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The 2006 'Best Of' Series
For the second annual Best Of issue of the ASMP Bulletin, we selected twenty projects from a field of nearly sixty candidates. It was a tough decision and we thank all those who submitted their work. We hope you will enjoy reading about the projects featured in print and here on the ASMP Web site.
Children’s portraits for Flashes of Hope at Children’s Hospital of Philadelphia
For portrait photographer Karen Carey, participating in the national charity foundation shoot Flashes of Hope was an opportunity to create work that could make an impact on the world. She photographed more than 20 children who were undergoing various cancer treatments at the Children’s Hospital of Philadelphia.
Self-portrait of Karen Carey
All photos in this article © Karen Carey
ASMP: How long have you been in business?
KC: Seven years.
ASMP: How long have you been an ASMP member?
KC: Three years.
ASMP: What are your photographic specialties?
KC: (1) portraits, children, babies and lifestyles; (2) fashion.
ASMP: Please summarize the equipment used in this work.
KC: I photographed this project using a Nikon F100 35mm camera, Tri-X film (usually pushed a stop), and almost all natural light. The light was extremely challenging to work with in the confines of the hospital rooms and hallways, but I was lucky enough to manage, more often than not, to avoid using my flash. I choose to work with natural light and 35mm film almost exclusively for intimate portraits such as these. I like the unobtrusive size of the 35 mm camera, and the gritty characteristics of true black-and-white film. Flashes of Hope does requires digital files, so I have my negatives scanned.
ASMP: How did you take on this project? Had you previously worked with the Children’s Hospital of Philadelphia?
KC: I had not worked with Children’s Hospital before this project. I was contacted via my web site and my link on the ASMP web site by the chapter representative from the Flashes of Hope organization.
ASMP: Have you done other volunteer projects in the past?
KC: Last year, through my affiliation with ASMP, I had the opportunity to participate in a volunteer program called Heart Gallery, which worked in conjunction with the National Adoption Center to promote permanent adoptions for children currently in the foster care systems. The experience changed me profoundly, because I saw what power there was in my work. I began to realize for the first time that I could use my gifts and skills with my camera to make an impact on the world. I knew after that experience that I wanted to seek out and embrace other charitable opportunities, so when Flashes of Hope contacted me, I was thrilled with the prospect of working with them.
ASMP: Do you account for these projects in terms of time and financial planning?
KC: I believe that charity and volunteerism should be purely from the heart. I was willing to put in whatever time and expense was needed in order to complete the project. This project was not accounted for as a business expense, but rather my personal expense. I knew that shooting film would effect my pocketbook, but the cause seemed well worth the investment. I didn’t spend much time calculating the costs because I was thinking with my heart. To my surprise, Flashes of Hope compensated me for all of my expenses, including my parking fees at the hospital.
ASMP: Were there specific usage terms agreed upon for these images and, if so what are they?
KC: Usage was agreed upon prior to the shoot, dividing ownership and usage rights three ways between myself, Flashes of Hope and the families. I was responsible for choosing the images that would be presented. Flashes was granted usage of these for promotional materials, web site, etc., and each family received a CD of their own.
ASMP: What was the most challenging aspect of this work?
KC: When I took on the project, I was most apprehensive about the emotional nature of the situation. I was wary of how I would handle the sadness that I thought would inevitably overwhelm me during the shoot. To my surprise, that fear was completely lifted during the sessions, and all of the other technical and lighting challenges were lifted as well. I was at ease and engaged, and in a great spiritual zone throughout the entire process. It was truly a blessed experience. The only challenging part of the process for me came after I delivered the images to the Flashes of Hope chapter representative. I was not involved with the delivery of the images to the families and felt I missed out on the best part of our job — the pure high we get from seeing the emotional reaction from our clients. But, I worked through this feeling and realize now that none of this work was for me, or even from me, but rather through me. Purely a gift of God worked through me for these families. The high I get from knowing that is greater than any I could get elsewhere.
ASMP: Were there limits to the technical or creative aspects of your work because of the setting?
KC: Due to the poor lighting and limited space of a hospital setting, manipulating the natural light was challenging. Many of the children were too weak to walk or stand and confined to wheelchair or carried in their mothers’ arms. I did have a simple one light setup on a backdrop for these situations. Some of the children were recent recipients of bone marrow transplants leaving them very ill. They were unable to leave their isolation rooms, so at times I was entering a patient room masked, gowned and gloved. All of the children were very scared as they see anyone who approaches them as a potential “needle sticker.” Gaining their trust was a critical aspect needed in order to create the compelling images that resulted.
ASMP: Were you involved in obtaining model releases or interactions with parents of the subjects you photographed? If so, please describe the procedures and discussion involved.
KC: I was very involved with the parents and family members of the sick children, as we tried to incorporate them into the shoot as much as possible. However, all of my dealings were intimate and geared toward creating the photographs. All of the model releases and pertinent information was discussed with the parents via the chapter rep from Flashes of Hope.
ASMP: Do you feel that this project has made you a stronger or a better photographer?
KC: I feel like I was given the opportunity to walk with angels that day. I was greeted by 20-plus little angels and taught something new about myself through each connection. I am stronger, more confident, more enlightened and more faithful because of the experience. I am a better photographer, a better mother, a better woman and a better human being.
ASMP: Please describe how you market yourself and whether you have used this work in current marketing efforts?
KC: This project was very personal and I have chosen not to use it as a marketing effort for my business. I do not want to exploit it in any way, but rather use it to inspire others to volunteer with the Flashes of Hope organization. I hope that inclusion of this story in this Best of 2006 Issue will be a great catalyst of that effort.
ASMP: Has this work brought you other new projects or do you foresee this happening in the future?
KC: I have since shot a second session at Children’s hospital and have signed on to shoot with the Flashes of Hope organization every couple of months as part of their team. I am scheduled to return in October 2006 for a third session. I am also returning to the Heart Gallery project in Philadelphia this fall. I hope to have opportunities to contribute to the world through my gift of photography for as long as I can look through a lens.
