Confessions

I really get it that you must always say "Yes" to what is before you; both the good and even the not so good. And yes, goodness does come from "working with what you have."

This is the remarkable Isabelle from nextmodels who I had the opportunity to work with last Sunday. Thank you Isabelle. Twenty minutes before the call time for the shoot, the Hair & Makeup artist who is a real treasure, called to say that she would not be able to come for the shoot. Last minute cancellations use to send me into a little downward tale spin, and I still experience a momentary "dip" when this happens. But now, I am convinced that these situations are catalyst for a more focused, and rewarding alignment of creative energy.

The phone rings exactly at 10:00a.m., and Isabelle is right on time. I'm thinking to myself as I ride the elevator down to pick her up, "I hope she has a little makeup in her bag." I told her several days before that there would be a H&M artist. As I approached her some light from outside was reflecting off the skin on her face, beautifully, and I knew that we were going to be OK. "As Is," sometimes, most times, is what's most perfect for the moment. I would not even have to use my standby trick of using a couple drops of baby oil on a damp cloth to get a makeup "look." Her Mother, the fabulous Marie-Paule was with her, and would end up being the true "star" of the day.

I tell Isabelle that we would be on our own for H&M as we are riding up the elevator. She doesn't seem phased, and still excited about shooting. I breathed easier. I get them settled, and we just talk for a short while as we're looking and arranging the clothing that she has brought. I asked her to bring items that reflected her style, and she was well prepared. Marie-Paule had planned on visiting with some friends while Isabelle and I were shooting. When we met downstairs I told her that she was more than welcomed to stay, and that I would enjoy having her with us. I confess that I did not immediately tell her that she was going to work.

I brought Isabelle to the area where we would be shooting, so that she could get a feel for what was going to be happening. The same light that I first noticed downstairs was present in the shooting space. All that was needed was ready, so I said, "let's shoot right now, don't change anything." I did not want to wait or risk tampering with the perfection of the moment. I immediately began shooting. I noticed that she was eager, but nervously shaking a little. I had to address this quickly because I was shooting with available light at around 1/60 of a second.

I stopped shooting gave her the camera, switched places with her, and had her take pictures of me to get her to relax more. This helped some, but not much as I needed. I shot a little more to see if her nerves would calm down. I could still see a little shaking. I confess that I was ignoring the fact that this was only her second shoot. So, I resorted to the thing that all the guys I shoot love to do, without be asked, Push-ups. Isabelle had just started to say "I can't..." when I interrupted to her say "yes you can." So, there we both were on the floor doing push-ups. I think I got 10 or so from her. It worked. She was flushed, but now, still. I love her innocence in those first shots.

I'm certain that Marie-Paule was a little nervous seeing this start of the shoot, but she did not say anything. Marie-Paule was the star of the shoot because while Isabelle and I were working and having fun, she took on the roles of Asst Photographer, Stylist, Hair & Makeup Artist (we only added mascara and lip gloss), and Cook. Yes, she even prepared lunch so that we could continue shooting. She did the most important jobs of the day, with no complaints. Thank you Marie-Paule for being you, and for being there.

The remainder of the shoot flowed with wonderful results. Isabelle and I were connected, in the "zone." The first shot I took was at 10:43a.m., and the last shot (right photo) was taken at 4:29:31p.m. What you see in the last shot is "real," and that is why I love it. I confess that I did not pay attention to the fact that the sun was beating down on Isabelle's back, even though the air conditioner was on and the space was cool. It was very hot last Sunday, much warmer and humid than today. I was shooting the last look, when Isabelle suddenly said, "I don't feel well," and reached for her head. This photo shows that precise moment. I only shot this one frame before stopping to check on Isabelle. I learned that she had not been feeling well the day before. I stopped the shoot and felt good that we had done some good work. and we had fun. I love "working" days like this. Thank you Isabelle for being you, and for being there.

I confess that still, after all of these years of shooting I want more and more images. I confess that I do not quickly say "I've got the shot," even when I know that I have it. I confess that some Hair, Makeup, and Stylist artists have stopped working with me because I easily fall into that "shooting zone,"which might look and feel to them like "forever." I confess that I am concern for their feelings, but I confess that I have always been, and will always be more concerned about the imagery. And I confess, I'm living my dream, and hope that you are.

Be Well,

Samuel

Red Lips

She said to me with such passion, "I love Red Lips." You should have been there to see her as she applied the lipstick. It was a very special moment. I loved her spirit, and enthusiasm to try all that I asked of her. She was like a "firefly" buzzing around me all day. She was fun to be around.

She disappeared like many of the really good ones often do. It would be great to work with her again. I love this photograph because of the "melting pot" of her features, which could never fit into any one's standard. I see a little of us all present.

Beautiful Red Lips get my attention now more than before, even if it is on a guy. I think of this vibrant little firefly, and instantly feel good.

What's making you feel good today?

Be Well,

Samuel

Soul Food

"Soul Food, food that feeds the soul not just the body, feeds you on the inside. Soul Food."

This is a lyric from one of my favorite House tracks. Lately, I have been listening to it at least once during the day. Yes, "soul food" that is what we all are after in what we do, and contribute. I've become more conscious now about recognizing and embracing it when it appears. It is not always a big thing. It can be as simple as all the moments I am experiencing right now as I write this post at one of my favorite outdoor terraces, having this second Latte that I know will have my heart racing, and leave me wired for the rest of the day.

Here is "Lady Amelie" (Montage) who along with Steven Turpin (H&M, Styling) filled my plate the day that we shot this image. Thank you. I remember saying over and over "I'm such a happy man," to the point where I know it must have started to become irritating. I always do that and become so quiet, not saying a word, when shooting is "magical." I first saw Amelie at a fashion show for Birks. I was so taken with her that I shyed away from her whenever she was near me. I did not introduce myself then, but I asked about her with other photographer friends and the designer of the show. I think I called Nadja at Montage the next day saying that I just had to shoot with Amelie. I remember Nadja telling me that "she moves so well." And in my excitement about the possibility of shooting with Amelie I know that I did not pay full attention to this comment. When I was told that Amelie had agreed to shooting with me, I was both ecstatic and nervous at the same time. I did not have a clue at the time of what I would shoot, but just new that I had to shoot with her.

Ah! Yes, she moves instinctively, effortlessly, exquisitely, and with such elegance. She "moves" even when she sits still. What I found and still find so amazing was that she somehow just new what was needed without my saying a word. It shows in the images when I interfered, and tried to manage this talent versus just letting her be. And you know I recall doing battle with Steven about this gown. I did not want to shoot it. I was not able to shoot with other women for a while after the session with Amelie. And even when none of the images were chosen from the session by the agency, I was not bothered. This experience was a special gift to me, an overflowing plate of "Soul Food, food that feeds the soul not just the body, feeds you on the inside, Soul Food." I was full.

Amelie, if you are reading this forgive me for not telling you beforehand or if I have caused you any embarrassment. You are a photographer's treasure, a gift that I am compelled to share with others in the hope that it leads them to see, really see the Soul Food in their lives.

Samuel

Do you remember?

I have a 1998 L'Uuomo Vogue magazine "Fashion in Portraits," with an image by Paolo Roversi on the cover that I always keep visible, and nearby my workspace at home. It moves with me no matter where I end up, and always elevates itself among the creative clutter of my workspace. My office/digital darkroom at home is in the laundry room, yep, right there with the washer and dryer, and the distinct aroma of those dirty clothes that never, ever go away. I often like to close the door to be "contained" when I'm in there. This works well for me in the Winter, but the Summer requires a little more commitment from me.

I use to spend a little fortune buying fashion magazines, principally for the inspiration and the work of favorite photographers whose, "eye" and "lighting" meant something special to me. I was delivering some photos last week, and as I was leaving I asked if I could borrow a magazine to take with me downstairs while I had a coffee. There were two tables stacked with at least 60 magazines. I did what I think we all do now when at the magazine store. I took a quick look through the piles, said "thank you," and left empty handed. Do you remember when you would spend money on a magazine that you really could not afford, borrow it with no intention of ever returning it, or just plain out steal it? Nowadays, maybe once or twice every six months I actually fork over the cash and buy a magazine that has some honesty, timelessness, and visually thought-provoking photo work. Do you remember the movie "The Steppford (sp) Wives (models)"? All the women in the movie were turned into "Barbies" looking, talking, acting the same.

This image is from some work done with Sophia, Luc Knowlan, Francis Tremblay(www.soyeztetu.com ), and Philip Gingras. The team created this really wonderful bounty of curls, and the styling and makeup were right on target (I know you can't see it, but....). Sophia really "worked it" for us, and I am very thankful to her, and Luc & Philip because they exceeded my expectations that day. I have the "clean" shots somewhere, but it is because of how the light hit her extended hand here that it became one of my favorites from the day.

Again, it is because of those honesty, timelessness, and visually thought-provoking elements that I keep that old magazine of mine always nearby. It is one of my anchors, and it gives me a much needed grounding. I've re-committed myself to get these elements more fully present again in my work, so that I don't start or stop casually "flipping" myself, and do my part to reduce the "flipping" of those who I get the opportunity to photograph. And yes I'm going to need a little help from my friends to accomplish this, but "Yes we can."

LBB

A local agency booker told a friend of mine several years ago "he'll never sell his stuff because it's always dramatic." Oh, the danger of words. This comment shook me a little at the time, but I moved on. "Yes" to drama I say, and "yes" to selling. However, sometimes it's not about "selling." This image of Ben (Montage) came about towards the end of a day of working together. I wanted shoot with Ben because of his "specialness; the uniqueness that makes him, him." It's so cool when you're subject is so comfortable in their own skin; it always gives the imagery a "true essence."

I gave the agency a retouched/sharpened version as requested. However, for me of course I've embraced the un-retouched, un-sharpened version. His gaze here is "arresting," again even "dramatic." I love the image because it's so "un-done." And yep, I'm laughing at myself because I can see that even when I have someone just sit down, I have to find the "drama." Thanks Ben, I'll sell something else.

I recently discovered the song "I Won't Complain" the John Legend version, and it sent me on a journey rediscovering the imagery that comes through me, which is partly how this blog got started. "Adrien" (Giovanni) who is shown here was extremely patient with me as I kept asking him to make small changes believe it or not in centimeters to his position. We initially started out in the direction of just doing some body shots for his book. We got those shots, which I became a little bored with real fast, but then he made this move trying to get some relief from his butt aching, and soreness of his knees from previous shots, and it was then that I new I had "the shot."

It is always so constantly interesting to me how we set out in one direction (so locked in), but soon as we let go of that, and "allow what is" magic happens. You know at least for me, when I allow the subject to "be" they never fail to give you imagery that is so wonderfully fulfilling.