Today for episode 18, I’m talking with Ardelle Neubert who is a lifestyle and fine art photographer in Calgary, Alberta, Canada. She lives with her husband, their two boys and a big furry dog.
Ardelle is an international award winning photographer whose work has been featured in a variety of publications including Photolife Magazine, Real Simple Magazine, Click Magazine, and several photography blogs. She is a contributor to Offset stock agency and a Freelance Photographer for FlashStock. Ardelle also teaches two intermediate/advanced workshops to fabulous artists and after you hear our conversation, you will see why they sell out in minutes each run of the class.
In this conversation, Ardelle shares how she developed her style and voice as a photographer, what her creative process looks like, the importance of light in photography, and what she thinks about when converting photos to black & white. This is one you do not want to miss!
Where to find Ardelle online and her teaching:
Ardelle’s Website
Ardelle’s Instagram
The Mindful Approach workshop
Creative Approach workshop
You can follow along with the podcast and Allison Jacobs on Instagram.
Today for episode 18, I’m talking with Ardelle Neubert who is a lifestyle and fine art photographer in Calgary, Alberta, Canada. She lives with her husband, their two boys and a big furry dog.
Ardelle is an international award winning photographer whose work has been featured in a variety of publications including Photolife Magazine, Real Simple Magazine, Click Magazine, and several photography blogs. She is a contributor to Offset stock agency and a Freelance Photographer for FlashStock. Ardelle also teaches two intermediate/advanced workshops to fabulous artists and after you hear our conversation, you will see why they sell out in minutes each run of the class.
In this conversation, Ardelle shares how she developed her style and voice as a photographer, what her creative process looks like, the importance of light in photography, and what she thinks about when converting photos to black & white. This is one you do not want to miss!
Where to find Ardelle online and her teaching:
Ardelle’s Website
Ardelle’s Instagram
The Mindful Approach workshop
Creative Approach workshop
You can follow along with the podcast and Allison Jacobs on Instagram.
Allison Jacobs 0:00
Hey there Ardelle!
Ardelle Neubert 0:01
Hi, Allison.
Allison Jacobs 0:03
thank you so much for joining me today to chat about your photography, I cannot wait to talk to you about your creative process and how you use light and just all the things.
Ardelle Neubert 0:14
Well, thank you so much for having me here today, Alison, it is truly an honor. It's really great to finally officially meet you after knowing you so long across internet forums and social media. And chatting with like minded artists is always so much fun. So I'm looking forward to our discussion.
Allison Jacobs 0:33
Yes, I am too. I know I have followed your work and just really admired what you do for so long. So I've just been really excited ever since you said yes that you would talk with me today. So let's just get started - I'd love to hear a little bit about how you got started with photography, and what your journey has been like as a photographer.
Ardelle Neubert 0:55
Sure, thank you for asking this capturing visual images is of things that are meaningful to me. It's something that I've done for as long as I can remember, a camera was always something that was with me from childhood to adulthood. I received my first DSLR in 2007. But I'm actually going to rewind just a moment, who I am as an artist today starts with how my creativity was fostered at a very young age. I grew up in a house where my parents took on these constant creative projects. And I was encouraged to find my own creative outlet. So I was enrolled in a weekly lesson at art school in the city's Art Gallery. In that class, I was equipped with tools to try different art mediums, allowing me the freedom to create how I chose, as well as a basic understanding in art principles. This was the beginning of my appreciation for art, and creativity. And as I'm saying this, I'm just hoping that your listeners don't misunderstand this, that they there's this need to have this creative startup life to be a good photographer. Not at all. Over the years, I've just realized that this little piece of who I am, or who I was formed into contributes to the artists that I am now. Okay, so moving on to how I started into photography. Fast forward to 2007, I was gifted a DSLR from my husband. After that day in 2007, I switched my camera to manual mode, because I wanted to create amazing photos of my kids, like those ones that I saw in the magazines, and on the blogs. And this was a time before Instagram, I mean now I can't even imagine time before Instagram. Since I was so inspired to be like those amazing photographers, I worked really hard. I worked hard to learn the technical aspects of my gear. I studied how to form good compositions. I learned how to use all different kinds of lighting, I learned about color theory. And then I really worked hard to implement all of these techniques into my work. I had this desire to create compelling, engaging images. So of course, I studied what it was that actually makes a photograph compelling, and how I can communicate a message or meaning through my work. And this is when I formed a solid understanding of the visual language which which is a key component to my work now. So right now, photography plays a significant role in my life. Not only has it become my job to teach other photographers through my courses, which is hugely fulfilling. Personally, photography brings something to my life that nothing else does. I mean, I still take photographs to recall an experience to document events, to give meaning to all those things in my life that are important. But I also take photographs to be an artist To fill my heart with creative energy, and to represent beauty and emotions. So I have to say, beyond the gift of my children, of course, to this day, that gift The camera was life changing, and a favorite gift.
Allison Jacobs 5:22
I love that I love everything you just said. And I think it's so amazing that your parents started part of your journey by enrolling you in those art classes. And I can see how probably some of that art instruction at an earlier age and informs your work now and informs what you do now. And I am so impressed that you put it on manual mode the day you got it, I can't believe that that blows me away, I see all the things that you just talked about in your work. And I also think that it's such a great reminder to hear you say that, yes, you document with your camera and you photograph your kids and you document your memories in your life. But that it's more than that, that it's creating art and that you see yourself as an artist. Because I think that's something that we as photographers maybe don't own as much as we should like that title of being an artist and your work is definitely art. And I feel like your images can stand alone. And so I love hearing you talk about it that way and share how you see it in your life and the role that it plays in your life.
Ardelle Neubert 6:33
Well, thank you very much. That was very kind. Thank you.
Allison Jacobs 6:36
You're welcome. So what are some of the ways that you worked on developing that style and that voice because it's definitely something that's really strong in your work? I think your images are images that, you know, when I see them come up, like in my Instagram feed, I know it's you without even seeing your name attached. So you have this very strong style to your work? What are some of the ways that you worked on developing that style and voice?
Ardelle Neubert 7:02
Right, this is a good question. Thank you. I feel like there are so many things that contribute to an artistic sound voice. My own experience, I would contribute most of my growth as a photographer to my seven year of a mostly daily project where I would shoot well as the project says, mostly every day, working on my craft that often just doing what I loved was essentially practice that I didn't really consider to be practice. During that time, I tried everything, including using different tools, different techniques, and I even did try different genres. And something that I think is really important was that I created work from the heart. And I look to capture things that did really matter to me. Through all that practice, my style and voice developed. I don't really think there was any defining moment, it just happened over a long period of time.
Allison Jacobs 8:16
So based on your experience, like you mentioned, you tried a lot of different tools, and you tried a lot of different genres. Based on your experience, what are some things that other photographers could do to help them to find their own style and voice?
Ardelle Neubert 8:29
Yeah, if I were to provide any advice to fellow photographers looking to define their own style and voice, it would probably just be I mean, just keep working, practicing. Try those new tools and techniques. Make sure that you have a lot of fun, and also create genuine work from the heart. Through that I think your voice will develop. Something else that I think is important to consider is the evolution of styling voice. The goal to finding artistic voice isn't like reaching some destination or crossing some finish line. I think a lot of artists think that way and it can be a little bit discouraging. The most brilliant thing about photographic voice is it's not static. It evolves as the artist evolves. Personally, a really neat exercise that demonstrates this is to look back at past work. If I look back at my work, say from like 2010 I can still see it's recognizably my work. But who I was as a person 11 years ago is not entirely the same person that I am now. I mean, yeah, I have the same values, principles and the same beliefs but I've grown as a person and I am a Different place in my life. So if I were to look at my current work, I can see it's evolved and changed alongside me. If we do allow our work to evolve with us It will, every experience and every photograph made, our style also grows. So that work from 2010. That's me. And my work now is me. And I happy to say, I'm really proud of both.
Allison Jacobs 10:32
So I love hearing you talk about the evolution because I agree with you, when you've done this for a long time. And you can look back at your own work, you can see kind of those threads that are consistent throughout your work, but also see how you've evolved as your photographer. And this next question is something that I'm really excited to hear from you about, what does your creative process look like? What does that that creation of the photo look like for you?
Ardelle Neubert 11:02
Well, honestly, my creative process can sometimes be messy. Just like any other creative artist, I go through those ebbs and flows of both the failures and the successes. But I think the key is that I don't let that bother me at all. If a creative attempt doesn't work out the way I intended, even when it sometimes comes out. pretty terrible. That's okay, I will embrace both the successes and failed attempts, the attempts that don't work out, I view them as stepping stones to growth. Now, how I kind of ensure that my work continues to evolve, is that I think deeply about forming my work in a way that is original, and unique to me. I already know that other photographers might have had that same idea at some point, or they've tried that same thing at some point. Because nothing is ever truly original, especially with the ease of sharing. we're bombarded on a daily basis with visual mediums. But I always remember that those other artists have never done it the way I have. If I hone in on my uniqueness, this is where amazing new work comes from.
Allison Jacobs 12:42
I agree with you. I think the creative process is usually messy. I think that's how we we learn and we grow, right? We create something, it's a mess, we kind of come back to the drawing board, we try again. And you just sort of have to keep trying until you can bring that vision to life. So I love that it seems so simple yet it's so true. That is exactly what the creative process looks like for me as well. messy, entirely messy.
Yes. So what are some of the challenges of being creative with photography, and maybe a little bit about how you've overcome some of those challenges?
Ardelle Neubert 13:17
Okay, so this is completely against what you probably thought you would hear from me or what you sometimes typically hear from many artists, I don't really fall into any sort of rut. I know there I said it. But when I say it out loud, it does I don't know it sounds kind of arrogant, and I definitely don't mean it that way at all. I've just found some strategies to keep my creative thinking active. I value and nurture my creative life. I fuel my creative thinking by dedicating time finding inspiration, studying art, studying the Masters, following my curiosity, and then pursuing new explorations. One tangible thing I do to stay creative is intentionally bending the traditional photographic roles, just enough to add a unique impact to the frame. I also like to add in little effects in my frame like using objects in front of my camera lens to create flare, light orbs, color streaks, and all of those other neat effects that it may create. Just that one little thing, especially if it's applied like ever so slightly, could allow viewers to discover the unexpected and it is often in those little unexpected details that are super engaging. I also push boundaries using unconventional techniques like multiple exposures, they're really fun thinking about how two brains can be merged together to create one strong image. That's a great challenge for any advanced photographer, I have a few thoughts for fellow photographers that might help them when they're experiencing a rut. I really like to think of the creative process as part inspiration and part motivation. Being creative is, it's a lot of work. I mean, you know, it's a lot of work. Not only do we have this be inspired, we also have to find the energy to do that creative thing. When all those other tasks of our life are on our to do list, finding that time and energy is sometimes hard. But it's important to make that time for creativity to ensure that you don't fall into right ruts. I'm heard I'm sure you've heard this quote before. But I love this quote, Maya Angelou, she brilliantly states, you can't use up creativity. The more you use, the more you have. That is 100%. True.
Allison Jacobs 16:16
I love that quote. I've definitely heard that one before. And it's so true. I would love to hear how do you decide which creative technique you match up with the image? Are you thinking about that, as you plan before you pick up your camera? Or is it something when you have your camera in hand and you're looking at your subject or you're looking at the the frame, then you decide what you might want to add in,
Ardelle Neubert 16:43
it's definitely a mixture of both. I have visions of images in my mind. For years, I have a list of kind of envisioned images, but also use my scene a lot. And sometimes those visions happen quickly. So there's a moment happening in front of me, I will intentionally think of ways that I can create a compelling image by using some creative technique just to engage viewers with just that little unexpected detail.
Allison Jacobs 17:21
So you're being really intentional and thoughtful about matching up. Like if you're adding a little bit of a light or like you spoke about a minute ago, you're being intentional and thinking about how that is going to enhance that particular image. It's not something that you're just applying to see what would happen.
Ardelle Neubert 17:39
Exactly, yep, it should be enhancing my subject, it should be helping tell the story I intend to tell. So for example, if there's a light or the direction of the light orb should be enhancing my subject in some way. So the direction that it's facing might be facing my subject to lead viewers eyes to that subject.
Allison Jacobs 18:04
So you mentioned at the beginning that one of the things you do to help stay inspired is studying the Masters, I would love to hear a little bit about what that looks like for you. How do you utilize that as a creative tool?
Ardelle Neubert 18:15
Yeah, that's a great spending the Masters, both press past and present. I mean, they're the geniuses of this craft. By studying them, it will provide some insight into your own work. We don't really study the Masters though, to become clones of their style. Instead, we just want to look at how they use techniques. What was their process? What choices did they make in their frame? What did they do in their work to make them stand out? So a lot of things that I do when I'm studying the Masters is I kind of step into the mind of that photographer, and I kind of evaluate the work in a way that I question What was their story? What was their intention? What were they trying to tell us? I described the composition to myself, I studied the light, I study what kind of decisions that they made. I would even describe their work, their body of work, what unifies that whole body of work, and, and then I really think of what made their work unique to them. And that really helps in your own work.
Allison Jacobs 19:36
Those are such great tips. I love it. I think that being so intentional and thoughtful, and if there's a master that you really love, trying to figure out what that element is like you just described a couple of different things. So maybe it's the way they use light and then you can use that to inspire how you're using light. So I think those are such great tips. For for all of us to remember to go back and look at that work and really think and analyze what that artists was doing and then see how we can incorporate it into our own work. That's very inspiring. So moving on a little bit to kind of what, what I see in your work that you use a lot of the landscape, the water, it seems like a lot of your location shows up in the environment shows up in your work. So I would love to hear how you think your location or where you live has helped to shape your photography.
Ardelle Neubert 20:36
Oh, thank you. I do think as photographic artists, our location does shape our work in some way. Depending where you live in the world, you experience different weather and different light. I live in Calgary, Alberta, Canada. Here, although the weather isn't as severe as other parts of Canada, we do experience winter and cooler temperatures for approximately seven months of the year. I know it sounds pretty awful, but it's really not all that bad. What I'm implying by this is that here I am limited for portions of the year to shooting indoors or shooting outdoors for short times. I've also had to adapt to shooting when the trees are bare, or there's snow. So this means that there's no color in my surroundings. And I've learned how to photograph in the snow. My Location also provides me other limitations. I mean, I love being near the water. It just rejuvenates my well being. For this reason photographing underwater has been something that I've enjoyed for many years. But the problem is, is that our city is landlocked. And the closest body of water is cold mountain lakes. I mean, you can swim in these legs, but they're really really chilly. We are also unable to have a pool in our year due to our urban location. The constraint of no water close has pushed me to find alternative ways to get my gear in and then around water when I'm unable to travel. So not only has my gear been in the ocean surrounding the Hawaiian Islands, and in the mountains, lakes that are close to home, it has also been in our bathtub, in the sprinkler, and in the wading pools. One fun story that I have comes from last summer, summer of 2020. During the pandemic, we were asked not to travel. But of course, I wanted to get my camera underwater. So I came up with what I thought was this fantastic idea. I went out and bought the biggest pool that I could find 20 inches deep by eight feet by five feet. And yes, I said 20 inches. This was such a fun challenge to try to capture photos in 20 inches of water. I'm really proud of the photos. But the pool didn't last very long, which is a story for another day. Now with all these examples, I consider some of the aspects of my location constraints. And anyone who's worked with me knows that I love a good creative constraint. I'm not sure if you know what a creative constraint is. But it's a principle that says creativity thrives within boundaries and limitations. When working with constraints, you don't have as many options or traditional choices. So your brain starts thinking in unconventional ways. Working with within limitations will push you to come up with more creative solutions. Therefore, constraints are brilliant. They trigger and release creativity.
Allison Jacobs 24:30
I love that. I think that's something that when we think about constraints, we often think of them as a challenge but the way you just framed it, it makes it sound like a positive and it makes it sound like something that we can look forward to. Okay, I've got a challenge. I've got a constraint. And that's exciting and what can I do and how is that going to push me as an artist so I love the way you framed a constraint as a positive instead of being as a negative because We all face constraints, that's something that comes up regardless of where you live or your weather, or things that are going on in our world. So that's such a great mindset to have about constraints.
Ardelle Neubert 25:10
And we all went through a natural constraint all of this past year, where we were constraint to work with what we had at home, whether it's in your home or around your home.
Allison Jacobs 25:23
Yes, do you, you mentioned that you shoot a lot indoors, especially during the winter, which makes sense if you've got seven months of cold. And I know that you have a lot of black and white images in your body of work? Do you find that you shoot more black and white indoors versus outdoors? Or is that something that is kind of like how you described utilizing those creative tools, you're you're already going into the image with a vision in mind of whether it's going to be black and white, how do you decide the difference between color and black and white?
Ardelle Neubert 25:56
Well, I love color, it color to me is a huge component to the visual language of photography. So I use color. Many times in my work to direct the viewers eyes, or create some depth in the image or even emotion emotion is, is big in my work. But there is a place for black and white, I think it simplifies the image when you convert it to black and white. So if the color is not working to contribute to your intended message, that by eliminating that color, it can simplify the frame, black and white images are timeless, they can also create some mood. So by removing the mood of the color, you're creating mood with the black and white, especially if there's high visual contrast, then you've got that high drama and impact in your frame.
Allison Jacobs 26:53
I love what you said about about thinking about the color versus black and white in that if the color is not enhancing the photo, or if it's not directing the viewers eye, then maybe converting it to black and white and seeing if you get more of the drama or if more of that kind of classic story comes through. I I don't think that I try enough conversion to black and white, I tend to focus for myself mostly on color, yet I love black and white work. And so thinking about some of those things you just mentioned, is helpful for me for thinking with this image work better in black and white, or just maybe trying to convert some to black and white and see how the light responds or see if the image becomes stronger, because color really wasn't a part of the story.
Ardelle Neubert 27:40
Exactly. And those are exact questions that you need to ask yourself, if that image is better than black and white, and what that image intentionally was supposed to be about. And if the color doesn't help tell that story then removing it simply simplifies.
Allison Jacobs 27:55
So another thing that you really use in your works, and I absolutely love I'm so inspired by how you use light and the way that you use light to enhance your compositions and your storytelling. It's almost like in some of your images, the light is like a part of the subject. So I would love to know, what kind of things do you look for when you're using light? And, you know, what kind of steps do you take to get that photo that you're envisioning?
Ardelle Neubert 28:27
Gosh, I really like how you describe the light. I'm flattered, I'm almost blushing. I consider the light of significant photographic elements I can use to communicate my intended vision and create more compelling imagery. What I also study equally to the light is the shadows. shadows and light literally go hand in hand for me like peanut butter and jelly, or popcorn and a movie. When I'm looking at the scene before me, I look at the shadows and the light and how they are working together to form the image that I envision. So some things that I might think about are what is the direction, color quality of the light? How is that light flowing around objects? How is it maybe being absorbed by others? What are the shadows that are being formed? Do those shadows create lines, shapes, contrast, texture, or even dimension. And something really important to me is I always want the combination of light and shadows to communicate the mood I intend as I mentioned with the color, so I might determine if the combination of that light and shadow is happy, dramatic, Moody, quiet. And sometimes it's even mysterious. light and shadows are also a great way to add mystery and intrigue to a photograph. I like adding the out that little element to pique viewers curiosity. Some ways to use light and shadows to add mystery would be to form silhouettes of your subject, including only a subject shadow, or sometimes using pockets of light. I also want the combination to emphasize focus on my subject and strengthen the composition that is really important to me. So if the light and shadows need to be altered to match my vision, what I might do is I might change my point of view, I may wait for that light to change, I might modify or even manipulate the light in some way. Or I might even just anticipate when that light might be better,
Allison Jacobs 31:05
there's so much more to light based on what you've just described, then I think it sounds at first glance, even just thinking about something as simple as the color of the light, I think you listed a number of things. And I feel like as a photographer, you could almost break it down into those individual things and practice just looking for one piece of that, how does the light and the shadow impact the mood, and then that's what you focus on, what's the color of the light in the scene, and then you focus on that, and then sort of building that toolbox of round light. Because I think we think of obviously, we need light for photography, and we know light enhances our photography or we know light, you know, impacts the photograph, but I love the way you broke it down. I think it's so tangible and useful to be able to then take those ideas and and look at how they impact the photo overall.
Ardelle Neubert 32:00
Right? I love that. Thank you.
Allison Jacobs 32:02
It's been so fun to hear about how your journey started, and to hear about how you developed and have evolved as an artist over the years. And I just loved all of the strategies and really tangible, helpful things that you shared with us today. And I know people are gonna want to find you. And I just I would love to hear if you're working on any projects right now what you're curious about, and then share where people can go and find you online.
Ardelle Neubert 32:30
Well, thank you so much. I've really enjoyed being here today. This is a great question for me about where I am right now or where I'm going with my work because I feel like I'm at a major shift. My main subjects have been my kids, and they're getting older now. I have dabbled in other genres, and used other subjects through the years, but I've never really been serious about it. So right now is the time to shift my focus, macro self portraiture landscape Street. And maybe just using some techniques that I've been applying to those genres just to shake things up with them and add more interest, maybe some intentional camera movement, and multiple exposures.
Allison Jacobs 33:21
I love hearing you talk about how you might have this shift coming with the boys getting older because I think that that is something that is so true for some of us who've been around for a long time. We've all sort of watched each other's kids grow up. And I know I'm in the same place with a teenage boy as well. I mean, he's been out of my my public work for a long time, but you do sort of find yourself having to shift and look for new subjects and figure out where your photography is going to go. So I can't wait to see where that where that takes you.
Ardelle Neubert 33:54
Thank you. I'm excited to
Allison Jacobs 33:56
so where can everybody find you online?
Ardelle Neubert 33:58
They can find me on Instagram as ardelle_neubert and they can also find my workshops the mindful approach and creative approach at clickphotoschool.com. I also have a website, which is right now ready for an update. It's ardelleneubert.com
Allison Jacobs 34:18
great I know everybody's gonna want to go find you and especially look up your classes after our conversation today. Thank you so much for your time. I really appreciate it.
Ardelle Neubert 34:28
Thank you again so much for having me. It was such a pleasure.
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