Portrait 004 had a few lessons that have helped a great deal with future shoots. The most important lesson was that a happy model does not necessarily guarantee you happy (looking) photos. 

If you know Turtle (AKA Faramarz Hashemi), you know that he's one of the most optimistic, happy dudes on the planet. He's always saying something nice about people or telling you an epic story about some incredible synchronistic adventure. 2 mins alone with him and you'll be able to see the magic that exists throughout the Universe. 

Something very interesting happened during our shoot. I'd be talking with him and that loveable Turtle that I knew would be totally present, but the moment I'd bring the camera up to my face, he'd immediately (and subconsciously) default to a very sombre and subdued pose. This happens a lot, especially with non-actors and non-models. It's very typical. They have no idea they are doing it. The moment you bring your camera down they usually revert back to their normal selves. It's such a fascinating phenomenon to witness. It can also be super frustrating if you can't work around it. The solution is simple. You need to get them out of their head. I've found this is best accomplished through a strategic mixture of Confidence + Distraction + Flow

a) CONFIDENCE: You need to find authentic moments and actionable feedback to sprinkle in as early as possible to get them feeling confident. The key is not to over praise them. If you tell them every shot is "great" then they will eventually become numb to your encouragement and lose trust in you. 

b) DISTRACT: Give them activities to do that will get them out of their own head (genuinely engage them in conversation, get them to pick the playlist, have them tell you a story, make them laugh, etc)

c) FLOW: Sometimes even if people are taking bad photos, I'll just keep shooting and progressively get faster and faster. The idea is to shoot faster than that little voice in their heads can speak. You need to pace yourself with this and make sure your not tiring them out. Each person will have a different ideal flow speed. It's your job to find it and push them to their limits, without exhausting them too early. 

For Portrait #3 I experimented with asking my collaborator (AKA the person I'm taking photos of) to think about different people in his life and key moments in his past that were filled with emotion. Not sure where I got this idea, might have been film school, but the results were not what I expected. Surprisingly the darker topics actually produced softer facial expressions and vice versa for the happier topics. 

The other lesson for this shoot was that as a photographer you need to make a decision early about your shooting style, regarding authenticity. There are lots of tricks and tips that allow you to get a specific look out of a model. For example, you can get a deeper person to look light and friendly by cracking some jokes or posing them in certain angles. This is great for headshots, which in general are intended to be utilized as a promotional tool for your clients (eg. actors headshots, LinkedIn profile photos, etc). 

Personally, I believe portrait photography serves a different purpose. For me, I am willing to forego standard poses in order to chase what I believe to be the true personality of the person in front of my camera. That's why I take my time and strive to have genuine conversation with each person. Being in front of a camera, especially this type of in-your-face studio lighting is very intimidating. It takes time for people to feel comfortable and for us to build trust. That can't be rushed,

The other lesson I learned is that for this to be an honest conversation it needs to go both ways. I can't ask people to open up and be vulnerable, if I'm not willing to take that same plunge and get raw with them. This part can be scary, but if it comes from a sincere place it can also be cathartic and allow you and the person in front of your camera to have a genuine connection. 

With Pacman (AKA Ryan Pakyam) it was quickly obvious to me that he had a unique mixture in his personality of strength and tenderness. If you know the guy, which I am lucky to say I do, you know he is one of the kindest dudes you will meet. If there's a way for him to make your life easier, he's there in a heartbeat. He isn't the loudest guy in the room, put his presence is always felt and appreciated. The other thing that caught my interest about Pacman was this deeper reflective energy that kept coming through in the photos. When you look into his eyes you get a sense that there are many untold stories and that this is a brother with great depth. 

Thank you Pacman for your patience and for your support!

I love the high contrast look of a beauty dish with a grid. There is something magical about the deep shadows and rich highlights. But it takes some work to maneuver the lights, camera and the posing angles to find a way to soften the intensity of this particular lighting style. 

It helps when your model looks like she belongs in a film noir. Really works with this aesthetic. 

Had a great time shooting with the enchanting, Melissa Way. Can't wait till our next shoot! 

When the love of your life asks you for headshots, you always say yes. :)

Thank you for taking us in when we were afraid for our lives.

Thank you for educating us.

Thank you for police officers and firefighters and nurses and doctors.

Thank you for clean streets with garbage and recycling bins at every other corner.

Thank you for providing more than 2 legitimate political parties.

Thank you for water fountains.

Thank you for city planners that think about children, whose parents haven't yet met.

Thank you for all those that fought and sacrificed their lives, in wars that we can only read about in books and watch in films.

I was not entitled to any of this. The truth is, I've done nothing to deserve any of it.

One day it could be taken away from me, but today it's here and I am eternally grateful.

Thank you Canada.

Black and white has been calling to me lately. Not sure what it is or why I've been so fascinated by this aesthetic, but I feel as if there is something important for me to learn - about my work or maybe about myself. 

Something interesting happens when you remove things from the frame. I am curious to see how far I can take this minimalistic approach. What will be left, once I remove colour, background texture, clothing, etc?

Had a lot of fun this past weekend during our shoot for Luna Clothing Collection. Shot with Lauryn, one of the many fresh faces at Sutherland Models. Lauryn did an excellent job and showed a great deal of potential. I can't wait to shoot with her again.