Over the weekend I did a quick shoot with a buddy of mine, and heres the proof to show it. Being that it was my first time photographing a male, I wasn't quite sure at first how to approach the shoot, but once we got to the location it was basically the same as any of my other shoots. It went over smoothly for the most part; however, I did run into some hick-ups using my new 50mm Nikkor lens. Shooting until the sun went down, I think we walked away with some solid shots.
I decided to spend some time checking out other photographer's work yesterday. After a few Google searches I began finding some really inspiring photographs. It gave me the boost I needed to continue working on my own past projects. I don't think it's a good thing, but I seem to work on momentum. I hate stopping projects until I finish them, because of the fear that I won't be able to reproduce the same genuine creative energy as before. Sometimes it's a good thing, as in drawing and painting. And other times it's a burden, like trying to edit a photoshoot of over a thousand images. Nonetheless, I'm marching through... even if it's one photograph at a time.
A few months prior I had the privilege of photographing my friend Messina. It was my first time working with someone who had previous modeling experience. She was professional, thoughtful, and an overall kick ass model! We worked so well together that by the end of a 4 hour shoot I walked away with near 1,600 photographs. I hope I continue having the good fortune of working with such talent; and in the upcoming weeks I'll keep sharing these efforts.
Dear Japan is beautiful, demanding, and exhausting. The imagery is that of the everyday ordinary—if you live in Japan that is. However, the editing, coupled with the cinematic technique of shallow depth of field, turns the regularity of everyday into much more. The intrusive soundtrack grinds the viewers' emotions, awakening us even further from the comatose of sameness. Dear Japan is beautiful, demanding, and exhausting.
I've started college this past week, and let's just say things are a little different than what I'm use to. This week has been like a roller coaster—full of ups and downs. "How To Be Alone" brought me much needed perspective that remedied the blues.
Like Jock Sturges, Mona Kuhn is a brilliant photographer and a great inspiration of mine. Her photographs are so intimate and so provocative, so beautiful and so potent, that allurement is inevitable. Like many photographers, she has ventured into the world of motion; it seems only natural really. In the hands of a storyteller—photographer and filmmaker alike—an image is a universal tool of impact, regardless if there's one or several. If lucky enough to already be familiar with her work, you will notice the presence of her photographic style in her filmmaking.
