Influences
I'd like to begin by saying that my list of influences is incomplete. For fashion work in particular, missing are the muses who actually grace my life in person. There are the models, who sit in front of my camera offering gifts of beauty, grace and expression. There are the makeup artists who transform faces into dreams. The hair stylists who sculpt wonderful desings. And last but not least, the designers who define fashion for us and are the reason we get the camera out of the bag.
The idea of mapping influences comes directly from Irving Penn's book amazing book, "A Notebook At Random". He actually sketched a tree that show the relative impact of artists and photograpers on his work. My thoughts are not quite that organized yet, but the exercise of compiling just a loosely ordered list had made me appreciate better the impact these artists have had on my life and work.
I thought I'd share how I went about compiling the lists:
Who are the arists I admire most?
Find quotes by the photographers that capture what I admire about their process. I must say, photoquotes.com made this easy for most of the photographers. I was there was something similar for painters. Find images that I find remarkable for each artist. In some cases I could not find specific pictures I had in mind, but the exploration led to new treasures.
The list started as a "top ten" but quickly grew. As I thought about it, "ten" is arbitrary and cannot capture the full landscape of influences.
Frequently Asked Questions
Here are some questions I get from my friends and collaborators:
A: The answer is "Yes and No." Edward Steichen famously photographed the same cup and saucer several thousand times over a 50 year period. Why? Surely as a means of doing "visual push-ups" to make sure his eye stays fresh. I think recreating a famous picture is a good exercies, but it is the visual problem solving process, not the end picture, from which the benefit comes. Once can start with a famous picture, but should create something entirely new that references it. Francis Bacon's "Screaming Pope" paintings are an excellent example of this.
A: I clearly remember seeing an ad in 1957 for Oreo cookies that I still think about. It was a simple composition of a white plate, empty save for those characteristic Oreo crumbs and an almost empty glass of milk sitting on a soiled white table cloth. Even though I was only five years old, I knew the picture was special - for one thing, there were no cookies in the ad for cookies. More than that, the image haunted me, and I started examining all photographs analytically. I think seeing that picture defines the moment I became engaged by photography.
I asked my parents on the occasion of a number of bithdays for a camera. I never got one.
When I was in high school, I started working on archeological digs and bought a 35mm Yashica fixed lens rangefinder to record the procedings. I soon became more interested in making pictures than excavating grave sites. I started studying
In college, almost exactly 14 years after fist seeing the Oreo ad, I came across the picture again in a collection of famous advertising images. By then I recognized the name of the photographer. It was Irving Penn! In Zen terms, the bottom fell from my water pail.
A: While there are schools and classes and seminars that claim to teach modeling, none are of value. DO NOT pay an agency, modeling school or photographer for lessons or portfolio work. There is no easy route and there are no short cuts to becoming a model. Here is what it takes to be a top model, male or femaie:
Models must have the ability to move gracefully and with confidence for the camera. Therefore, a formal background in movement that trains the mind-body connection for choreographed routines is a big advantage. This can be dance, yoga, gymnastics, marial arts, etc.
Get to the gym often and cross train with weights and cardio. Muscle is sexy.
Study classical Greek, Roman and Renaissance statues and painting to see how to imply motion for photographs. Rehearse these poses in a mirror until they are second nature.
Learn your face and practice isolating face muscles in a mirror. Develop a routine for cycling through a variety of expressons and emotions.
Be aware of the latest trends and incorportate them into your modeling routine.
Practice, practice, practice posing, walking, jumping, etc. Girls, you have to do this in heels.
For every session, bring a kit of shoes, accessories and garments.
Test, test, test and test with the best photographers you can find.
Be persistent, prepared and have ideas to contribute to every sitting. Fashion work is a collaboration and a models job is largely to be a muse to photographers and stylists.
And remember
Agencies find you work and pay you. You do not pay the agency.
You should not have to pay for test shots with good photographers.
Time For Print (TFP) means you receive professional quality prints for your portfolio.
You should never do anything that you are not comfortable doing for a sitting.
A: The best I'm able to afford. I always find this question loaded when it comes from a photographer. We lens jockeys are always looking for a technical edge. However, I like to remind myself that fine pictures are made with everything from a large format scanning backs to a cell phone camera. Keep the gear simple.