T. Lulani Arquette (left), outgoing president and CEO of the Native Arts and Cultures Foundation, and Shyla Spicer, the group’s new president and CEO. Photos courtesy NACF.
The Native Arts and Cultures Foundation, a national group based in Portland, has hired a new president and chief executive officer following a nine-month search. Shyla Spicer (Yakama) will take on the dual post, replacing founding President/CEO T. Lulani Arquette (Kanaka ‘Ōiwi [Native Hawaiian]), who is leaving after 15 years.
Spicer, who grew up in Portland, has been executive director of the Suquamish Tribe in Washington state, and has worked in global marketing, technology, and supply chain operations at Nike. She has an MBA degree from the University of Portland, has been on the board of the Portland tri-county area’s Regional Arts and Culture Council, and is a board member of the Chief Seattle Club.
The search committee that chose Spicer was led by NACF Board Chair Joy Harjo (Mvskoke Nation; former U.S. Poet Laureate) and Board Treasurer Raymond Foxworth (Navajo Nation), with the firm Koya Partners LLC.
“I am honored to join the Native Arts and Cultures Foundation, an organization that has been a beacon of support for Native artists,” Spicer said in a news release. “I look forward to building upon the incredible legacy left by Lulani Arquette and working collaboratively to amplify the impact of Native arts and cultures.”
Arquette, who has a theater background, is leaving NACF to pursue her own creative projects. She’ll be available for consultation through April to help ensure a smooth transition. “I’m thrilled that Shyla has joined NACF as the new President/CEO,” she said in the new release. “Her friendly, thoughtful approach and careful listening skills have already benefited staff, board, and colleagues in positive ways. … I truly believe Shyla’s numerous talents and skills will greatly contribute to Native arts and cultures, Indigenous artists, and our communities in wonderfully new and impactful ways.”
The Native Arts and Cultures Foundation, which had been based in Vancouver, Wash., moved to Portland in 2021 when the Yale Union contemporary arts center disbanded and deeded its building at 800 S.E. 10th Ave. to NACF: Robert Ham wrote for ArtsWatch about the transfer here. The group is in the midst of remodeling plans, which Spicer will help carry through.
Sponsor
The NACF supports artists and American Indian, Native Hawaiian, and Alaska Native communities in a variety of ways, from early-career support for Native artists to mentorships, retreats, project grants, and more. In its 15 years it’s supported nearly 400 artists and arts organizations in 34 states and the District of Columbia.
It also presents exhibitions, such as 2023’s show by Native Alaskan artists exploring violence against Native women and other cultural issues, Protection: Adaptation & Resilience, which Beth Sorensen wrote about here. And in 2022 it published The Larger Voice, an anthology of work by Native writers, which was edited by poet Rena Priest (Lhaq’temish [Lummi] Nation), who at the time was Poet Laureate of Washington state.
MOUNDSVILLE, W.Va. — Photo gallery from Morgantown’s 91-36 win at John Marshall.
(Photo gallery courtesy of Robert Ovies Sports Photography)
If you’re like me and live somewhere with out-of-control housing costs, finding somewhere with enough space to shoot in can be difficult, to say the least. Having built out a home studio in a major city, here’s why I did it, but also how.
This was something I had wanted to do for a while. Between headshots, creative shoots, editorials, product shoots, and more, I would often be renting studios often enough for it to be a large portion of my monthly expenses, but renting a dedicated studio space didn’t quite make sense. Enter the idea of a home studio: somewhere with enough space for most shoots, and if I had a larger studio campaign, then I would rent something. My previous apartment was too tight to do most types of shoots in, so when I moved, that was definitely a must-have. After all, the amount I would be saving in studio rentals every month would actually make up for the difference in rent, so the math quickly added up.
My main considerations for building out this sort of space were:
After going through many places, many would have been workable, even if not ideal. Rather than trying to make it work for the space, I went into my search with this front of mind, so creating the environment would be rather seamless. Pun intended.
After going through many places, many would have been workable, even if not ideal. Rather than trying to make it work for the space, I went into my search with this front of mind, so creating the environment would be rather seamless. Pun intended.
I was open to either an extra bedroom that was big enough (in a major city, this is uncommon) or a living area big enough that it could function as both studio and living space at the same time. Enter where I am now, with 11-foot high ceilings, perfect for photographing models and for me being taller than average as well. The living area is a large open concept floorplan that allows for a resting 6ft backdrop to be up at all times. If needed for specific shoots, I can move some furniture and fit a full 10 ft backdrop as well. There is an abundance of natural light, even though I normally shoot with strobe. There is enough space for a small studio cart, as well as some lights and stands to be left out. It may not be an interior designer’s dream, but it works wonderfully and is something I aimed at for some time. A director’s chair off in the corner is a nice touch to the space, and it helps for whenever makeup artists are over for a project.
I will jump between strobe and constant light, using Godox AD600’s as my main lights, then going to the Generay Portabrights (similar to a 120D) for when I’m shooting motion or creating content. As I also model and my partner acts, this is a great spot to record self-tape auditions as well and therefore omits the need for a studio for that purpose too.
With power outlets seemingly everywhere, yes, even in the floor, it makes power control a breeze whether powering lights, computers while tethering, steamers for clothes, etc. I also find it unobtrusive when not in use too; it sort of works with the natural vibe of an artist’s home. Even though it’s not a standalone studio, there is something about having a space that is for creativity, for working, that gets me fired up. Plus, having that space only makes me more inclined to shoot in it as there’s no budget concerns of looking for a studio, especially if it’s for a personal project. The simple added benefit, even of not having to load everything in a car, is a game changer. Trust me, if you’re considering making your own home studio, your back will thank you. No more lugging sandbags, stands, modifiers, etc., in and out of studios. I almost always have time for a pre-light before I start shooting. I will set my camera on a tripod and do a quick self-portrait or photograph an assistant, then get the lighting dialed in before the talent even shows up. Another benefit I’ve learned is living in Canada, many models would rather shoot inside during the winter (who wouldn’t), and having this space makes it so I naturally just end up shooting more because I’m consistently able to year-round without dealing with constant studio rentals in different spaces when you’re not sure what you may be getting.
Perhaps the one downside is that it’s not the largest space, but quite honestly, it’s very similar to shooting in other medium to small-sized studios I’ve worked in anyway. There’s still enough room for a team to work and chill between shots. I didn’t want that sort of dark basement studio dungeon vibe, so the natural light does help liven it up a lot. I find creating a warm and welcoming environment makes a home studio feel less like a HOME studio and more like a studio that you happen to sleep in the other room of.
Obviously, if you live with others, this can add a level of difficulty, but expectations I find are a good thing to have set out, as well as clear communication whenever you are doing a shoot. My girlfriend and I live together, so to give her her own space, I generally found it beneficial to schedule shoots while she’s out, whether at work or otherwise.
That’s really the long and short of making your own studio, how I did it, why I did it, and some things to keep in mind if you’re curious about making your own. It has amped up my creativity in a lot of ways, and I’m definitely glad that I went for it. But if you’re a photographer on the fence about building out your own, hopefully, this will give you the perspective of someone who has done it and would do it again. If you do make your own, or have your own and are looking for ways to elevate it, I’d love to see your setups.
Links to some of the gear I used in making my studio:
Composition is not just about aligning elements pleasingly; it’s about conveying the narrative and emotion of the scene. This subtle yet powerful aspect of photography is often overlooked, making it a vital area for photographers to explore and master.
Coming to you from Christian Irmler – Landscape Photography, this insightful video looks at a common mistake many photographers make: focusing too narrowly on compositional architecture. Irmler, who grew up in an artistic family and learned about composition from a young age, initially believed that his deep understanding of composition gave him an edge in photography. Over time, however, he realized that knowing where to place lines, shapes, and patterns in a frame is just one piece of the puzzle. The true essence of photography, especially in landscape photography, lies in capturing the spirit of the place. Irmler emphasizes the importance of engaging with the scene, understanding its impact on you emotionally, and then using compositional skills to enhance the narrative of the image.
The video further illustrates this point with examples from Irmler’s own experiences. He describes how, in the rush to capture a scene before crowds arrived, he once focused solely on the technical aspects of composition, resulting in an image that, while technically sound, lacked emotional depth. In contrast, when he took the time to absorb the atmosphere and essence of a location, his photographs resonated more powerfully, telling a story beyond mere shapes and patterns. This approach to composition — considering the emotional and narrative elements of a scene — is what sets apart good landscape photography from the truly remarkable. Check out the video above for the full rundown from Irmler.
And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!”
