvisnesky.com/
https://www.instagram.com/justin.visnesky/
Episode 8 2020/07/7 Open Mic
A discussion about Photography and Conflict at the Carnegie Museum of Art featuring An-My Lê: On Contested Terrain .
New work by Polly Whitehorn \"Safe in my Studio\" https://pollywhitehorn.com/safe-in-my-studio/
Episode 7 2020/06/23
Marc Soracco - a pittsburgh based photographer and FAA licensed Drone pilot https://www.soraccophoto.com/aerial-gallery.html
#today’s morning Rhonda https://www.instagram.com/marc_soracco_photography_inc/
Sam Kittner - a washington D.C based photographer https://www.kittner.com/index
Faceless Faces in Public Places • A series of photographs in public spaces during the Coronavirus Crisis-Picture 81
(Photographs made while maintaining social distance and wearing my own mask) https://www.instagram.com/samkittner/
Stephanie Strasburg - a photojournalist with the Pittsburgh Post Gazette http://www.stephaniestrasburgphoto.com/
Interactive - Coverings Mennonite Amish Sexual Abuse Forgiveness in their communities.
Episode 6 2020/06/02
Christianna Kreiss - Modern Vortographs https://www.ckreissphotography.com/
Robert Olson - Moon Baby - a video and book
Richard Kelly - Transcending Difference - Looking at Aliquippa circa,1994
Episode 5 2020/05/19
Lisa Cirincione - Buildings https://www.instagram.com/lisac.photography
Paul Lyons - RNC Cleveland 2016
Elan Mizrahi - Isolated Radiance
https://www.elanmizrahi.com/isolatedradiance
Episode Open Mic 2020/05/26
Episode 4 2020/05/5
Susan Abramson - a work in Progress Cicada https://www.sueabramson.com/
https://www.instagram.com/susan.abramson
Don Henderson - a work in Progress New Kensington
https://www.flickr.com/photos/yankeedog57/
https://www.instagram.com/yankeedog57/
Madeleine Hordinkski - Living with her family in Quarantin https://www.bbc.com/news/av/world-us-canada-52391244/coronavirus-lockdown-living-with-my-parents-under-new-house-rules
https://www.instagram.com/madeleinehordinski
https://www.madeleine-hordinski.com/
Episode 3 2020/04/21
Jake Renhart - Work in Zeitgeist https://www.jakereinhart.com/zeitgeist#1
https://www.instagram.com/jakereinhart412
Becky Seiner - Quarantine at Siesta Key - http://www.rebeccaseiner.com/
https://www.instagram.com/beckyseiner/
Andy Coleman BW large format
https://www.instagram.com/andrew.j.coleman/
Kristi Jan Hoover- End Times a work in progress
http://www.kristijanhoover.com/portraiture
https://www.instagram.com/kristijanhoover/
Episode 2 2020/04/07
Betina Jones - https://thingsalligatorswouldeat.com/2020/03/31/rk-exp/
Polly Whitehorn - Empty Streets https://pollywhitehorn.com/my-empty-streets-3/
https://www.instagram.com/pollywhitehornphotography
Eugene Wilson, Lake County California
https://spark.adobe.com/page/JMrZUyXs1p0wh/
https://www.instagram.com/8thorpe/
Episode 1 2020/03/24
Polly Whitehorn -
https://www.instagram.com/pollywhitehornphotography
Eugene Wilson,
https://www.instagram.com/8thorpe/
Richard Kelly on Photographer Duane Michals - Empty New York
http://www.dcmooregallery.com/exhibitions/duane-michals-empty-new-york
At the Richard Kelly Experience, our mission is to help enthusiasts and artists achieve personal growth and satisfaction through lifelong learning and contributing to a creative community through the practice of the art and craft of photography.
The name Richard Kelly Experience comes from my close friend, former assistant Kristi Jan Hoover who described to me her interpretation of a photography or educational session as the Richard Kelly Experience.
\"It's a bit magical, a little mysterious but we always learn a lot while practicing the craft and art of photography.\"
Your Lifestyle portrait experience should capture your personality, aesthetics, and interests. I see these as collaborative lifestyle photo shoots. The environment we choose for photographs will reflect your personality, adding a personal layer to your pictures.
I have scouted urban scenes, bridges, rivers, parks, and city neighborhood streets. If an urban look is not your scene, what is? Not far away are rural settings suitable for a country rustic look, athletic fields, small towns, and county parks with trails, and lakes. We will select a location that suits your unique point of view.
Photographing outdoors is the safest location to work, whether we are photographing on location or in a pop-up studio in your backyard.
We will have a brief/zoom phone call to talk about you and your interests and ideas that we can use to build your photo session. We can talk about locations, wardrobe, and how you want to use this experience to express yourself. You can share screenshots, links, or pictures showing the attitudes and poses you want us to try. We will then plan the day and time for your photo shoot.
I am flexible for whatever location you have in mind. Depending on that location, the time of day may be decided by the sun's position. We will make the photographs that fit your vision. We will consider the time for travel between locations if choosing more than one location. We can discuss your overall concept and determine what works best for your plan.
We will confirm the time and weather plan on the day of the session. I suggest that you have a parent or friend attend for additional support. I will have a portable dressing tent for wardrobe changes and a mirror to check hair and makeup.
I look forward to working with you to create your lifestyle portrait.
Book your session by contacting me at richard@richardkelly.com
Or text/call 412-370-0582
Richard Kelly Experience
Senior Lifestyle Portrait – Class of 2026
Welcome to your Senior Portrait Experience.
Your photo session is designed to reflect your personality, style, and story. We’ll collaborate on location, wardrobe, and creative ideas to create portraits you’ll be proud to share and keep for a lifetime.
Portrait Packages
Package A – $550 (Most Popular)
- 90-minute session (can be split into two 45-minute sessions)
- 2–3 outfit changes
- Web gallery with digital proofs (20 favorites per setup)
- 15 retouched digital files for personal use and printing
- Includes your choice: a set of 15 -5x7 art prints, a 5x5 mini book, or one 8x10 fine art print.
Package B – $850
- 2-hour session
- up to 4 outfit changes
- Web gallery with digital proofs (20 favorites per setup)
- 30 retouched digital files for personal use and printing
- Includes your choice: a set of 30 -5x7 art prints, a 5x5 mini book, or one 8x10 fine art print.
Package C – $1250
- 4-hour session (can be split into two 2-hour sessions)
Web gallery with digital proofs (20 favorites per setup)
- 50 retouched digital files
- Includes your choice: a set of 50 -5x7 art prints, a 7x7 mini book, or one 11x14 fine art print.
All packages include a yearbook photo as specified by your school.
The Fine Print
We may reschedule due to weather, illness, or emergencies.
All orders are final and non-refundable.
Sessions may be extended at $150 per hour.
All Images are Copyright Richard Kelly Photography.
Clients receive an Unlimited Personal Display License (non-commercial use, social media). And a Copyright Waiver Release for Printing the retouched images.
Additional digital files are available for $25 per image. (5 for $100)
All retouched images are color-corrected and optimized for prints or social media.
Light retouching is included. Additional touch-ups start at $10/image..
Location fees or permits may be required. Certificates of insurance can be provided if needed.
7% PA sales tax applies.
We offer professional printing, mounting, and framing options.
The Fine Print
Indigo Factory, Inc. d/b/a/ Richard Kelly Photography
412-370-058 • richard@richardkelly.com
We require a 50% nonrefundable Session Retainer to reserve and secure your date & time on the studio calendar. If you should feel ill or have other unforeseen circumstances occur, please get in touch with us as soon as possible to reschedule your photo session at no charge.
Richard Kelly Photography reserves the right to reschedule sessions due to unfavorable weather conditions, illness, or emergencies.
We will add a Pennsylvania sales tax of 7% to all orders delivered in Pennsylvania.
We accept Cash, Checks, Major Credit Cards, Venmo, and Paypal for payment.
We will add Shipping and Handling when applicable.
All sales orders are final and are nonrefundable.
Some Locations require permit fees and will be accessed if necessary for photography.
Finished images include color and toning optimization and light retouching.
Additional retouching starts at $10 per image or $100 per hour.
All Prices are Subject to Change
All Photographs are © Indigo Factory/Richard Kelly Photography.
All packages include the Unlimited Personal Display License, which excludes commercial and editorial use. No reproduction or third Party Transfer or sale. All other Rights Reserved.
Additional Usage Rights may be purchased and conferred in writing.
We request your permission to use your photographs to promote our business. Please sign the Subject Release Form (https://bit.ly/3rheNZ4), scan or photograph it with your smartphone, and email it to richard@richardkelly.com.
My clients can expect the highest quality of our prints and products.
I color-correct and optimize your photographs for printing through our professional lab partners; they operate at the highest level of customer service and print quality. We offer many print products and services. If you have something more unique in mind, we are always up for an adventure. Please get in touch with me for our personalized white-glove service.
We can also guide you to the perfect display solution for your home or office decor. Beyond the framed print or a traditional photo album, there are some unique options.
Please contact richard@richardkelly.com within twenty-four hours if you are less than satisfied with your photographs. Your one hundred percent satisfaction is my goal. However, reshoots are not available because of wardrobe or styling errors.
Photography and Working during a Pandemic
When I first heard of a mystery respiratory virus in Wuhan, I started paying attention to the World Health Organization and learning as much as I could about SARS-CoV-2, the novel coronavirus that causes COVID-19. As a photographer who often photographs scientists, physicians and bio medical researchers, I am curious about all aspects of this public health emergency. I am also familiar with working while wearing PPE - Personal Protective Equipment, you will often find me working in a mask, and not touching anything but my camera or equipment when in a lab, clinic or patient room.
Early on in the pandemic, as the world shut down for several weeks, I devoted myself to determining how photographers like myself will work in this new environment. Let's face it viruses are here all of the time, and this novel coronavirus is not going away magically, we will have to learn to work in a world with these infectious diseases.
I took a paid course with Rightway Consulting, an OSHA training consulting and training group in Chicago. Photographer and ASMP member Samantha Isom worked with Rightway to create the PICC program - an in-depth certificate program for production professionals like photographers and film crews.
Here is the outline below and link https://rightwayconsulting.com/production-infection-control-course/
INFECTION CONTROL ONLINE COURSE
There are currently no government regulations, nor rules regarding COVID for production workplaces. We have built a training course culminating with a certificate of course completion, to help reassure your clients and make your sets safer for everyone involved. We cover the following topics:
You can even search the PICC course certificate graduates here:
https://rightwayconsulting.com/production-infection-control-course/certification-directory/
I also took a certificate course in Contract Tracing through the Johns Hopkins School of Public Health not because I wanted to be a contact tracer but because I wanted to understand COVID 19 from a public health perspective.
https://www.coursera.org/learn/covid-19-contact-tracing
Many film production crews were asked to take the free Safe Sets International certificate course - this course covers many of the basics of COVID 19 protocols and personal Hygiene. https://practicesafesets.co/ .
I took that as well and recommend this to all of my crew members and students.
As photographers and other creatives from fashion, advertising, tv film production started to gather online to discuss working in a COVID 19 environment, My collegue photographer Barry Schwartz wrote an article with industry-specific references on what we as photographers need to do getting back to work for the ASMP blog https://www.asmp.org/strictly-business-blog/when-work-begins-again/
Barry then moderated an ASMP webinar with the same topic featuring producer Amy Yvonne Yu, Los Angeles photographer Elizabeth Weinberg and myself.
ASMP has done a great job of keeping their members and the photography community up to date on the economy, public health, safety on set practices and working protocols, having just released an industry guide. https://www.asmp.org/asmp-covid-19-guide-download/
I mention all of this because it matters to me not just what I say but how I act as a photographer and a global citizen.
Richard Kelly
COVID 19 Protocols for Working on Set
I have been producing photography projects for 30 years worldwide for large and small clients. Over the years, things have changed mostly for the better, scouting for locations from my laptop, casting talent over Facetime. Creative meetings with clients once in a conference room are now ZOOM meetings, and this isn't because of a Novel Coronavirus; this is just the progress with useful technology. For the past decade, I have created productions having never met the client or creative team in person.
I work on photography projects that vary from day to day and client to client. It is not uncommon for me to work on projects with just my camera and a portable light. Other projects may require a little more gear and my assistant, and some require a team of photography and production assistants, hair, makeup, and wardrobe stylists -sometimes, it truly takes a village.
Working in the during this pandemic is not the same production even with these technology tools, we have new protocols in place to protect all of us during this public health crisis. How I proceed with a project depends on the project itself, the creative goals, and the solutions necessary to get the job done safely. We do not have to make quality compromises; I think these new challenges are different parameters we have to resolve creatively.
Location productionss always require us to consider where, when, and what will we need to make that work? The basic necessities of human life - Shelter, Food, and Bathrooms always come to mind, whether it is a whole crew or just me. With the COVID 19 protocols, the fewer people on set, the better. No matter what the project, there is a new production protocol.
Protocols on set in the studio or on location
Crew members and I will have the appropriate PPE, always wearing facemasks and keeping a safe distance from each other, we may also wear gloves, and goggles when necessary.
Many of our recent photography projects have been on location out of doors, which is easier to manage ventilation concerns. We evaluate indoor locations as they arise and consider the vector points, high touch areas, air ventilation, and people's density on a space before making a final decision about the workspace.
For photo sessions that require client input and real-time decision making, we have iPads on set for client review while maintaining a social distance. We have online technology solutions for sending images to a cloud website for remote client reviews. And even real-time Zooom interaction, There are Facetime interactions for behind the scenes conversations about wardrobe, makeup and talent decisions.
Richard Kelly Photography COVID 19 policy and protocols (08/15/2020)
• Follow guidelines of the CDC, State, and Local health departments
• Everyone Wears an appropriate Face Mask possibly doubled when necessary and with face shields for stylists when appproriate.
• Practice Social Distancing.
•Practice Personal Hygiene - washing hands with soap and water and or using alcohol-based hand sanitizer regularly.
•Continual Checking of Symptoms
Fever (100.4 or higher)
Shortness of breath or trouble breathing
Dry Cough
Sore Throat
Loss of taste or smell
• We also ask anyone required to be on set not to travel to any of the high-risk locations as outlined by the PA Dept of Health within the past 14 days.
https://www.health.pa.gov/topics/disease/coronavirus/Pages/Travelers.aspx
There are creative solutions to every problem presented onset, whether COVID 19 or something else. As professionals, we solve problems. Today We live and work in a global pandemic, which requires us to be diligent and responsible for ourselves and each other.
COVID19 Protocols require more time and may cost more money. Planning is the key to keeping us working together safely.
We encourage positive conversation about these COVID 19 production protocols if you have any questions or comments, please let me know.
Richard Kelly
President
Richard Kelly Photography
Indigo Factory, Inc.
Mr. Richard Kelly has been teaching photography for more than 15 years, and in 2018, launched the Richard Kelly Experience photography workshops for artists and enthusiasts of all ages.
My first day of Studio Lighting class, Mr. Kelly went down the roster, calling each person by name, looking into the twenty or so people, and knew exactly where they were, he knew each person, until he got to my name. I was the only one who had not taken a class with him. He went over some techniques and then the class ended, we were supposed to bring our camera to the next class.
The second meeting of the class, he still didn’t know my name, until we started talking cameras as a group. I was the only person with a film camera, I was unsure if he was impressed, or his look was expressing that I should not have been in this course.
When I was a kid, I wanted to be an instrument. I knew I couldn’t sing or play the guitar, the only thing I was good at was doing bad. I have always had a love for drawing, writing and photography.
The end of 2019, I got to interview him. The interview and especially the last two questions and answers helped me put several things into focus (pun intended). The class, the people in the class, the technical skills, the interaction of the class he fostered and just knowing him, has made me a better artist. I was meant to be in that class. I hope you take some time to read the interview.
E.M.: What is photography to you?
R.K.: I used to think that photography was something I did. I now realize that photography is the way I see, speak, love, eat, and interact with friends (and strangers). I am photography, and photography is me.
E.M.: What is your personal history with being a photographer?
R.K.: As a young boy, my mother surrounded us with creative activities. Painting, singing, make-believe playing, and reading - a lot of books. My father was a mechanic, and I am sure he didn't see himself as a creative. However, I now realize that he, too, was insightful and innovative - figuring out how things worked and creative problem-solving. They laid my foundation for photography — a mix of practical and creative tools and techniques.
I discovered photography at the local library. I was reading my way around the bookshelves, and one afternoon stumbled upon the photography books. I remember checking out as many books as they would allow me too. Sometimes over and over again. Then I wanted a camera, but my parents told me that photography was for rich people and if I wanted a camera I would have to find a way to pay for it myself. In the meanwhile, I picked up a Kodak Instamatic camera and started to save my newspaper delivery route money to buy my first camera. It took me a while and cost $150. The camera was a Minolta SRT-202 with a 50 mm 1.8 lens. I hung around the camera store so much that when I was 16, they finally gave me a job.
Another tangent to my story is that to buy the film, I started taking pictures for money. I had my first assignment the weekend after I purchased my camera - photographing a grand opening of a municipal building. With that money, I bought a darkroom set up - an enlarger and the whole thing. After my dad saw that I was taking photography seriously, he and I built a darkroom, and I used that space until they sold their house in the early 2000s.
For me making photographs and making money are intertwined.
E.M.: Why did you become a photographer?
R.K.: It was the only thing I wanted to do - career-wise. I was fortunate along the way to have people who mentored me. I also had excellent teachers who gave me confidence. One professor at RIT told me, as I was leaving the photography program, \"to stay out of the studio and focus on the people that's what you do.\" His words ring true for me even now. My grandmother told me that my taking pictures of people made so much sense to her because, as a child, I would ask people I met - strangers- who they were and what they did. Which is pretty much my life's work to this day.
E.M.: Was there another career path before photography?
R.K.: Nope - I am not even sure what else I could do.
E.M.: What is the difference between a fine art photographer and a photographer?
R.K.: Until recently, I hadn't thought much about it. Although I had many good teachers, photographer mentors, and friends who are artists, I see photography as a lifelong learning opportunity.
From my perspective, the term fine art photographer, although used by some in the past, today has a whole new meaning. From what I can see, \"Fine Art Photographer\" is more of a brand description.
It seems like another way to divide artists rather than include them. I was recently introduced to a group of academics- people who primarily teach photography - as a commercial photographer - which I am sure was not meant as a put-down, however for the duration of the event, without knowing anything about me the participants characterized me as something other than an artist. As though teaching - often for meager wages - was somehow a justification for their work as \"Fine Art Photographers.\"
With age comes experience. And I am solidly in my fifties now; I see the world as I do some things for money, and I do some things for pleasure. As a photographer, I sometimes teach, I sometimes make pictures for clients, and I sometimes make pictures to satisfy something inside of me.
In 2019 \"Fine Art Photography\" is a business; it is commercial - the same way that music, filmmaking, theater, writing is all commercial. You create for money. \"Fine Artists\" today need marketing plans: sales tax numbers, accountants, and lawyers.
Rather than be divisive, I would rather be inclusive and be a \"photographer.\" Duane Michals told me once that you have to have money to make personal photographs. Whether you are a janitor or a photographer, do that work well so that you have the resources to create the pictures you \"have to make.\"
Before the interweb, photographers had few options to show personal work. Books, magazines, newspapers, exhibitions and the walls of your studio and these were often expensive to do. With only so many pages and walls available - in marketing terms, space was scarce! Now with the internet and digital products as well as communities of like-minded artists, the opportunity to show your work and get recognized is limitless. Photographers, I thought of as \"Fine Artists\" Ansel Adams, Edward Weston, Garry Winogrand, Irving Penn - photographers I would see in museums, for instance. Many of them had worked commercially. They showed their personal projects in these limited spaces. But there was only room for a few photographers.
I think that magazines and books are the media that showcases photography the best. My favorite photographers were in books — Duane Michals, Robert Frank, Arnold Newman, and they were all commercial photographers.
I am a photographer; I solve visual problems for publishers, organizations, and advertising agencies. Sometimes I take photographs for me. Sometimes those are published or exhibited, and occasionally someone likes it enough to hang it on their wall.
The \"world\" of collecting photography is young and small. But art photography is in a period of adolescent puberty, and we will see how these teenage years progress. Can \"Fine Art Photographers\" sustain the number of photographers who want to play in that sandbox?
E.M.: Do you foresee any industry trends for future photographers?
R.K.: Photography, to me, is elastic. I also see photography beyond a service. Over the past 20 years, photography has become so ubiquitous that literally, everyone is doing it. We communicate through photography in a way that George Eastman could never have imagined. But that is not your question — Let's divide photography into segments.
[I define photography as short moving images (multi-frame) as well as still (single frame) images as photography. Longer form moving images are motion pictures, and that is a related but different form.] I think photography and photographers capture important moments in history and family events. Family portraits/weddings will survive to some degree as long as the middle class is able to afford these services otherwise “uncle bob” will be there with his smartphone camera. Journalism and reportage needs to survive for the republic to survive but a new viable business model is necessary to keep news/documentary photography as a vibrant profession. (a topic in and of itself.)
Commercial photography for advertising and marketing - I see this as diminishing into a new job description into a “content creator” who does motion pictures and photographs, their skill set will be very different from today's photographer. We are already starting to see this trend in e-commerce photography studios.
A.I. - Artificial Intelligence - technology will take over much of the technical and craft part of motion pictures and photography. Which leaves us with personal expression or in terms of use \"Fine Art Photography.\"
I think this sector may survive as an art form and communication tool because we as photographers have something to say, and with automation, we will have more time to say it.
Whether it is sustainable as a career, I think, has more to do with the overall economy and how we as a society deal with the “Future of Work.” I believe in the next five years; our society will see such an incredible dynamic change in how we work and how we play. Photographers will be there to document this change and, more important, to us, express how we feel and think about this transformational change. The early 21st century is photography from surveillance to communication, commerce, and art.
It is the golden age of photography.
E.M.: What advice would you give to someone wanting to be a photographer with a focus on art?
R.K.: Do it because you have to - because it is your calling to serve.
Say what needs to be said.
No apologies.
No shortcuts.
Speak your truth from the gut.
Speak less from your mind.
If you have to explain what you are doing in an artist statement longer than two short paragraphs, start over.
And finally, create for yourself.
E.M.: What advice would you give to a younger you?
R.K.: The two best pieces of advice I ever received was to marry well and do what you love, and you will never work a day in your life. I married my best friend. She has a great career that provides our family with a stable lifestyle, including company-based health insurance.
Pittsburgh is not a growing commercial photography market - nothing like a New York or Los Angeles market. However, Pittsburgh is a much better city to have a family and live an artist's life than some other cities. I moved back to Western Pennsylvania after living and working in South Florida and New York City, I traveled the globe and have produced projects throughout the United States. I was able to return to Pittsburgh in the mid-'90s with an appreciation for what Pittsburgh was and what Pittsburgh could be. I knew I would have some influence on that. The region has matured wonderfully, but we have a long way to go. There is a lot of talk about \"Eds and Meds\" and let's not underplay the tech and robotics startups, but the real change was because of art, artists, and creative thinking. I was here and a part of that, and looking back, I realize there was never a guarantee it would play out this way. Having said that, Pittsburgh is not a market to sell art in. And there are significant gaps between the \"haves and the have not's.\" We have work to do as a region. I want to be a part of that transition too.
While living In Pittsburgh, I have created several opportunities for myself. I worked as the Director of Photography at WQED multimedia, creating a state of the industry photography department and internship program. I designed and taught several courses at Pittsburgh Filmmakers, including a business course for visual artists. And although teaching was not something I imagined doing, I do love it. After the Pittsburgh Filmmaker's academic programs ended, I created the Richard Kelly Experience workshops, and I see these continuing for a long time. The interaction between enthusiasts and artists exploring the world around us is exciting to witness.
To summarize, yes, I think you can create a career out of photography; it will be creatively satisfying and, at times, \"bang your head against the wall\" frustrating. Each artist in practice creates the world they want to live and work in, and that is just what we do.
Save money to create time to work on personal projects.
“It’s” not about you.
Your commercial work will have no value beyond its original intention.
Be authentic always.
Several years later, after taking his photography course, I found out he was an accomplished film photographer including being the Director of Photography for WQED documenting Mr. Rogers. I never really read his bio, until after this interview, and am very impressed though more impressed with who he is as an artist and teacher.
Richard Kelly, Photographer, Filmmaker & Educator
Whether it is photographs for magazines or motion picture projects for the web or social media, Richard Kelly shapes the stories around us with the art of photography.
For the last 30 years, Richard has added the color to our favorite stories, the personality to advertisements and the polish to professional portraits.
Richard is a prolific artist, a leader in the photography community and a respected educator and speaker.
Richard was the President of the American Society of Media Photographers (ASMP)-(2009-2011) and received the United Nations International Photographic Council Leadership Award in 2011 for his advocacy related to photography and copyright. He was the Director of Photography for WQED and Pittsburgh Magazine (2003-2007). Richard is currently the President of Indigo Factory, Inc.
In 2009 he received the Pennsylvania Council on the Arts Fellowship for his Artists and Scientists project which has been published and exhibited in numerous venues. His photographs are in private and public collections including the Carnegie Museum of Art, the Gallery for the Foundation for Autoimmunity Institute at West Penn Hospital, Tri-State Capital Bank, the Allegheny County Family Courts, the Senator John Heinz History Center and the Photography Museum of Lishui, China.
Lastly, I would also like to share, while taking the class with Richard Kelly, we had model at class, I knew my shutter speed was off, I was upset with the results and was going to toss the negatives. Richard Kelly (forever the optimist) thought the results were cool, he said I could maybe flip the negatives and create a mirror image or do something with them. I was very inspired on his take of my mistake. After about a years' worth of work (enlarging the negative size on to new negatives, contact printing in cyanotype and then finishing in blue/ silver silk-screening incorporating my drawings), and learning from other great mentors, I finished:
![](\"https://1.bp.blogspot.com/-Qw9cQBev4Yo/Xwzo9xKQjmI/AAAAAAAABts/urVSsqg_EZM5FtLzBPQQ0Yz6K6R5FKfFQCLcBGAsYHQ/s1600/image1.JPG\")
Explorementation
It is easy to see the forest through the trees especially when no one told you it was impossible. No one told a raindrop it could be a lake, no one told me I could be whatever I wanted to be when I grew up. I was shown how everything is possible through hard work. Each drop of sweat is like a silver raindrop. Exploration and Implementation has created me, like rain. It takes ten thousand raindrops to make one river, one waterfall, one lake. I find myself watching reflections of the tree lines on the shores of lakes. It takes ten thousand raindrops to make one flower, one tree, one person.
There is no such thing as a gift without a problem, the problems created in my art, created gifts. It is a rarity when I can trace the path when it comes to the influences of work, I know how this work came to be, thank you Mr. Richard Kelly for this interview and for all the mentorship.
![](\"https://1.bp.blogspot.com/-UvrCJKgPbDE/XwzpJTFn4II/AAAAAAAABtw/iEapDsBRPDMS-JuxUxWVTDa3xnzkoBZWQCLcBGAsYHQ/s1600/image3.JPG\")
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The day of or the night before if it an early call time, we will send a text message to subject, talent or crew members:
We are confirming our Photography Session for today.
As part of our COVID 19 Protocols, please reply to answer these questions.
1. Do you have a cough or difficulty breathing?
2. Are you unusually tired or fatigued?
3. Do you have a fever?
4 Do you live with or recently have spent time with someone who is not feeling well?
5. Have you been with anyone who may have the Coronavirus or Seasonal Influenza?
6. Have you traveled outside of Pennsylvania to a high-risk state within the past 14 days? (https://www.health.pa.gov/topics/disease/coronavirus/Pages/Travelers.aspx)
If you answer yes to any of these questions, please reply YES so that we may reschedule your session for today.
Otherwise, reply NO, and we will see you at our scheduled time.
Thank you
Richard Kelly Photography
Indigo Factory, Inc.
412-370-0582
If they reply Yes, They get this text:
Thank you for your reply; we hope you feel better soon. We encourage you to reach out to your primary care physician as quickly as possible.
Please contact my office to reschedule your photography session. richard@richardkelly.com
Sincerely
Richard Kelly Photography
Indigo Factory, Inc.
412-370-0582
We hope that they reply. No, then this message is sent:
We look forward to seeing you for our scheduled photography session.
We ask that you be mindful of those you interact with today and respect others by:
* Wearing a face mask.
* Practice social distancing - 6 feet is a comfortable distance.
* Wash your hands while humming a good tune for 20 to 30 seconds.
* Follow any local public health or safety instructions.
I will wear a mask during our photography session. I have created protocols and procedures to work efficiently and safely. If you have any questions or concerns during our photo session, please let me know.
I will have hand sanitizer and cleaning wipes on set and additional procedure face masks if you need one.
We look forward to a creative and safe photography experience.\"
Richard Kelly Photography
Indigo Factory, Inc.
412-370-0582
In the Fall of 2018, the Pittsburgh Photography community learned that the classes scheduled for the Fall semester at Pittsburgh Filmmakers were going to be canceled. I was just as surprised as anyone but I quickly decided to keep going as I had planned and teach my 14 week Portrait Class. This is one of my favorite classes I have been teaching it for several years. This also seemed like a good time to try something different.
I previously hesitated to create any competing workshops with the PF/PCA community but times were changing and opportunities were upon us.
I launched the Richard Kelly Experience. The name comes from a friend, former assistant Kristi Jan Hoover who described to me the Richard Kelly Experience.
\"It's a bit magical, a little mysterious but we always learn a lot while practicing the craft and art of photography.\"
The first workshop was taught the the Gallery One space in Bloomfield - 14 weeks same as it ever was. We didn't have an equipment office or access to a studio in the off hours, but this course was never about that anyway. This workshop was about practicing the art of portraiture.
Over a 9 month period we offered several other workshops about lighting, post production and camera scans I also offered a new 14 week portrait studio lighting class in the winter semester. I also weaved in some critiques hosted by Pittsburgh Artists and other conversations about photography to keep the community alive.
In the Summer of 2019 I co-lead an arts residency in the South of France called Arts in France a collaboration with St Francis University. The other co-lead was my good friend and collaborator Rick Landesberg.
In the Fall of 2019 I started teaching as an adjunct Instructor at Point Park University for a couple of classes each semester. I taught two workshops at the Pittsburgh Center for the Arts and Media - a Medium Format Film Portrait Class in the Fall 2019 and a Portrait to Digital Print Workshop in the Winter 2020. However, with the onset of the COVID 19 we put are in person workshops on hold. Once again recognizing an opportunity during an otherwise unfortunate situation, I started a new virtual online photographers meet-up called Talking Photography n'at.
I have always been a collector of people.
Through photography, I’ve made remarkable connections and built relationships with people I might otherwise never have known. I’ve learned that relationships are often why people choose to work with me—and why they come back. It is the chemistry of those connections that builds trust.
Over time, I realized that I enjoy connecting people as much as collecting them. Introducing someone I know to someone they should know. Turning names in a Rolodex into new conversations, collaborations and relationships.
I tell my students that the person who may someday help them most in their career might be someone they hardly know today. I know this because it has happened to me again and again.
Apparently, none of this is new.
My grandmother told me that, even as a child, I was always asking people what they did and why they did it.
Who are you?
What do you do?
Why?
I’m still asking.
A few months back, a new friend introduced me as “just a professional photographer.” I cringed a bit. I love being a photographer. It’s the word professional that sounded funny – maybe it’s the overuse of the word in the online photography community. The term “professional” used to mean something positive to me. Now it sounds cheap.
In my photography business class, we discuss being a professional who creates photographs for commerce on-demand or carries themselves following established business practices. I often compare our work as photographers to bakers and lawn care professionals. Two professions also have an “amateur” side. I can bake bread at home for enjoyment, unlike the baker with a pastry shop who bakes every day.
To quote Confucius, “Choose a job you love, and you will never have to work a day in your life.” they could have added,” People will hold your passion over your head as a reason you should work for less money. “
There is a high rate of failure in “hobby-related businesses” like photography. Many people see what we do and think that if they can make a “professional-quality” photograph or own and operate a “professional-looking” camera, they can work professionally as a photographer. Or even – “Semi-Pro.” How hard can it be to push a button and let the camera do the rest?
Professional quality photographs or cameras designed for professional work are descriptions for very different things. Professional Photographers are creating pictures on demand dedicating their career to finding clients. Building business systems, developing policies and protocols that govern that business, and then repeat every day.
The internet photography community is enjoying a revolution of sorts; with the ability to connect with other image-makers, we can learn new techniques, see inspiring images, and create connections to people like us all over the world.
But two things still annoy me. Equipment obsession is the first, and the other is the “instant expert.” There are some awesome internet-based instruction videos. But many equipment reviewers and their focus with lens bokeh and counting pixels are really quite humorous to those of us practicing photography for more than a few years. These “influencers” develop a following while thanking their sponsors for their support; just click on the link below in the comments. This gear obsession leads to a lot of anxiety for emerging photographers and creates a false need to buy new gear to make better pictures.
From my perspective, the instant expert seems to have emerged on the scene out of nowhere; they usually have overcome a great struggle in their quest to live Confucius’s promise, and they now want to share what they learned with everyone enthusiastically. I have watched many of these videos, curious to see the common themes they have. Their language seems to follow a similar script. There is often reliable information in these sessions, essential business practices. But there is something about the tone. Anyone can do this just by following their method, and don’t forget to click the link in the bio.
I am also surprised at the number of photographer websites offering education options to other photographers or downloading links to their favorite Lightroom presets. There is no easy button” to a successful professional photography business, only hard work and more hard work.
It is also okay to practice photography at a “professional” level and not do it for money but for the enjoyment of making pictures. Some of my favorite photographers are creating work as enthusiasts. They love making good photographs, the same as I appreciate my high-quality grass cutting.
NOTE: If you want reliable and trustworthy photography business information, check out the ASMP.org. I have been a member since the early 90’s and they create the industry standards. They have new content weekly. https://www.asmp.org/join/
Plotting my career in the early ’80s, I never imagined my photography career today. Photography industry insider Stephen Mayes describes my current lifestyle as having a “portfolio career,” one that includes multiple income streams from various services over a range of industry sectors. What my mother calls having “a lot of irons in different fires.” Although not what I envisioned, my portfolio career is right for me.
My single most valuable character trait is my curiosity; it has fueled all aspects of my creative life and continues to lead me to new opportunities for creative expression and commercial exploitation.
Just the other day, a longtime client and friend from my New York City days introduced me as one of the most interesting people she knows. She mentioned that I was someone who is always reinventing his work and life.
I learned in that conversation that all my work has a common core, which is storytelling. In essence, I like to learn, I want to experience things, and then I share my enthusiasm. My activities vary from day to day. I read, I write; I make pictures, I do interviews, I capture video, I splice images together, I teach a class, I consult with a client, maybe moderate a panel discussion, watch a classic film with my teenage daughter, I push a few buttons, just another day in my life.
A few years ago, I learned I needed to rethink my business. This process included a fair amount of self-evaluation. Reworking my brand – the promise to my clients. To some degree, I need to rephrase how I described myself to others—ultimately changing the perception of what I am selling. A colleague last evening over dinner said you are no longer a “photographer,” sure you take photographs. Still, you bring more to the marketing and board room – you build a vision and a strategy a visual experience for organizations.
I continue to fuel my insatiable curiosity. I learn something new every day. I have tons of new experiences and stories to share. Best of all I get to illustrate them all with pictures – some moving and some still. I live in a state of ‘always be reinventing.’
Updated and adapted from The ASMP Strictly Business Blog , June 25, 2015
One of the great things about conversations with new friends is answering questions that allow you to see yourself through a new set of eyes. I recently learned that the \"real fruits of my labor\" as a photographer were the conversations and life experiences with the subjects I coveted. The picture was an artifact that helped me to remember that interaction. The photographs were an artifact of the experience.
A variation of this concept is that my wife refers to me as a people collector. I sometimes use the hashtag (#Peoplecollector) for the portraits I capture of people I encounter.
\"My product\" is the moment, the interaction, the conversation, the experience.
One of my former interns keeps a running journal of people she meets through our interactions, during a walk down the street, waiting for the elevator, or on a photography assignment. Until she started keeping score, I never saw these interactions as my thing. She calls them \"Richard Kelly Experiences,\" I realize they are my fuel, my creative accelerant that keeps me on a quest to continue adding to my people collection.
No matter when you first pick up a camera, the instinct is there. I introduced my daughter to photography before she even met her parents. Within a few hundred microseconds, I had made photographs as my daughter flew through the air from the doctor's hands to my wife's embrace, ready to receive her.
I had decided to make Grace's first pictures using black and white film. I liked the idea of having a physical artifact of that moment. The film receives light particles that reflect from the subject energize the silver creating the latent image on the emulsion, a physical and chemical reaction.
With a digital camera the sensor capture light and record a binary representation of that particle—just a string of one's and zeroes.
It is nostalgic to consider that film in my archive; each frame was there present for when I made the picture. For a brief fraction of time, the shutter opened, and light from that place entered the lens and touched it. Not only was I was present at that exact moment, but the film was there too.
I can't say for sure why I have more emotional connections to my film photographs, more so than my hundreds of thousands of digital images. It is not because the film images are of a higher quality or render the subject better than digital capture because I can say with certainty that they are not better, but they are only different.
Interestingly, when photography enthusiasts, whose gateway to photography was the digital camera, discover film photography, they see every frame as beautiful. A magical quality draws them into the look of film. They often confuse that magical feeling with quality.
I remember during a conversation with a professional wedding photographer who had recently discovered medium format film photography and was thrilled at how beautiful every frame was – they weren't. Because they were using film, they were all the better in their eyes – they weren't. Photographs captured on film are in and of themselves not always great. I can testify to the binders of poorly executed photos I made with film.
Film photographers experience two genuinely magical moments. These universal reasons many of us fell in love with photography; the first is observing a black and white latent image develop into a positive image in a tray of Dektol under the glow of an amber safelight. Another is the full-on sensory experience of opening a freshly packed box of 35mm slides and holding them up at a time to a light to see what you captured; these are both like opening a gift on your birthday. Another eye-opening moment of the film's beauty is loading chromes into carousel trays and turning on the projector with the whirring fan projecting the film color dyes in emulsion emitting from the screen.
The mystery of film will remain so.
\"For some reason, I find self-imposed limitations help. This is mostly true when I am scratching what could be an idea or working my way through a project.\" Richard Kelly
I’m a photographer. I “frame” my world. But sometimes I can’t see anything. Sometimes it is something outside my world that blocks my view; most often, it is inside my head. Whatever the cause, the prescription is the same; I have to shoot my way through it.
I credit Chicago photographer Jim Krantz for the phrase - \"Shoot Your Way Through It.\" that is now my go-to solution. It describes the action I have taken for most of my life when self-doubt, insecurity, low self-confidence, fear, or plain-old “I just don’t know what to do” blues hit me. Whatever the reason – whatever the why – the only way out is to pick up a camera and frame my world.
For some reason, I find self-imposed limitations help. This is mostly true when I am scratching what could be an idea or working my way through a project. I select one lens, one camera – I limit myself to a few choices. By boxing myself in, I give myself boundaries that allow me to feel safe to explore.
Sometimes, I walk with a camera, not always to create a new project but to allow myself the space to think more clearly. The walking and looking, especially in a place I haven’t walked in before, will enable me to see what will connect the dots.
Driving can also help me break through a block. I find that it is best to drive without purpose. Bicycling is good, too. I especially like to bicycle in places where I don’t typically walk or drive my car. I remember one bike ride in the Outer Banks one, particularly bountiful summer. The light was perfect. I was using all of my senses for ideation. I didn't even bring my camera.
Another time I was walking in Philadelphia a few years ago, exploring the city with my camera, “following the light” with no particular subject in mind. I took some beautiful pictures. I remember having my Nikon F2A with a 58mm lens; that detail’s not essential, although I do remember it. Oh man how I would love to show you the photographs – they were spectacular – However, I can’t. It seems that I somehow forgot to load film that day. A rare occurrence for sure, but the last two decades I am so used to shooting with my digital camera that I simply forgot to check the film. It didn’t matter, though. the walk and the act of bringing the camera to my eye as I framed bits of Phildelphia that \"shooting action\" is what helped me workthrough the project on my mind.
Written initially (although I tweaked it a bit) for the ASMP Strictly Business Blog in December 2015, as I work my way through the global pandemic, I find that this blog post captures some of what I am doing right now, today to work through the stress and turbulence of 2020.
Talking Photography Contributors
Virginia Farnsworth www.virginiafarnsworth.com
Barry Schwartz https://barryschwartzphoto.com/
Richard Kelly Photography
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1.6 \"User\" means any employee or subcontractor of the Licensee who manipulates, edits, or modifies the original digital file containing the Licensed Material or incorporates the Licensed Material within any derivative work.
2. Grant of Rights. Subject to the terms of this Agreement:
2.1 Licensee has the non-exclusive, non-transferable, non-sublicensable right to Reproduce the Licensed Material identified in the Invoice an unlimited number of times in any and all media for the following purposes (together the \"Permitted Uses\"):
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A Richard Kelly Experience
Hosted by Richard Kelly
Photographers Talking Photography N'at
(\"N'at\" is a regional Western Pennsylvania expression mashing up the words \"and\" & \"that\" with the meaning \"et cetera\")
The Talking Photography N'at concept is simple: we discuss photography and look at photography from works in progress to finished projects. Collectively we want to learn about your intention, motivation, and process for making pictures.
and a Facebook Group RICHARD KELLY EXPERIENCE GROUP
We have a Print Exchange-
\"Print exchange = you send a print I send a print. I find visual artists enjoy printed work of others on the wall or in their collection - as opposed to seeing it on IG once and then never again. I love collecting gallery show cards. \" Jeff Williams
I have a list of addresses - if you want to receive a card, send me your address, and I will keep that list private but available to those who wish to participate. You are under no obligation to do so, but it is fun. Send me an email at rk@richardkelly.com with Print Exchange ADDRESS in the subject line if you wish to the addresses.
We invite photographers to show about 20 photographs in a slideshow format.
If you would like to make a presentation, send me an email rk@richardkelly.com
To prepare your photographs for presentation, send me your image files as jpegs, export them, or resize them to be 1024 pixels on the long side at 72 PPI save at high quality around 10. Larger files do not render the quality better, but they do slow down the process.
Rename your images with your last name and the order number for the show. (KELLY_01.jpg).
Would you mind placing them in a compressed zip folder and sending me the link to rk@richardkelly.com?
June 15 2022 7 PM EDT
Open Mic with some special guests.
May 15 2022 Point Park Photography Edition
Ian Nath, Natalie Lacek and Hannah Kaupinis share their thesis projects.
Wednesday, May 15th at 7:00 PM EDT
APRIL 20 2022 Special Edition
Michelle Dunn Marsh's talk at SIx Feet Weekly Photo Forum
Wednesday, April 20 at 7:00 PM EDT
I have been a fan of Michelle's work first at Aperture, then at PCNW, and now with her photo book publishing imprint Minor Matter Books. Earlier this year she published her personal history with photography and I think you will all agree it will be a wonderful discussion. I had been considering inviting Michelle to TP N'at and this is the next best thing.
Please sign up and then send me an email rk@richardkelly.com so I know who joined in on this unique conversation.
Read more about Minor Matters Books here https://minormattersbooks.com/
Episode 29 2022/03/16
Talking Photography N'at a virtual meet up Wednesday, March 16, 2022, 7:00 to 8:30 PM Eastern Daylight Time
Episode 28 2022/02/09
Talking Photography N'at a virtual meet up Wednesday, February 9, 2022, 7:00 to 8:30 PM Eastern Standard Time
Episode 27 2022/01/12
Talking Photography N'at a virtual meet up Wednesday, January 12, 2022, 7:00 to 8:30 PM Eastern Standard Time
Featuring the work of Pittsburgh Street Photographers Don Henderson (https://www.instagram.com/yankeedog57/) and Jaime Bird (https://www.instagram.com/jaime.bird/ ) Fresh off their recent exhibit PGH off the Wall at Ketchup City Creative.
Episode 26 2021/12/15
Talking Photography N'at a virtual meet up Wednesday, December 15, 2021, 7:00 to 8:30 PM Eastern Standard Time
Al Phillips shares his approach to making Greeting Cards.
Episode 25 2021/11/17
Talking Photography N'at a virtual meet up Wednesday, November 17, 2021, 7:00 to 8:30 PM Eastern Standard Time
Episode 24 2021/10/13
Talking Photography N'at a virtual meet up Wednesday, October 13, 2021, 7:00 to 8:30 PM EDT
Featuring the Work of Travis Mitzel. A Pittsburgh-based artist focused on confronting climate catastrophe, dealing with eco-anxiety, and practicing new eco-mythology. If you want to see and hear what all of that means to your eco-life, join us as we are Talking Photography N'at
See more of Travis's Work at https://travismitzel.com/
Visit the company website https://anti-extinction.com/
on IG at https://www.instagram.com/antiextinctioncompany/
Episode 23 2021/9/8
Talking Photography N'at a virtual meet up Wednesday, September 8, 2021, 7:00 to 8:30 PM EDT
Follow up with Kristi Jan Hoover and her Work on display at the Pittsburgh Children's Museum.
Episode 22 2021/8/10
Talking Photography N'at a virtual meet up Tuesday, August 10, 2021,
7:00 to 8:30 PM EDT
Follow up with Polly Whitehorn and her exhibit in July in Stone Harbor, New Jersey, and an in-depth look at David Robert Farmerie - Artist in Residence in Wilson, North Carolina.
Gone Fishing July 2021
Episode 21 2021/6/8
Talking Photography N'at a virtual meet up Tuesday, June 8, 2021,
7:00 to 8:30 PM EDT
I don't have a formal plan for our meetup - we will discuss these themes-
Personal Projects - > \"Stuff I Like.\"
Printing our Work - > Hey, David Farmerie has a new printer!
Showing our Photographs > How is Polly's show coming along and Hey, wait, Kristi Jan hoover has an update on her Pittsburgh Children's Museum project.
Photo Books and Zines - > What are you reading?
Episode 20 2021/5/11
Episode 19 2021/4/13
Episode 18 2021/3/10 - We looked at Barry Schwartz's A Victorian Rolls Through San Francisco https://barryschwartzphoto.com/PROJECTS/A-Victorian-Rolls-Through-San-Francicso/1
Eugene Wilson's Southside and Kristi Jan Hoover's Dancer and Defaced Portrait. We also dipped into Polly's challenges with Printing.
Episode 17 2021/2/10
Personal Projects - A continuing conversation about working on Personal Projects • looking at the works in progress of Marc Soracco, Gene Wilson, Jeff Williams, Christianna Kreiss, and Richard Kelly.
Episode 16 2021/1/13
Personal Projects - It's a new year - what are you working on, and what do you want to produce in 2021?
Episode 15 2020/12/09
There is an open discussion about photography, what you are working on, and what's next for your projects.
Episode 14 2020/11/11
Virginia Farnsworth, Pittsburgh based photographer & Book Artist
https://www.virginiafarnsworth.com/artists-statement
John Altdorfer, Pittsburgh based photographer
https://jaltdorferphotography.com/
https://www.instagram.com/j_altdorfer/
Episode 13 2020/10/14
Steven Benson https://www.stevenbensonphotographer.com/
https://www.instagram.com/stevenbensonphotographer/
&
Teake Zuidema https://www.teakezuidema.com/225459330/huaorani-ecuador
Episode 12 2020/09/09
Art Becker - Finding Art - https://www.artbeckerphoto.com/
https://www.instagram.com/artbecker/
Episode 11 2020/08/18
Njaimeh Njie, Multimedia Produce http://www.njaimehnjie.com/
Hill Homecoming Project https://www.hillhomecoming.com/
Nairobi Jones, Photographer https://www.instagram.com/iamseton/
Episode 10 2020/08/4
Kevin Cooke - Graule Studio a look back at the images of one of the oldest continuously operated photographic studios in the United States founded in 1892 in Rochester Pennsylvania http://www.graule.com/historyFrame.html
Timothy Burak - Images of Warhol - I unique project by artist Timothy Burak on the Images of Warhol
Episode 9 2020/07/21
Andrew Southam: Healthcare professionals: Portraits & Conversations.
There's so much information and misinformation, science, and terror out there now about the still-to-be-contained Coronavirus; I wanted to speak to someone on the front lines of exposure to Covid 19 every day.
\"This begins a series of portraits and conversations with front-line health care professionals; doctors, nurses, therapists, and people in supporting roles. These people have become central to this moment in ways none of them had foreseen. None of them describe themselves as a hero. But given the hours they're working now and the personal risk to themselves and their families they undertake to care for the public each day, I don't think it would be an exaggeration. At first, I had concerns about asking for time with people doing life and death work right now. But what I've discovered is that this is a story that health care people want to be told but are far too busy to tell. I'll be posting their portraits and a short excerpt from my conversations with them here. And my entire interviews with them on my website. Stay safe.\" Andrew Southam
https://www.instagram.com/andrewsoutham/
Justin Visnesky - Fourth of July Balloons and other photographs
http://www.justinvisnesky.com/
https://www.instagram.com/justin.visnesky/
Episode 8 2020/07/7 Open Mic
A discussion about Photography and Conflict at the Carnegie Museum of Art featuring An-My Lê: On Contested Terrain.
New work by Polly Whitehorn \"Safe in my Studio\" https://pollywhitehorn.com/safe-in-my-studio/
Episode 7 2020/06/23
Marc Soracco - a Pittsburgh based photographer and FAA licensed Drone pilot https://www.soraccophoto.com/aerial-gallery.html
# today's morning Rhonda https://www.instagram.com/marc_soracco_photography_inc/
Sam Kittner - a Washington D.C based photographer https://www.kittner.com/index
Faceless Faces in Public Places • A series of photographs in public spaces during the Coronavirus Crisis-Picture 81
(Photographs made while maintaining social distance and wearing my mask) https://www.instagram.com/samkittner/
Stephanie Strasburg - a photojournalist with the Pittsburgh Post Gazette http://www.stephaniestrasburgphoto.com/
Interactive - Coverings Mennonite Amish Sexual Abuse Forgiveness in their communities.
Episode 6 2020/06/02
Christianna Kreiss - Modern Vortographs https://www.ckreissphotography.com/
Robert Olson - Moon Baby - a video and Book
Richard Kelly - Transcending Difference - Looking at Aliquippa circa,1994
Episode 5 2020/05/19
Lisa Cirincione - Buildings https://www.instagram.com/lisac.photography
Paul Lyons - RNC Cleveland 2016
Elan Mizrahi - Isolated Radiance
https://www.elanmizrahi.com/isolatedradiance
Episode Open Mic 2020/05/26
Episode 4 2020/05/5
Susan Abramson - a work in Progress Cicada https://www.sueabramson.com/
https://www.instagram.com/susan.abramson
Don Henderson - a work in Progress New Kensington
https://www.flickr.com/photos/yankeedog57/
https://www.instagram.com/yankeedog57/
Madeleine Hordinkski - Living with her family in Quarantine https://www.bbc.com/news/av/world-us-canada-52391244/coronavirus-lockdown-living-with-my-parents-under-new-house-rules
https://www.instagram.com/madeleinehordinski
https://www.madeleine-hordinski.com/
Episode 3 2020/04/21
Jake Renhart - Work in Zeitgeist https://www.jakereinhart.com/zeitgeist#1
https://www.instagram.com/jakereinhart412
Becky Seiner - Quarantine at Siesta Key - http://www.rebeccaseiner.com/
https://www.instagram.com/beckyseiner/
Andy Coleman BW large format
https://www.instagram.com/andrew.j.coleman/
Kristi Jan Hoover- End Times a work in progress
http://www.kristijanhoover.com/portraiture
https://www.instagram.com/kristijanhoover/
Episode 2 2020/04/07
Betina Jones - https://thingsalligatorswouldeat.com/2020/03/31/rk-exp/
Polly Whitehorn - Empty Streets https://pollywhitehorn.com/my-empty-streets-3/
https://www.instagram.com/pollywhitehornphotography
Eugene Wilson, Lake County California
https://spark.adobe.com/page/JMrZUyXs1p0wh/
https://www.instagram.com/8thorpe/
Episode 1 2020/03/24
Polly Whitehorn -
https://www.instagram.com/pollywhitehornphotography
Eugene Wilson,
https://www.instagram.com/8thorpe/
Richard Kelly on Photographer Duane Michals - Empty New York
http://www.dcmooregallery.com/exhibitions/duane-michals-empty-new-york
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Prints and Products
Digital Files Additional, each image is $25.00 (5 for $100)
Special Edition Fine Prints
4x6 - $5 / 5x7 - $8
Set of 10 $50.00 /$80.00
Lustre Photographic Prints
2x3 Wallet (8) \t$11.50
4x6 \t\t\t$3.50
5x7 \t\t\t$6.50
8x10/8x12. \t$15.50/$22.50
11x14/12x18 \t$31.50/$39.50
16x20/16x24 \t$79.50/$99.50
20x24/20x30 \t$108.50/$133.50
Custom Archival Fine Art Prints
8x10/8 x 12 \t$75.80/$78.80
11x14/12x18 \t$105.80/$143.80\t
16x20/16x24 \t$171.80/$202.80
20x24/20x30\t215.80/$286.80
36x24\t\t$396.80\t
30x40\t\t$455.80
Printing on Acrylic, Canvas, or Metal is also available.
Matting and Frame option upon request.
We can also do custom books in various sizes and materials.
The popular 10x10 lay flat book with linen (20 pages) hardcover starts at $510 with design.
A 7% Pennsylvania sales tax will be added to all orders.
Some products may have shipping and handling fees.
All Prices are Subject to Change.
© Indigo Factory, Inc.
d/b/a Richard Kelly Photography
Adding Fuel to Your Creative
", "featuredImage": "AccelerantCreative1.png", "size": { "content": { "width": 0, "height": 0 }, "thumb": { "width": 0, "height": 0 }, "featuredImage": { "width": 1024, "height": 1024 }, "bytes": 0, "pageImages": [ { "src": "AccelerantCreative1.png", "width": 1024, "height": 1024 } ] }, "filters": [], "dateAdded": "2024-05-26T19:43:18.000Z", "key": "10565", "linkTarget": "", "overrides": {} }, "10566": { "id": 10566, "label": "License Granted (updated 2024)", "caption": "", "type": "html", "content": "After our initial consultation and before your photo session, we will send an advance invoice with the retainer amount to secure your session. We will confirm with the agreed-upon time and photo location the day before the session.
I require a 50% non-refundable sitting fee retainer to reserve and secure your date and time on the studio calendar. If you should feel ill or unforeseen circumstances occur, please contact us as soon as possible to reschedule your photo session.
Richard Kelly Photography reserves the right to reschedule sessions due to unfavorable weather conditions, illness, or emergencies.
All session packages may be extended for $175 per hour. Additional digital files are available for any package at $40 per image.
Please get in touch with richard@richardkelly.com if you are less than satisfied with your photographs. Your one hundred percent satisfaction is my goal.
Reshoots are not available because of wardrobe or styling errors.
All Fees, products, and prices are subject to change.
All orders are considered final and are non-refundable.
Shipping and Handling are not included.
We will add a Pennsylvania sales tax of 7% to all orders delivered in Pennsylvania.
Indigo Factory, Inc. accepts payment Cash, Check, Visa, Mastercard, American Express, and Paypal.
We generate invoices using QuickBooks.
Photographic Prints
I offer a variety of photographic print products, and I can also guide you to the perfect display solution for your home or office decor. Some unique options exist beyond the framed print or a traditional photo album. Have you considered a metal or a canvas print?
Let us walk you through these options for prints, framing, and custom products and assemble precisely the experience you want for your images. If you have something unique in mind, I am always up for a photographic adventure, from T-shirts to books and other specialty items.
Color
I color-correct and optimize your photographs for printing and publication through our professional photography labs.
Retouching
I include light touch-ups in all of our senior portrait packages. You may request special retouching and crop for photographs. There is a $10 per image charge for additional touchups and up to $100 per hour for more extensive requests. Let me know your thoughts, and we can arrange the appropriate approach.
Locations
Permission or a location fee may be required if your location is private. Let me know if the location owner needs a certificate /proof of liability insurance or other requirements for photographing at their location.
Many sites are very popular if we work in a public space, and there may be a wait to use the space. With this in mind, select locations that work for you and your time frame.
In either case, my practice is to leave the location in better condition than when we arrived. Please respect the locations and remove whatever materials we bring in.
Copyright Permissions
All rights not explicitly granted in writing, including copyright, remain the exclusive property of Indigo Factory, Inc. d/b/a Richard Kelly Photography.
The final Invoice is payable upon receipt.
The Rights License is granted upon full payment of this Invoice. This Rights License may not be transferred to a third party without the written consent of the copyright holder. The license may be confirmed by contacting Richard Kelly at richard@richardkelly.com at 412-370-0582.
Rights License Granted; \"the Unlimited Personal Display and Promotion License for Prints and Social Media to the subject and family - No Third Party Transfer or Sale. All other Rights Reserved.\"
In addition, the High School or University Yearbook may use any of these photographs with this specific rights license,\" The unlimited rights to reproduce in the School Yearbook for 20xx and or any related public relations and school communications use.\"
CLIENT / PRINT RELEASE FORM
Regarding Images of ____________________________________________
To Whom It May Concern:
The bearer of this notice has purchased high-resolution digital files from their photography session with Richard Kelly Photography and hereby granted worldwide permission to reproduce the images and make an unlimited number ofprints for personal use only, through any printing service online or in person.
Print vendors may contact richard@richardkelly.com to confirm this license.
This release allows this photograph to be used on their choice's social media sites. Please tag
@richardkellyphoto, #richardkellyphotography
#richardkellyexperience, #richardkellyportraits
Richard Kelly Photography cannot guarantee the color or quality of any prints or print products not purchased through Richard Kelly Photography vendor/partner labs or service bureaus.
This agreement does not include any commercial or editorial use without written agreement from Richard Kelly Photography. Images are © Richard Kelly Photography - All Rights Reserved.
_____________________________________________________________
Richard Kelly
+1 412-370-0582 text/mobile
Copyright Notice
Copyright © 1979-2025 Richard Kelly Photography
All Rights Reserved.
All images and content on this website are Richard Kelly Photography's intellectual property and are protected under United States and international copyright laws.
You may not use, reproduce, distribute, modify, or publish any part of this website, including photos, text, or design, without written permission.
No Unauthorized Use
Unauthorized use of any content, especially images, is strictly prohibited. This includes copying, screenshotting, downloading, or reposting images on social media, blogs, or websites.
Licensing & Usage
If you're interested in licensing images or commissioning work, please reach out via the Contact page or email me directly at Richard at RichardKelly.com
Respect for Creators
Please respect the time, talent, and work that goes into creating original photography.