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.