| currently listening to: Radar Gun, The Bottle Rockets, Brooklyn Side, 1995 | LINK
taking photographs is a process. i don’t think anyone would argue with me on that point. and it’s process that is constantly evolving. i can boil it down each portrait session i have worked on to the simple dialogue between subject and photographer. as the photographer, i engage the subject on many levels and rely on my personality, my body language, and my conversation to create the right environment for the subject to feel any number of emotions that i want them to evoke. the more photos i take, the more i refine these conversations so that i can (essentially) get the subject to feel the emotion i want them to feel for the final picture. nine times out of ten i want my subjects to feel relaxed and calm but every now and then i aim for sexy and seductive, angry and sad, mad and unhappy. it all depends on why i’m taking the photo in the first place.
lots of times, great photos are the karmic explosion known as ‘dumb luck’. but hey, as a photographer, you had to be in the right place, at the right time, with your camera to your eye, AND with your finger on the shutter. it’s never really cut and dry but you can give yourself the best advantage by knowing how/where/and when those moments are going to be captured.
the more photographs i take, the more i learn about myself and my personality. looking back throuhg my nearly ten years of getting paid to take photographs, the more people i meet and shoot, the more i catch a glimpse of how i act and react to strangers and friends alike. each portrait sitting is a lesson in manipulation and control, in creating a sense of comfort or a sense of uneasiness depending on what reaction you are looking for from your subject. if you know what outcome you want to achieve, then you should always be ready to set the subject in motion to get there. sometimes, it’s a strange ride.
each shoot is a learning experience. i’m not the photographer who blows through 15 head shots in a day so my favorite question to ask myself after a shoot is, ‘what would you have done differently?’. to be completely honest? i answer that question a dozen different ways every time. ‘i could have asked the subject to move slightly this way’ or ‘i could have chosen a different lighting technique’ or ‘i could have dropped my point of view about three inches to hide that gigantic forehead’. bottom line: photography is a business where i will never be completely satisfied with every shoot. i AM a perfectionist in my head but i MUST BE a realist in my output. the client wants it one way, their budget allows for it to be a different way, and it’s raining out, so make it work (thanks Tim Gunn…). as long as everyone is happy with the final outcome, i have done my job and i can lay to rest the over-amped OCD voice in my head. or i can at least drown it in beer.
when i was 17 years old i couldn’t decide if i wanted to be in Uncle Tupelo or The Bottle Rockets. it was a toss up between the band that would define the great mid-90’s movement known as ‘Y’all-ternative’ (Uncle Tupelo) and just another band from the St. Louis bar scene that kicked total ass (The Bottle Rockets). amazingly, i never got into either as Uncle Tupelo famously imploded and, well, The Bottle Rockets are still an amazing bar band from St. Louis. but my goodness does this song rip. 15+ years into their career, the Rockets still get up there and extend their brand of midwest grit to our ears. love it. bob yer head. raise a shot of jack. enjoy.