



A couple rather fun things on her website: the inclusion of a sketchbook of sorts and a gallery of art made by her as a child. The Baby Art gallery starts with an image predicting Beth’s later career path and continues with a lovable selection of crayon drawings.

The sketchbook is much more varied. I think that it will be done through wordpress later, but for know it’s an insanely packed html page full of scanned drawings, some paintings that weren’t included on other pages for whatever reason, collages, and even a fair amount of notes in the margins. I have the ability to see into her head more often than most, but even with that I’ve found some stuff in here I haven’t seen before.



And with that, we’re wrapping up Elizabeth Heppenstall Week. I’ve got a lot of other stuff I need to post about this upcoming week. Some features, some deadlines. You know, the usual. Hope you’ve enjoyed Beth’s work! Feel free to send her an email letting her know what you think, or subscribe to her blog for updates. I’m sure I won’t be able to resist posting more in the future.
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I’ve also got Permanent-Stick-It-Out-Ed-Ness on my page, but Beth posted the headshots from that project as Professional Photography. The intention is to get more pictures made of alternate personas at a later date. I find it enlightening to see how portrait studios react to you when you are not yourself. It’s like punk’d for those interested in social photography.
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While Having A Baby is full of the dirty and rough side of photography (which currently makes my world go round), Beth has done a fair amount of lit work as well. A lot of these shoots seem to be research for her paintings, but a few of her portraits have been posted in a gallery called Space Boys and Other Oddities.
At times I feel like a lot of studio work looks the same – lighting can be interesting, but gets predictable for some reason. I think that Beth’s pictures have a strong female gaze, though, which is something I enjoy. It’s probably not as strong as her crazy-goggles, but it’s there.
If there is one thing I’d have to hope for in the future, it’s greater variety of models. Beth suffers a little from a common early artist phenomenon: you can recognize repeated of faces in her work. It’s not as bad as many photographer’s websites, where all the pictures seem to be taken in one lazy afternoon, but if it continued in that direction I think it might take something away from the impact of some of the projects. As she gets less shy and more confident in her creative abilities, this will shift drastically. Of course, having her name out there a little bit more helps and being able to point potential subjects to her website is never a bad thing.
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