It’s been a fun year of photography so far, and running the Web Portraits Zurich project has given me reason to reflect on the process of making cool portraits of interesting people. I’ve contrasted my findings with the ramblings of professional photographers and teachers of the internet (where I learned a lot abouot photography), and have come to the conclusion that most internet sources don’t really have a handle on the portrait process, or they simply like to focus more on gear and dehumanizing people into subjects with gear talk rather than having a conversation on who is in front of our lenses.

Now, understand, it’s not their fault. It’s not embedded in their DNA. It’s just part of the mystique of this easy-lazy-art-form called photography. Cameras and photo gear became popular because it’s easier to click a shutter on a device than painting a canvas or doing a detailed sketch of what ever it is you’re looking at. When you shoot with a big camera it makes you feel important, but there’s a reason I don’t take myself too seriously. There’s this romanic ideal of photographers being like painters and artists delving with their whole soul into the artistic expression of the portrait. Photographers are expressing the inner soul of humans for all to see in the printed or screen viewed image…however…

A person is not a subject

Simple, and to the point. A lot of folks get into photography because it’s cool – like I did. I drew things in math class because it was interesting, I started with photography and Photoshop because the gear makes it easy. There’s a romantic notion embedded in the collective history of photography of capturing emotions and elements of people, which would otherwise be lost forever as the second-hand ticked over and the present becomes the past and that look is lost forever (unless captured by the photographer). But a person is not a subject. Even models have names and personalities, but photographers sometimes like to ignore those humanizing notions and instead focus on the technical process of focusing light onto an image capture surface (like film or a digital sensor).  Afterall, we’re all engineers and poets, painters and scientists. But I like photography because it opens a door to the non-technical side of life. Models are not Barbie dolls. I know of what I speak, for I shoot pictures of Bratz dolls when I don’t feel like talking to people.

If you’re into photographing people, then just think of the process as an extended conversation with some visual elements thrown in. When you start saying things like, “I lit my subject with this and that camera and photographed them with an 85mm f1.2 lens…” Well, you’ve lost the point of the conversation. If you listen to professional photographers they’ll tell you to talk to your subject. Get to get to know them, make them feel comfortable. But here’s the thing, small talk like, “what do you do” “what’s your favorite color” “where are you from” is just filler talk. You’re probably doing it so the person doesn’t feel ignored but not because you really want to know who they are. This type of small talk simply says, “I’m just interested in my camera and making an image and you’re just a body…so smile.”

A Portrait is just Conversation

A photo session is just an extended conversation, and if you start out talking with people with an authentic voice, then the photo session will just be an extension of that initial, real, emotional connection. If you starting shooting like a pornographer and only start talking when you notice your subject is looking uncomfortable, then the whole positive momentum of the conversation has already been lost and you need to sort of start over. Tripping the shutter is the least important part of a portrait photo session. Think of the photo session in this way:

Conversation – Lighting/Set – Picture

The more time you take in getting to know a person before you light them with a million-gazillion photons, the more natural the resulting image will be. Once you understand something about the person you’re planning to shoot you can design the lighting, build a set or pick a proper location, and then being planning a post-processing philosophy, all before taking any pictures. Spend the least amount of time possibly on actually shooting, cause the shutter trip is the most insignificant part of the process. Now, maybe you’re going for the whole Stanley Kubrik, make-the-actors-feel-uncomfortable-to-illicit-emotion-from-them deal, but that’s a whole other level of person-photographer interaction. An authentic portrait session starts (and ends) with a conversation.

Most of the technical things about photography I’ve learned from the internet. However, when I watch things like creativeLive with Zach Arias or attend a Strobist workshop, I’ve started to notice how technology and lights are always at the forefront, and the whole emotional connection thing is thrown in afterwards. That’s a key element that a photographer like Joey L communicates extremely well in his DVD tutorial (Sessions with Joey L). In his tutorial Joey Lawrence pushes the ideas of trust and emotional connection as being primary, and lighting and camera technology as the secondary elements of a photo shoot (or photo career). This isn’t meant to be a negative critique of Zach Arias or of David Hobby. The latter two (and internet icons like Chase Jarvis) are just responding to what sells. People love the technology of photography, the lenses, bodies, radio triggers, flashes, etc. People drop big bucks on technology and then wonder why their pictures look lifeless and ordinary when they know the person has a soul and interesting story to tell. The thing I love about the Vincent Laforet CreativeLive workshop is that he started out talking about the philosophy behind movies, the story telling and emotional elements, and then got into the gear talk. It sets your head in the right mind-set, to tell a story and to make a connection to the viewers or consumers of the media product you’re producing.

I love photo gear. I have more cameras than Onitsuka tigers and picked my last apartment based on how I could setup a photo studio. One reason I started the Web Portraits Zurich project was to do portraits of people. I wanted to setup a process of including the emotion of the person in their portrait. I want to portray people including elements of how they perceive themselves. I shoot the web portraits based first around the person, and then as a secondary condition around lighting and Photoshop. For each portrait set we start out with a concept meeting, the people I’m shooting get to know me and I start to understand how they see themselves. This is the grounding for the whole photo session, and I see the whole process as one long conversation with some camera equipment and photoshop thrown in as an after-thought.

A person is not just a subject

A photo shoot is just an extended conversation

The latest participants of the Web Portraits Zurich project were Dania and Gregory, the folks behind Amazee.com and help organize events like Web Monday Zurich and the Swiss Startup Camp. Before the shoot I sat down with Greg and Dania for a brainstorming session (after presenting some ideas to them online), which included Amazee Gothic. The purpose of Web Portraits Zurich is to give people a platform to be photographed, to challenge their ideas of themselves and be a part of how their images are created and portrayed.

There’s an iconic image from Americana called American Gothic. It’s an image of a man and woman standing beside one another. The basic interpretation is that they’re married and have labored hard to build the barn, which dominates the background of the painting. The man holds a pitchfork, and you get a sense that hard work and family come together to build a life for the two of them and for the future. I love thinking philosophically about images, and tracking the origins of ideas. With Dania and Greg, the analogy was perfect and obvious. The two are married and have labored hard in the startup land of Switzerland to build their barn, Amazee.com using the tech tools and business sense of modern times. This was the central theme I presented during our brain storming session, and then we exploded out in a couple different directions, and settled on a Tech-Flesh Jungle analogy to represent the internet environment of startup and internet companies in the new net universe – but this one will take some time to digest and to present coherently.

Raw Shoot

Before jumping into the Tech-Flesh concept, we did some basic portraits in my apartment studio. Dania and Greg dropped by one fine Tuesday night, and after a raclette dinner we set about shooting some portraits. Part of the Web Portraits project is to give people who don’t know much about photography and lighting the opportunity to learn. So we started out with Greg shooting after I’d set up the lights. Then I shot sets of Greg and Dania separately and together, getting a nice pool of images for the Amazee Gothic concept.

I wanted some nice, not-dark-and-moody lighting for the two of them. Greg has one of those fabulous near-bald heads that draws up from his body into a sort of classic form which almost demands a gridded softbox. I had one on hand and put an Elinchrom BxRi 250ws into it (a Creative Light 60×90cm gridded softbox). For Dania, and to balance out the sharper light hitting Greg I setup a white Elinchrom beauty dish with a diffusion sock, and inside I added a gold reflector element to give a warmer tone to her. I added some Lastolite Trilite reflectors in front of the two of them and we ready to shoot.

First Cut

I put together a quick first edit of images from the shoot. I had just picked up a flame thrower for a future ProtestLove shoot and it seemed perfect to pair a pregnant Dania with a destruction device I originally saw when the Watchmen promotional posters were released. Basically I was looking for a retro-styled flame thrower like the one the Comedian used to light his cigar, and this one with Dania has the perfect look. The device I found is simplistic and is the perfect size, not too long and not too short. We were sort of thinking of compositing in a bomber in the background dropping a payload of blossoming flowers from the sky. All I need now is to hook the thing up to a propane tank and shoot the flame and do some photoshop magic.

Greg found a pair of those cool 80’s glasses in my apartment I bought on the boardwalk in San Diego, and he wears them extremely well. I shot him with my large Creative Light softbox, and I guess he’s staring into the internet future, and with his smile, sort of reminds me of Max Headroom, I dig this look immensely. In the previous projects, I focused on a grungy look with Mathias, a cleaner look with Lukas, and now with Greg I wanted to do something lighter, so I worked up a composite of Greg with a summer sky shot in Berlin. I wanted something with a lot of light, but to maintain the texture of a painting canvas, some lightflare was added in Photoshop and I sort of want a hint of the awesome flare seen in Star Trek: where J.J Abrams used an anamorphic lens to get wicked flare, you also see this feeling in the Transformers movies, it gives you the sense of sitting in a desert.

A Person Is Not A Subject

When photographers talk about their photographs of people (like portraits), when I read comments on photo forums and on blogs from popular professional photographers it’s popular to use the term subject when referring to the image capture of a person, as in…

“I photographed the subject using a gridded octabox to feather the light off of their nose and give depth to their cheek bones…blah, blah…”

I like to call the humans I photograph people. After writing about subjects and lighting a lot of photographers then say something like, “but you have to make a connection with your subject.” I think that if you treat people like people instead of subjects, then it makes everything easier and natural to start out with. I think of a photo session as just an extended conversation. If you lose the human element in the photograph or image, then you also lose authenticity. And when you lose authenticity you have a picture which is worthless, without emotional impact, and is a waste of time to look. It’s tempting to say subject because it implies that you’re doing something grander than tripping the shutter on a camera during a conversation, but the truth is portrait photography is just about being a human talking to another human. When you get caught up in lights and gear and subjects you might not ever learn that simple fact, and end up treating a person you’re photographing like a science experiment – and I like photography because I’m not in the lab.

I grew up at a time when if you could buy a T-shirt promoting Detroit it would say something like, “Welcome to Detroit, Now Go Home.” Now when I travel back to Michigan I’m continually inspired by the shops and style I see in the city and surrounding areas. Few places say Detroit fashion like Pure Detroit, a home-grown fashion brand that takes the best of Detroit and infuses that inspiration into stylish things to wear.

Pure Detroit

If you walk through the Pure Detroit store in the Fisher Building one of the most iconic accessories to pick up is the seat-belt buckle belt. It’s genius in so many ways. The buckles are taken from, or at least sourced from seat belt buckles that used to protect passengers in Ford, General Motors, or Chrysler cars. I still have vivid memories of buckling myself into the family van (a Ford) and I just couldn’t say no to buying one. It’s sort of industrial and unique in a way I haven’t seen anywhere else.

Another staple of Pure Detroit is the fitted T-shirt. Detroit Rock, Detroit Funk, they’re displayed in 70’s-80’s colored script and result in a non-kitsch image of the city. Of all the cities I’ve visited in the world, Detroit has the coolest T-shirts. Prague is a close second, nearly tied with Berlin (and Berlin has the coolest sweater). This is actually not easy to do. I’ve seen the city T-shirts in Paris, New Orleans, Zurich, Prague, Tokyo, Boston, New Mexico, Las Vegas and a few other not so memorable locals. The Pure Detroit shirts are by far the most stylish and cutting-edge of any other place because they focus on the historical music style and well as the city. They’re cool without trying to spoon-feed anything to the person who looks at you walking down the street.

Spectacles

In the city, my favorite shop is Spectacles (230 E. Grand River Harmonie) . I was just walking around one day and heard some cool music pumping into the street. At first I thought it was coming from some apartment and pulled out my Zoom H4 to record the sounds. Then I realized it was coming from the shop I was standing in front of and decided to walk in and check it out. Spectacles is sort of beyond cool. You can buy homemade funk CD burned on a computer, new designers and T-shirts I wouldn’t know where to find anywhere else and the shop has an all around awesome feeling. I talked with the owner for a bit and walked way with two shirts and a couple of CDs. Whenever I’m in Downtown Detroit I head to Spectacles. The shop isn’t huge, but the ambiance inside is unique, and they sell real clothes there. If you stop into an H&M, you always have the feeling that you’re buying something fleeting, that will look cool for half a season and then it’s over with. The stuff at Spectacles has a sort of timeless cool funk feeling. They stock small designers, so if you’re looking for something unique, it’ll be there. On my last trip I found a fantastic hat that sits upon my brain with an authentic style the hats in Zurich just don’t have.

Showtime

Outside of downtown and near Wayne State University is Showtime (5708 Woodward Avenue). What’s Showtime? More or less it’s hands down the coolest Rock-oriented fashion spot in the world. Sounds like an exaggeration, but I’ve shopped in San Diego, Tokyo, Zurich, Berlin, Paris, Amsterdam, Rome, and a few others, and it’s just a fact that Showtime is the coolest of them all. Well, to be honest it’s borderline between Spectacles and Showtime for my favorite establishment, one is hip hop and the other rock. If you want to dress like a rockstar then head to Showtime, don’t ask about the prices and let the clothes find you, it’s an experience I’ll never forget.

The Burbs

Outside of Detroit is Royal Oak, once the trendy alternative area of the metro area, now an upscale nesting place for young professionals and those who want to look trendy, the city still has a lot of cool shops, like Indigo. I stopped in just to be different (from my boring perspective) and left with a T-shirt and sweater, the likes of which I wouldn’t be able to find in Zurich and probably neither in Paris. This is kind of the point, because I’m not likely to run into someone sporting the same look while strolling down BahnhofStrasse in Zurich.

Shoes are the make-or-break addition to any wardrobe. Onitsuka Tigers are the most fantastic shoes I didn’t know existed until I started paying attention. These shoes are coveted items in Zurich, and generally can’t be had for less than 120-160 CHF per pair. The situation is blissfully different in Michigan (and the US in general), and I picked up a nice pair of white Tigers at the Summerset Collection in Novi for like $60. I also got a pair of Levis 507 jeans, another item which carries an obscene markup in Europe. Shopping at the Summerset Collection (located in Troy) in the hardcore white-collar suburbs of Detroit lacks the feel of the actual city, but the selection and prices (compared to Zurich) are nice.

Detroit is my new fashion shopping Mecca in the world. The stores aren’t all in the same place and you might have to search around for the things you want – but when you find them you can rest assured that the merchandise will be fresh and unique. My sister says I look European now, even though many of my clothes are from Michigan (or from We in Zurich), and in Europe people might think I look American, but I say the style is pure me.

If you’re heading to Detroit and don’t know where to start, head to the Downtown Welcome Center (1253 Woodward) and check out an Inside Detroit tour, highly recommended.

I shot Lukas for the Web Portraits Zurich project some time ago, and I’m finally producing some finished portraits from the shoot. Lukas runs Guzuu and is a fixture in the Swiss web community for his unique visual style. Like many people I meet in the web/startup scene, he’s not just into launching companies, but also has a creative side. In this case, Lukas likes to DJ in Luzern and runs an internet music label (LittleJig.com).

I thought for a long time about how create images of Lukas, I could have just composited in some graffiti and called in a wrap, but then the images would have looked too similar to what I created for Mathias, and my sense for photographic exploration was honed in the academic research world. In Academia the key driver is to do something different, start with what you learned from the work of Bent and Hagood on Active Fiber Composites (AFC) and do something slightly different, evolve the idea a bit. Similarly, I wanted images of Lukas which have more movement and motion elements in them than with Mathias. I wanted to take some elements from my experience dancing in clubs and other DJ images I’ve seen on Flickr, and combine it with the visual style I’ve been developing. This meant light trails, streams of light created from the headlights of moving cars and night scenes of the streets. So when I went to UXCamp Europe 2010 in Berlin, I took some extra days and walked around Berlin, shooting long exposures at Rosenthaler Platz and other locations to generate the necessary texture images for Lukas.

When I’m dancing in a club I like to loose my mind and let my body get connected to the music and the vibrations in my soul. It’s a very personel thing, rather hard to commuincate visually, but I figured I should at least try. A key here was to let the light trails and night scenes move around Lukas, not dominate his image or allow key elements to be lost in the shadows. I’m getting back into painting at the moment, so I had an eye for adding abstract visuals from the night which are probably more like brush strokes than elements from Berlin, but in my head it seems to work.

Editor’s note:

Please excuse the logic from the following piece. The tortured author was locked in his apartment for a rainy Sunday afternoon and took to watching the great classics, Troy, Clash of the Titans, Basquiat, and began pondering a simple philosophy of art as ancient religion, and if artists are Gods giving birth to their creations, will it kill the creator when it grows up?

“The Gods envy us. They envy us because we’re mortal, because any moment might be our last. Everything is more beautiful because we’re doomed. You will never be lovelier than you are now. We will never be here again.” (Troy: Achilles)

I just want everything to be clear, uncluttered and obvious without reproach when I get it all wrong. The fear is to get it all wrong in the end – to drop the bomb to stop the war and end up in a toxic arms race for the next 30 years. You don’t know in the conception stage if the creation will turn out evil and rebel against you like a the son of a Greek king. Will it kill you in your sleep and renounce the love you thought existed. We are masters of ourselves, and the watchful beings above are there to make sure we don’t get out of hand.

What do mortals do when the creativity Gods continually fuck with our minds? Do you turn to drink and drugs like a cliche creative sob-story ready for a TV docudrama regurgitation of a plotline? Is it acceptable to sit back and let it all play out as they like? Let the images from our paintings and photographs bully us into self-loathing and despair. The abstract painting demands red instead of blue so I sit there in front of the canvas and do as it commands. Then when I try to sleep the demon beast invades my thoughts and dreams, taunting me with shapes and colors I can’t translate into reality.

“We can do it,” says reason, we can renounce the Gods and bring them to their knees. We can destroy the Mona Lisa and set fire to every painting we did, crush the statues and delete all the images. I close my eyes and almost feel the Nirvana of an Art free, madness-not world. Then faith opens a doorway to fear and we kneel before the darkness, praying for protection and salvation. Save every picture and each stupid sketch. Nothing can be lost – for it means that nothing ever mattered.

The Gods need us, they need us because we enable their existence. Because without us to imagine their lips and lungs, they would have no breath to take. A symbiosis is always existing, one feeding the other and taking life somewhere else. Hope, fear, and faith. Love, philosophy and hate. I’m going g places in my heads. The painting doesn’t exist without the painter, the picture needs the person to exist.

Images suggest stories and colors with shapes, and they demand a symphony of understanding – creating a clear flow between each other and giving the viewer a sense of intuitive understanding. No thinking is required for faith in art. No emphathy is need to kill the creation.

Even the creator doesn’t understand it
No need to look for a deeper meaning, for none exists
I was just fucking around, there is no genius here
The creation and the conception are not the same

The Gods envy us. They envy us because they can not create, but only observe the creator of their beings. The painting hangs on the wall and wonders what it would be like to build a human from DNA fragments and bits of bio-paint.