A step forward

I realized a while ago that, in order for me to grow artistically, I need to make an effort to work multiple times with the few outstanding models I encounter, rather than just working a couple times with lots of different models. The images here represent one of my first steps in that journey. I've worked more times with this model than any other, save one. We had been planning an outdoor shoot, but the weather didn't cooperate, and we ended up in the studio with some general ideas, but not a solid plan. I had a few specific ideas to try, but I was aware that this was a model with rare beauty, so I essentially decided to do an exploratory shoot and just see how many unique aspects of her beauty I could capture. Though I don't always have sketches and I don't like to leave out room for inspiration, I almost never shoot without some sort of plan, so this was a bit worrisome for me. I feared that I might very well let the model down, have her give her all and produce only mediocre imagery. My fears were largely allayed once I processed the images, but I've still been through this set a couple dozen times, second guessing my work, asking if I would have done better if I had planned it out, essentially trying to talk myself into not liking them. I'm sufficiently convinced now that I did justice to this model, that the quality of my work is on par with her beauty, with the courage she showed, and with the trust she placed in me. So, I've decided I'm ready to share the images. I think this set is unique for a couple of reasons. First, all female figures contain some piece of unique and wonderful beauty, some angle or point of view from which an exquisite treasure is revealed. In most it's concealed among many pretty but average points of view, and one of the skills required to produce fine art nude photography is the ability to see and capture those one or two outstanding treasures. Once in a while, though, you find a veritable treasure chest of beauty, a model who reveals outstanding beauty from every angle and point of view. This model is definitely one of those rare treasure chests of beauty and I think this set, largely because it was exploratory and unplanned, shows that. Just finding a model like that is only half the battle, though. This model was very creatively open and trusting the first time we worked together, but modeling for and photographing such beauty in an exploratory mode, while not sexual, is definitely an intimate experience. Getting a model to drop their guard and allow their beauty to show without reservation requires a rapport and two-way trust that takes time to build. The second reason this set is unique is because we had worked together enough to begin to build that kind of rapport, and it represents a step into a new level of creative interaction with a model for me. Does that show from a viewer's perspective? I don't know. I do know that, from an artist's perspective, it's significant. Anyway, ponder all that as you enjoy the images, and keep in mind the contribution of the model, both in terms of her uniquely amazing beauty and her courage and openness in sharing it with my camera. Many people seem to have the idea that models just look pretty and follow directions. For many that's not far from the truth, but creating imagery such as this is truly a collaborative artistic effort. Please take time to view each of these images at full size and let me know your thoughts on them, either in comments here or in a private e-mail if you prefer. As I said, this is a significant step artistically, and feedback would certainly be helpful.

And reality be damned!

The object matter of the world does not determine the subject matter of a photograph. ~ Joel Snyder Someone told me this morning that they don't see photography as an art because they believe that what they see in a photograph is exactly what the photographer saw in front of him - an image that has lots of shadows was simply shot in a dark room; pleasing light is simply discovered by accident; what is seen in the image was obviously plainly visible in reality. Actually, that couldn't be further from the truth. This is one of the first bodyscapes that I considered a complete success. What you see here is pretty much the exact image I had in mind when I set out to produce it. It’s recognizable as a human form, but I let the details fade into the shadows and focused on form and mood. I think it’s evocative of a landscape of rolling hills at sunset and draws an analogy between the human form and natural forms. Tonal range, ambiguity, visual energy, and aesthetic emotion were all planned factors. I shot from a low perspective and framed a bodyscape that rises from left to right to give a sense of energy and depth, and let the light fall off in the upper right to give a sense of fading into the distance. I used a diffused strobe to overpower the ambient light and feathered it across the model give a gradual transition of tones and capture the form of the torso. Once I had that all set up, I told the model it was time to add the energy, and she would arch her back a bit, lift her feet off the floor and spread her knees apart to add tension to her abdominal muscles and let her temporary lack of balance give a rolling feeling to the "landscape." It took 7 or 8 meter readings and light adjustments to get this just what I wanted it. By the time I got the "keeper" shot I think the model was getting a bit frustrated with me, but she stuck with it and did a great job, and I'm grateful to her for that. Did I just capture reality? Hardly. A person standing in the camera’s position for this shot would have seen the model in a relatively bright studio in front of a green muslin background, her toes curled and arms reaching for the floor as she tried to balance on a narrow bench, trying not to laugh while she tried to concentrate on the directions I was giving her. 99.9% of non-photographers standing in the studio would never have envisioned this photograph when looking at the scene before them. What artistic decisions went into it? I've already said, but I'll list them again:

• I shot from a low perspective and framed a bodyscape that rises from left to right to give a sense of energy and depth
• I let the light fall off in the upper right to give a sense of fading into the distance
• I used a diffused strobe to overpower the ambient light
• I feathered it across the model give a gradual transition of tones and capture the form of the torso
• I took 7 or 8 meter readings and light adjustments to get this just what I wanted it
• I told the model it was time to add the energy, and she would arch her back a bit, lift her feet off the floor and spread her knees apart to add tension to her abdominal muscles and let her temporary lack of balance give a rolling feeling to the "landscape."

As Mr. Snyder to aptly observed, the object matter of the world does not determine the subject matter of a photograph. Documentary photography is about recording [events, truth, reality]. Expressive photography is about exposing [feelings, beauty, surprises] and exploring [possibilities, complexities, subtleties]. I have little talent for documentary photography. My camera has the ability to censor and the ability to embellish, and my vision is not limited by the boundaries of reality. I leave out things that you might notice and I capture things that wouldn’t be apparent if you were standing next to me when I tripped the shutter. As an expressive photographer, I create images with light, lenses, and the cooperation of talented models, and reality be damned. Perhaps it was best stated by Bob Randall, an amazing photographer who has an equally amazing way with words:

I'll make you look the way I need you to look, and I'll get the reaction from you I need to get. I'll make you a corporate vice president, or an 18 year old hooker or the girl next door. I'll make you light and airy and innocent or dark as night and nasty as a mother fucker. When I'm done with you, you'll forget all about every loser asshole that said he couldn't work with you because you don't have the right stuff. I'm a photographer, I'll make you into whatever I want to make you.

Remember that the next time you think that photographers just push buttons to capture images they've accidentally discovered.

Secrets for shooting portraits of women

Someone asked me this week what my secrets are for getting good portraits of women. I had to laugh. Many portrait photographers claim to have "secrets" for drawing out the best in a woman. I think that's a bunch of bunk. I'll admit that on rare occasions I have resorted to telling a dirty joke or or deliberately shocking or angering someone in order to get an expression out of them, but if you understand some very basic things about people, you can produce compelling portraits with just about any willing subject without resorting to tricks. However I guess to I have to convince you I'm imparting some special knowledge in order to make it worth your time to read this, so let's say I'm going to give away my secrets. Most how-to books on portrait photography will tell you that a good portrait must “capture the subject’s personality.” I understand the point they’re making, but I’ve always thought that was a bit trite. No one’s personality is simplistic enough to just "capture," and certainly not a woman's personality (they are bafflingly complex creatures!). I do think a good portrait should reveal something about the person being photographed, but I guarantee that saying "OK, now show me your personality and I'll shoot it" will not produce an appealing portrait. The things that make a compelling portrait of a woman are the subtleties in their personality - the things that are there but that they rarely show - and the possibilities in their personality - who they could be if they let their guard down or let their fantasies go. Compelling photographs of women are about connecting with the woman most people don't get to see. Most of them are simple common sense, but if you must have my secrets, here they are: Secret #1: When women feel you're genuinely interested in them as a person, they relax and let their guard down. I'm an introvert and a geek. I don't tell jokes well, if I remember them at all. I'm usually the quiet guy on the sidelines at any social event. My political and social views tend to be controversial with more people than not. I'm definitely not a great conversationalist with people I don't know well. I'm not good looking, and I'm about as adept at flirting as Yoda. However when someone is in front of my camera, I do have an honest interest in getting to know something about how they see themselves and what type of imagery appeals to them, and that's enough to make most women feel comfortable and relaxed without feeling threatened. When they feel that you're interested in getting to know something about them then they can smile, converse with you with interest, and laugh openly, and all you have to do is get the shot. Secret # 2. Once you get them to relax, they will reveal their beauty when you ask them to. It may sound deceptively simple, but once a woman feels comfortable with you, you can coach her into the pose you want then ask her to just look beautiful and she will. Some people might argue that physical beauty is not part of someone's personality, and maybe that's true, but there's no denying that the beauty of a woman captured in an image will stir emotions in just about anyone, male or female, who views that image. And rest assured, there is beauty in every woman. If you're like most people who've been conditioned to the Barbie stereotype it may be harder to see in some than in others, but I would argue that if you can't see the beauty in a woman then you shouldn't be photographing her. Of course, in some women the beauty is so apparent that it's impossible not to capture. Secret #3: If you connect with the eyes, little else matters. Human beings connect with one another through their eyes, and the simplest way to create a compelling portrait is to focus on the eyes. It really doesn't matter what else is in the image as long as it builds an interesting compositional setting around the eyes and the subject makes eye contact with the lens. Secret #4: Women absorb the atmosphere you place them in. Use soft or dramatic lighting, along with simple props, to build an atmosphere around the subject. With a little coaching on pose and body language, you'll be surprised how well any woman blends with the atmosphere you've created. Secret #5: Every woman has a shy side, and it's always beautiful. It's hidden more deeply in some women than in others, and trying to force it out is usually not productive. Simply asking for a shy look sometimes works, but if not then an honest compliment on their looks will usually bring it out. Just remember, while every woman likes to be told they're beautiful, most don't like cheap "compliments" that ring hollow. If that's all you're able to muster, just skip the shy look. Secret 6: Most women have a sensual or seductive side that is flattering if captured well. If you can get a woman to openly reveal her sensual or seductive side you'll almost certainly get a great portrait, but trying to force it is a recipe for disaster. You absolutely must stay mindful of the difference between a sensual portrait and erotica because if you're aiming for erotica and she's posing for a portrait you're likely to end up producing cheap porn. While cheap porn has it's place, it's very rarely a good substitute for a compelling portrait.

So there you go. Now you know all my secrets for making portraits of women. Just don't use them to steal all my business because I still have to pay the studio rent.