Do you know what excites me lately with photography? Working on ideas, jobs and concepts that I've never seen created in ways I've never seen produced before. It's a fun challenge to take on projects that significantly differ from what others are doing while still keeping them relevant and appealing to even the most casual observer. In this article, I’ll take you behind the scenes of my latest shoot, sharing what I can of the unexpected twists and the creative processes that have been driving my work lately.
I think I've reached a point where I couldn't care less about what anyone else in the industry is doing. Trends, what's 'in' for the moment, the latest buzz – none of that even enters my thought process when I begin a new project. My focus is entirely on the raw, unfiltered drive to create something new that resonates deeply with me, even more than usual, while still meeting the necessary requirements of the job. This authenticity not only keeps my work fresh but also brings a unique edge to my clients' projects and, in general, my overall work, making sure visions are realized in ways others haven't imagined.
That's not to say I'm not tapped into the pulse of what's currently happening in the industry or the world, for that matter. But when you're not driven by that collective mindset, you're able to step back and see how and where the groups move, and the trends evolve, and then consciously separate yourself from it or integrate into it if necessary. This matters because, yes, we're creative professionals, but it's also a business at times, and understanding the market while not being constrained by it allows for a unique intersection where true innovation happens. By not being a slave to trends, I can offer that thing that stands out in a crowded marketplace. It's about finding that balance between staying relevant and pushing the boundaries of what's possible.
For example, in my latest shoot I wrapped over the weekend, I decided to incorporate elements that were personal and unconventional. The concept was inspired by abstract forms and geometric elegance, themes I've been exploring in my recent work, regardless of the subject matter. As someone who is spiritual by nature, I also integrated symbolic elements representing the etheric and different planes of consciousness. These choices add layers of meaning to me, but it's done in a way that just looks like a cool photograph that stops you to look at, but those who are tapped into that kind of vibration may notice something more. It's like the things you can't explain; you just know if you know.
I guess it's the small little nuances like that that separate us from the robots, right? The ability to infuse something with an energy that people care about, even if it's on a subconscious level and they don't even know why.
First up are the cameras and film choices. I did a mix of medium and large formats. I like to pair slide film with Kodak Ektar. It just pairs well and gives variety to the shots. For the large format film, I used Fuji Provia, and I also shot some Tmax 100. However, the Tmax 100 wasn’t for the project I was working on those days; it was for the next project I had to start after, and I wanted to test an element since I had everything set up with the current project. I had to use a lens hood too since, for one setup, the lighting was from above and below with very close working distances.
I also used a few colored gels on the lights. Usually, I stay away from gels, but one setup called for it, so you have to just roll with what the idea builds to. The pink paint circle is the aftermath of one setup that got a little messy.
Next, I used a variety of brushes and pencils. The fine-tipped brush and colored pencils were essential for adding delicate touches and details to the setup, allowing me to create patterns and textures that enhanced the overall aesthetic.
The knives and pliers were indispensable for shaping and modifying materials. The precision knife allowed me to make clean, accurate cuts, while the pliers helped with bending, designing and manipulating wire or other rigid elements.
The funnel might seem out of place, but it served a unique purpose since they are great for directing liquids or small particles precisely where you want them, which was crucial for some of the more experimental shots involving fluid dynamics.
I also used mounting putty. This adhesive is perfect for securing lightweight objects in place without leaving a residue. It was particularly useful for holding small props at specific angles, ensuring they stayed put throughout the shoot.
Lastly, the wire strippers and multi-tool pliers were used for electrical and structural adjustments. Ensuring that all elements were securely in place and functional was key to maintaining the integrity of the setup.
So there you have it. Some of the core basics I used over the long two-day shoot. I used some other elements and larger set pieces as well, but I didn't take any photos. You get wrapped up in doing things and end up taking some iPhone pics during clean-up. Overall, the shoot was both challenging and easy, if that makes sense. Challenging because it just took time with each setup—roughly 2 full days, 8 hours each day of production. Easy in the sense that each idea came together really well and the logistics of the setups worked each time.
Ultimately, it's this blend of meticulous planning and spontaneous creativity that keeps my work exciting. My ambition to create new and unique photographs drives every project, making each one a new adventure. In fact, I've already begun my next project this week, designing the concept with fresh materials already ordered and on the way to set up the shots for the new concepts. I can't wait to see where this next project leads me, with new ideas leading the way. Hope you enjoyed a peek into the process and got a sense of the mindset behind my professional photography.
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