The Pre-CG

A friend of mine who is a fantastic illustrator, Deanna Staffo, posted a blog on the photographer Melvin Sokolsky, who did incredible special effects photography in the 1960s and 1970s. What is wonderful about his work is the way in which the device enhances the photo, but is not the only remarkable element in it. The models, the atmosphere, the styling, all are spot on and the images are exciiting and inspiring even today. His later is not something I'm crazy about, he goes too far into fully CG'd images. His Polaroid work (in the Fashion section, for the NT Times Magazine) are paricularly nice, filled with femininity, playfulness and ease.

If only

I was reading Wes Brown's blog, who happens to do great nighttime photography, very evocative and moody, when I saw he referenced a photo I love by Bill Henson.

Coupled with that, I was looking at some new work by my friend, Polixeni Papapetrou, who is an amazing photographer from Australia and Mr. Henson, again, came to mind.

Thus I thought it was fitting to post about him.

I have loved Mr. Henson's work from the first frame I saw. They are utterly unique in their sexuality, their melding of frames, their unexpected, beautiful points of light seething out from the darkness. He always takes my breath away.

He has a book I have wanted for ages, Lux et Nox, which now sells for over $1000. If you can find it to look through, it is beyond words. The blacks in the photo are fairly dense; it is a huge compendium of his work and completely inspiring.

Mr. Henson came under fire by the Australian government for his use of children in what was considered an "inappropriate fashion" (many of his images are of young, naked girls), which is ludicrous and sad.

I can only hope to one day own one of his works.

Unconventional Conventions

I'm not a fan of traditional wedding photography, at all. Recently a friend sent me the work of Noa Azoulay-Sclater, she does incredible work. What a talent. Her pre-wedding photos are not only beautiful, but exciting and unexpected; the kind of work that will last, that is rich in color and technique while exciting with the angles and propping, that works as a photo unto itself not something to merely capture an event. To top it off: she is reasonably priced. She is the best wedding/pre-wedding photographer I've seen.

The Dilemma

I did a spec shoot on Friday. Both my stylist and I hadn't done anything just for ourselves in a long time and wanted to shoot something that excited us. What was interesting was that I went in intending the shoot to be entirely based on huge, wild movement as I had the model on a trampoline. It started out that way: I began by having Alexis jump all over the seamless on the trampoline, but as the shoot went on, I found her poses became redundant as you can only jump so many ways and still look elegant.
It was really important that she look composed, that the jumps felt directed and not lifestyle-y, which she did really well. I wanted each look to be engaging while retaining the sense of movement with which we had begun the shoot.
The direct jumping changed into a (hopefully) more subtle movement of the model catching the air and she wafted about the stage. The focus changing to the clothes moving, not her. I liked this transition a lot. I find it difficult sometimes to fully envision how shots will work together in a final edit, so I try to allow myself to shoot what I like and piece it together later.
I always go with a plan, but often times, I just toss it out the window if something better comes along once we begin working.

Something Old, Something New

Someone recently mentioned a photographer to me, Tim Walker, and I am embarrassed to say I had never heard of him. His images are very playful, but what makes them stand out to me is the use of color; his work feels alive and genuinely of-the-moment, not staged, even though they clearly are.
He also published a beautiful collection of his work, including a special edition that I haven't seen it yet, as it's now a rare book, but it looks gorgeous.