There is something timeless and very simple about working with the human figure that I much enjoy. For the commercial work that I do, I am always concerned with what the client’s expectations are, and with my more conceptual work, I operate within very strict parameters governed by what I am trying to say. Likewise, for the photographs that I produce for Photo Flood Saint Louis, I am constantly thinking about the story my images are sending. However, in figurative work, I am free to pursue both form and content in a way that is completely untethered from any mental constraints.
The human body is a classical motif in art, one which conveys both the grace and tragedy of life. As such, it is a conduit for both our notions of beauty and scorn, and a subject that I have tremendous respect for.
In this most recent shoot, I was fortunate to work with a great model that seemed to know exactly what I wanted (perhaps because we are already friends or because she is also a photographer). I am very happy with this body of images, and look forward to working with Monica again in the future.
Sam is a senior in high school preparing to embark upon a college career in baseball, while pursuing a degree in engineering. I recently had the lucky opportunity to photograph Sam for his senior pictures, which was no sweat for this confident, bright athlete (that his location preferences were easy to work with and the fact that he’s got a little James Dean-ness to his look perhaps supported as well).
If you enjoy the images and want to book your own portrait session, message me at email@example.com
Continuing in my decision to concentrate on figurative work this summer, I am reposting this series that I shot with Lindsey some time ago. I’ve added a few images that have not been seen before as well.
I’ve decided to take a bit of a break from the more rigid structure of my art-making, and focus for a while on a classic motif, the human figure. Among subjects for artists, there is almost nothing more answerable to the timeless question of form or content than the body. For in the nude human form, we see both an object with wonderfully innate aesthetic qualities and a condition that we all closely identify with. Certainly, this is a Modernist direction that moves away from what I typically do, but it is surprisingly comfortable territory, and something that I have always been fascinated by.
In this group of images, Alexandra was an excellent collaborator that I hope to work with again soon. Alex has an amazing profile, bright eyes, and totally put up with my requests to have the human body positioned in ways that are physically impossible. Thanks again, Alex!
I am currently looking for people to pose for my new series, Self/Unself. Each resulting image is a composite consisting of nine photos that attempt to alter a person’s identity by changing what they wear. One of the images will be nude.
Note: You do not have to feel completely comfortable posing for this (in fact, it’s probably better if you have some reservations), but you must be willing to be photographed without your clothing. Please follow the link above to see what will be expected. Each shoot takes about 20 minutes to complete.
Contact me at firstname.lastname@example.org if you are interested in participating.
Nikki S. Lee’s work, The Hispanic Project (25), depicts a woman of somewhat ambiguous decent, definitely East Asian, possibly also Hispanic, sitting on a step outside, in an urban setting. She appears to gaze off beyond the camera; is she unaware of the photographer? The date stamp on the image suggests that the person responsible for it is likely using a consumer-grade film camera, a “point-and-shoot”. Maybe the photographer, probably an amateur, snapped this while on vacation, or else the photographer could be this woman’s friend/boyfriend. In 1998, before digital cameras became popular, film cameras were ubiquitous among almost all classes of people in the United States. This picture may even have resulted from a disposable camera, sold almost everywhere, at the time. The woman in the image wears a necklace with the word “Genie” taking the place of a traditional pendant. It is probable that this is her name, although it might also represent a lover, a friend, or even her mother. It could even commemorate any of these. The woman appears to have a rose tattooed upon her left breast. It’s impossible to know the personal iconography of the rose to this woman, but given her tough exterior, it would be reasonable to suspect that she might appreciate something beautiful and dangerous, a flower with thorns. This might even be the context she assumes for herself; a context derived from upbringing or/and necessity. (more…)
Lindsey Davidson and I have had the opportunity to work with each other on several occasions (1, 2), and I would say that her transition into modeling is now fairly well complete. It is always great when you find someone who you work easily with, and because of that ideas and such flow easily as well. For this group of images, I took inspiration from the halcyon days of fashion and portrait photography and created a look that I hope feels warm and dreamlike.
As promised, here is the second set of images from my recent shoot with Lindsey Davidson, photographer (and model 😉 ). These were all shot on 35mm film (Kodak T-Max 400) with a Nikon N80 and Nikkor 50mm f/1.8D or Nikkor 28-80mm f/3.3-5.6G lens. (more…)
Recently, I had the opportunity to photograph my friend and fellow photographer, Lindsey Davidson. Lindsey is an aspiring photojournalist, and works primarily in 35mm, black and white (what I shot the part 2 to this post with ~coming soon~). I had a great time working with Miss Davidson, and I appreciate the fact that she really went for it in these images, despite offering that, like me, she is more comfortable behind the camera than in front of it (Lindsey, I don’t think that anyone can tell).
All Nikon D300 with either Nikkor 17-55mm f/2.8G, Nikkor 105mm f/2.8G, or Nikkor 50mm f/1.8D lens.
I don’t have a lot new to share despite the fact that I have been really busy. Does that make any sense? I didn’t think so.
Anyway, here are a few examples of some recent portraits that I have been taking. If you read One Round Jack, expect to find a few of these faces popping up again soon.
All Nikon D300 with either a Nikkor 17-55mm f/2.8G, 105mm f/2.8G, or 50mm f/1.8E lens.