Wednesday, December 21, 2011
Took a Walk In Those Shoes
The short answer is "Holy Shit Yes" (and yes, indeed, that is the shortest possible answer, period). I'll start with Friday.
It had been nearly 7 years since we last saw each other, so the initial passing of life stories was of course in order. More than that, however, this introductory phase served as an easy mode test bed for a critical part of my business plan which emphasizes not passing through clients rapidly, but rather developing a comfortable, familiar relationship with the client first, something which is both conducive to the portrait shoot itself by merit of making the process feel casual and natural, but opens up future opportunity to work with the client again as a preferred photographer. Now, of course, working with Allyson was easier than trying the same with a complete stranger given our history, but with enough time having passed since our last face to face the need was still there to break into that zone of comfort prior to the engagement of the portrait shoot. And it worked out famously. We spoke of her college time, her plans in life of saving money and buying a house, family and relationship situations... we quickly made our way to frank, honest confessions to one another, and that is the critical point at which a portrait shoot has the utmost potential to ascend into genuine art, not simply forced expression.
To date I've only worked with perhaps a half dozen models who've connected on such a pertinent mental wavelength. Granted, most of the time, I don't go out of my way to establish that communion of mental states, however Allyson would be the first person I've ever attempted to establish that connection with very deliberately, and seeing the fruits of our collaboration in this portrait session, it is without a doubt the most critical facet to the success of an artistically considered portrait shoot. To that end, I thank Allyson for our session last Friday if for no other reason than for opening up that critical insight via hard, deliberate testing (although the portraits themselves are exceptionally gorgeous too, gotta say).
... Then Saturday happened.
Ren Garczynski, purveyor of Random Eye Candy Photography and owner of dedicated studio space at Baltimore's Graffiti Warehouse, a very, well, "Baltimorian" art studio venue that encourages rampant graffiti murals and all levels of high glamor studio photography, invited me to attend their holiday open house. The premise was simple enough - $20 for photographers, $5 for models, pay your way in and you have 6 hours in which to link up with models, utilize community backdrops, props and portrait lights, and go to town creating vogue photographic art. I walked into the place Saturday afternoon expecting a collection of the lost and confused wandering around afraid to mingle and network. Whew, was I wrong... instead I walked into a party.
One element really stood at the forefront of the separation of myself from all other photographers there, however. I would venture to guess that easily 90% of the photographers around me were shooting models with kit zooms, amateur (by which I mean sub-$1000) CaNikon DSLR bodies and direct, occasionally diffused shoe mounted flashes. In other words, the standardized, homogenous setup "expected" of all "serious" photographers. Meanwhile, I'm happily strutting along with my Micro Four Thirds Olympus E-P3 with a fast prime 45mm f/1.8 mounted on the front and no viewfinder to speak of barring a rear OLED LCD screen. It could be argued that I was the venue's iconic minimalist. And as hipster of me as it is to feel a sense of pride in that status... I don't know, I think my results with such minimalist gear stand up well on their own.
Perhaps it's time to take some courses...