Luna Sweetheart: Miriam Woodburn
Photo By Laura Schaeffer
The portraiture of Miriam Woodburn captivates her audience with stark composition and melancholy hues, almost as if the images were taken from a past life. Allowing her models to be vulnerable and truly present when shooting, Woodburn captures the true essence of her surroundings. Harnessing the flow of photography and all it encompasses allows her to paint her vision effortlessly and exquisitely. Read more about her journey with graphic design, photography, and other mediums as well as her appreciation for film below!
Collaboration with Rhama
What value have you found in going to art school?
I study Graphic Design at Kingston School of Art, a course I chose because of it's reputation for fast paced work and harsh critiques. This has allowed me to develop skills in a lot of areas besides photography, all of which enhance each other. The daily grind of having to constantly produce work and meet deadlines has pushed my work in so many different ways. This has also left my personal photography work relatively free to grow naturally, without too much pressure and outside influence. I would consider my photography a good counter balance and release from the work that I do as part of my course. I have also learned the value of collaboration, and how to respond to briefs. Being surrounded by a community of likeminded creative people who think its cool to work hard has also been invaluable, and not something I'd have been able to find had I stayed in my home town.
I also spent a year abroad in Berlin last year, working in the art and culture industry doing a range of projects; from fabricating work for a fine artist to organising parties. That year made me realise the diverse range of jobs in the creative industry, and the importance of being able to adapt and apply your skills to any situation.We are in an age where most creative people don't just have one job, and creativity is a highly prized skill, so there's a lot of opportunities out there for those willing to be flexible and adapt.
What photo are you most proud of?
The next one!
Model: Nisa, Let it Go Management, Berlin
How do you get your models comfortable + down to get creative?
I think a lot of it comes down to the fact that I'm not particularly intimidating as a person. The most important thing is acting like you know what you're doing, and giving feedback and direction. I ask a lot of questions and try to get to know my subject as much as possible - and to be honest that's one of my favourite things about photography. I have met so many people I otherwise wouldn't have met and heard so many interesting stories.
Sometimes it is awkward, and thats fine, you just have to get over your fear of awkwardness - it's not going to kill you! Sometimes a shoot flows well, sometimes it doesn't, sometimes the light is amazing and sometimes it isn't, as long as you adapt and don't let it throw you, you'll be fine. Do your homework, know your equipment, know your own taste, and then let it go when you're on a shoot. Working with professional models can be a blessing and a curse, they know their angles and feel at ease in front of the camera, but it's a challenge to get something different from somebody who's been photographed so many times. I try to make my friends look like models and models look like snapshots of my friends. I like to think you can't tell the difference.
Collaboration with Paulius Daunys
Who are some of your visual inspirations?
Harley Weir, Johnny Dufort, Sean Baker, Luca Guadagnino, Egon Schiele, Sophie Mayanne, Caroline Polachek, Micaiah Carter, Kristina Podobed, Laura Allard-Fleichl, Steph Wilson, Lauren Woods, Kristin-Lee Moolman, Kanye West, Deo Suveera, Adam Jason Cohen, Dexter Lander, Jocelyn Lee
There's probably many more that I'm forgetting!
Anyone who has their own voice and isn't afraid to be weird!
Model: Alexander, Let it Go Management, Berlin
What motivated you to shoot film over digital?
I like not being able to see what you're shooting immediately, because you have to have faith in your own vision. Being able to immediately check what you've been shooting interrupts the flow and invites opinions from others which aren't necessarily helpful. I feel like the model not being able to see what they look like also helps them to relax and become less self conscious. The slower pace lends itself to working more purposefully, as every frame costs money. You can also sometimes try ideas that you otherwise wouldn't because you want to finish a roll of film. I do prefer the look of film, but if I could have the same workflow with digital, I would be open to it. I'm not opposed to digital at all, I think sometimes its the more appropriate choice, although for me nothing beats a portrait in natural light on film.
Model: Paula, Let it Go Management, Berlin
Are there any other mediums you'd like to explore more?
I'd love to explore filmmaking - I just feel like sound adds another layer to a story that can only enhance images. I also really need to learn to use medium format film, it's time to level up.
Where do you hope 2020 will take both you and your art?
I really hope to really develop my craft so that my work is the most technically flawless it can be. I'd also like to learn more about studio photography and being on set, either through assisting or doing commercial projects myself. As I will be graduating in May this year, I hope that I continue carving out the time and space to continue my personal work.