Color, light, shadow and texture. The elusive harmony of form and composition. A look, a laugh, or a moment that draws you in. These are the things that compel me. This is why I create images.

I wrote this recently in an attempt to describe how I feel about what I do. What made me think of this was that I had recently photographed a young actor and college student and was trying to come up with a reason to show them off. She and I will be doing some conventional  actor headshots for her portfolio, but I also asked her to be a subject for my ongoing Merrimack Valley People portrait project, and those are the shots shown here. In mulling  over today's blog I encountered another blog, entitled "Your Artistic Voice - Do You Have One?", which you can read here.

I hope I have a vision and a distinctive style, or as the blog describes, "that work [that] couldn’t possibly have been done by anyone else". I also hope that my short statement at the opening of this post accurately describes it. The other article also says that a style comes from "life experience and mastery of material". In my life, both of these things are works-in-progress. I think if one ever considers either of those things complete, the game is over. If there's no learning going on, things get old pretty quickly, both in terms of the work product and the activity of creating it. One of the things that I like the most about doing a project like this is the ability to experiment, both artistically and in terms of that "mastery of material". I've seen web videos of photographers who tell their audiences that one light goes here, the other one here, and a hair light goes over there, and how they use a length of string to check the distance of each light from their subject so that their setup is identical each time. All together now: yawnnnnnnnnnnnn ..... Even in the studio, where I can control everything, I normally breakdown the equipment after each shoot so that no such boring thing will occur.

Color, light, shadow and texture. The elusive harmony of form and composition. A look, a laugh, or a moment that draws you in.

Whatever I am seeking when I shoot, even if it is something that I've done many times,  if I am not stretching, at least in some dimension, I am not growing and am not giving everything I have to my artistic voice. In a commercial photographic setting, the client may think, and verbalize, that they "just want" <fill-in-the-blank>, but giving them something more than that is what differentiates and what results in an artistic vision.

If you're like me, you enjoy the times when things are happening; those times when things are getting done and when you are creating things. But if you are really like me, you also have a tendency to look ahead to the quiet times that follow the storm. A little of this is OK, but I think being creative and productive, and interesting to others requires us to be in a constant state of agitation. We need to be thinking of what to do next, how to create, how to do something better than the last thing that we did, and how to continuously reinvent ourselves. That restlessness is what drives the creative process.

It's a little like brewing beer. Huh? Well, when beer is brewed, the wort (pronounced like dirt), which is the mixture of grains, hops and water, is inactive until the yeast is "pitched" into it. Soon after this happens, the wort becomes very active and "agitated". My analogy is about to breakdown here because the Lowell City Councilor Franky Descoteauxcreative process doesn't involve turning sugar into alcohol, but never mind :-)  My point is, the introduction of that yeast causes some pretty violent agitation which, in turn, results in the creation of beer. Very productive indeed! Without the introduction of that yeast, no beer will result. In fact, the inactive wort will turn into something very nasty after a few days.

OK, so my analogy is a little out there, but I can feel the pulls in my own life that cause me to be creative and productive, or not. We all have times when we are doing things that we don't want to do and wish them to be done with. But don't wish away the good stuff. And don't avoid the chaos. Put yourself into challenging positions and places. It really took me a long time to get the confidence to ask people if they would pose for me, for no other reason than that I wanted to create a portrait of them. People almost never refuse. People are not going to come to you to create something for them until you create a body of work that demonstrates your ability to do so. You craft that by putting yourself out there, by challenging yourself, by getting restless, by thinking about the next thing to create. As tempting as it can be to be complacent and satisfied with your work to this point, don't. Pitch that yeast.

The great Boston photographer, Louis Fabian Bachrach Jr., known as Fabian Bachrach, passed away last week at the age of 92. (http://www.nytimes.com/2010/03/02/arts/design/02bachrach.html)

He came from a family of photographers, most of whom worked and still work in the family business. His grandfather, who started the studio, photographed Abraham Lincoln at Gettysburg!

According to the NY Times article, when John F. Kennedy was a US senator, he sat for a portrait with Bachrach. The results were what Bachrach considered unusable, which, in the words of his son, "ate on my father for months and months and months". Any commercial photographer can relate, although most not at the same level as that of photographing a US senator. But when Kennedy became president, Bachrach convinced his office to let Kennedy sit for another portrait. This time, Bachrach was kept waiting for 8 hours only to be told that the session had been cancelled. Pleading to be allowed to go ahead with the session, he was given 10 minutes, "from start to finish", as the Times article says. This 10 minute session resulted in the president's official portrait, which is arguably the most well known portrait of Kennedy. See the NY Times article and the gallery of Bachrach's work to see the photo.

There are so many lessons here, for people photographers especially. When you screw up, the first thing is to admit it to yourself and to your client, and then to get over it. Easier said than done. But you can! I have a quote from Joe McNally on my wall. You can find it in his blog post, (http://www.joemcnally.com/blog/2008/09/10/cant-get-no-respect), look for the paragraphs that begin with "I’ve shot a lot more bad pictures than I’ll ever shoot good ones". That I read his quote periodically is closely related to one of my blogs from last week in which I talked about being the photographer you want to become. Even that phrase is a quote from another great photographer, Craig Tanner. But when you doubt yourself, step aside! Try to step away from your own person and ego for a minute and ask, what would <a photographer that I admire> do in this situation? Obviously, that person could be anyone that you admire, not necessarily another photographer.

Another lesson that I took away from the Bachrach anecdote was how necessary it is to plan. Plan, plan and plan some more. Try to envision what the situation will be like, how you will feel and how you will act and react. You need to be reacting to the environment and to the things that could not have been anticipated. You should already have thought about all of the things that you knew about beforehand. Clients don't want to wait for you to have a happy accident. The art, creativity and imagination that you bring to a commercial job begins where your technical knowledge and experience leaves off.

Everyone has it to some degree. Some people claim to never have it, while for others, it can be debilitating. But nervousness is often a very important participant in a photo shoot, for good or bad. Photo shoot subjects, unless they are professional actors or models, can come to a shoot bringing a suitcase for of nervousness; baggage in both senses of the word. People generally bring their nervousness to a shoot because they are unsure of what will happen, often feeling as though they will be responsible for knowing what to do.

As I have mentioned on a couple of occasions, I was a musician in a former life, and so thinking about nervousness has always been a part of my life. When you perform, whether it be musically, verbally, or some other way, you might have feelings of doubts or inadequacy, which manifest themselves as nervousness. I know that when I performed, especially when classical music was involved, I brought along with me the years of music teachers who had criticized my "sound" and technique. I still have the New Hampshire "All State" evaluation form from one of my auditions in high school which labeled my tone as "harsh". Yum! So in my typically defiant way, I went on to study the trumpet at Berklee, always putting myself into situations where my sound was of primary importance, eventually developing it to the point where it was the best aspect of my playing. But if you aren't aware of it, when you stand in front of an audience to perform, those old criticisms can come swirling back. Never mind that your audience has no idea that you have brought such baggage.

Getting back to the subject in a photo shoot though, it is often the case that the nervous person that arrives at your studio or location to be photographed has brought years of such baggage, but in this case, about themselves; their appearance, their behavior, etc.  The absolute worst thing that a photographer can do is to have his or her own baggage on display as well. Your subject has to feel that you are in charge of the situation. You need to make the person feel that they will be told, every step of the way, what to do, where to stand or sit, how to do so, etc., and that you will be sensitive to their discomfort and will be certain to alleviate it.

That being said, there is a certain kind of nervousness that is good for the photographer to have. It's really important to leave the destructive, baggage kind of the nervousness at home. It won't help you, the photographer, or your subject to feel as though you are in control and know what you are doing. It will signal to your subject that their own feelings of nervousness are validated. When I doubt myself, I use the recommendation of the excellent photographer, Zack Arias, that you just need to show up at every shoot as though you are shooting for Rolling Stone or some similar gig. As I said, I used to get really nervous as a musician, when performing classical music because of my feelings of unworthiness, but I found it helpful to step out of myself and imagine that I was Maurice Andre. I think that experience has helped me a great deal as a photographer to do likewise. It's really important to realize that there is a positive kind of nervousness though that need not adversely affect your abilities to shoot well, nor the ability of your subject to be themselves, but will, in fact, enhance your performance. That "edge", which I always feel before a shoot, and don't suppress, helps me think in that same out-of-body way. Rather than getting bogged down in what to do and how to do it, I start to think as I imagine Arnold Newman, Richard Avedon, or even Joe McNally would be thinking in that same situation. The difference that I can see in the faces and the demeanor of clients when I calmly control the situation on a shoot is pretty amazing. If you are a photographer, use this edge! If you are looking for a photographer, I would urge you to find one who has it.