But I Can’t See His Face

What can I say, this little guy has style. So does his brother. Been photographing him since he was a little bugger. It feels like yesterday, but it has been many years now. This image came up on the monitor and my wife looked over and said, “What I like best about your work is being able to watch these kids grow up.”

I hope that I occupy a tiny part of their brains. I really do. I hope that when mom and dad tell them they are going to do another shoot they have good thoughts, specific thoughts, not just to the images but about me as well.
I think having a relationship with the people you work with is absolutely critical to making images that go beyond the standard portrait shoot.
My favorite thing is working with the same kids three or four times a year. I would much prefer this to a new client or working in the volume shooting game, where you are looking at new face after new face. Don’t get me wrong, I need new clients, but so much or so little can happen on that first shoot and RARELY do you get something magical the first time around. Be honest folks. “Magical” means different things to different people, and I’m referring to the “magical” that is photographer to photographer, not photographer to client. I think this point might need a little clarification. Say you are photographing kids. Say you don’t have your best day. Well, you are photographing someone’s kids! You are gonna get the benefit of the doubt when it comes to the pictures because, after all, they LOVE their kids. So getting a passing grade from a client is very different than getting a passing grade from another photographer. At least I think so. Yesterday I had a surprise visit from a photographer I really admire. She showed me her new book and I showed her mine. My book had one image I KNEW I needed to get rid of, but had yet to cut those bounds of love. And then, .11111 seconds after viewing that image, my photographer friend said, “Ah, I don’t think so, get rid of it.” It’s done. Gone. I trust her and respect her opinion because of what she has accomplished and what she knows about imagery and editing, heck and making books for that matter. A few years ago I began to hear photographers say something very strange, “Well, my clients aren’t complaining,” when they referred to their work that might not have been up to THEIR, the photographer’s standard. Quality bars in this profession of ours have gone from fairly high to nonexistent in a few short years. This can be a real slippery slope for your work when you are allowing the client to dictate your quality bar. My advice…don’t do that.
Oh, and the easiest thing of all…photograph the kids in your own family! You can do anything! I don’t have any kids of my own, but my nephews and nieces are fair game!
Okay, back to my little story.
I think my desire to work with the same kids over and over comes from my working as a documentary photographer, or I should more accurately say, “Me spending time making documentary pictures,” cause I’m sure not working for anyone else when I’m doing this stuff. Just spent two days sleeping in my car in 100 degree temps. Yes, it sucked, at the time, but was well worth it in terms of exploration.
When I work with the same kids over and over I lose those initial moments of awkwardness, where the dancers move around one another but are yet to begin the routine. We start instantly.
Sometimes now, mom and dad are not even home. I get text messages. “Just go in and do whatever you want, we’ll be there in a little while.” Trust, confidence, earned from past results. You can’t beat that.


What this means is I don’t need the routine any longer. I don’t need the expected. I don’t need those safe images that we all feel we have to make when we meet someone new. Now I find myself leaning forward, or toward the edges of what I can dream of.
These two images I like, and I can see printing them, but in my mind are still a bit too safe and routine. A few years ago, because you could not see his face or all of his face, I would have thought, “Well, I better get something straight to appease everyone.”
WRONG. Sellout. Choker. Conformist.
I should have had my shooter card revoked. Small minded thinking folks. Really.
So now I see these images, which I believe say volumes about this kid at this particular time in his life, yet don’t go quite far enough into who he really is, AND, who I am as a photographer. They are in the right direction but I need to go further. This might take more time, a different attitude, luck or simple communication with the boy himself.
You can take this too far, lose the bridge to that client trust, and I’ve come close. Sometimes it takes a good sit down to explain what your intention was or your vision. Sometimes this is enough, sometimes you gotta do over!
This folks is why I keep doing this. I don’t know where I’m going. I know I’m only in control of fifty percent of the equation and I will never be in control of the other fifty percent, so I’m teaching myself to live with this fact.
It isn’t easy. But once it does become easy it means you are either not trying hard enough, or have fallen into the routine of accepting what is average or expected. I’ve found myself more than once framing something up and then saying to myself, “Don’t do that, you are just falling back on what you know will work here.”
Look at what our industry is about these days. Total control. Over control. Volume. Mass production. Perfection.
I just don’t feel it. I just don’t understand it.
I feel myself losing control and I really like it. I realize now that is where the best images happen. Fractured moments, impossible to predict, impossible to know or create until you see it forming in front of you. And, images that only exist in my world, my mind.
I compare this to a great book(Assuming my image ends up being great…rare.) We all probably have a favorite author who churns out book after book. These books we really like and find comfort in, but when asked about our favorite book of all time they don’t make the list. Because there was a book by someone else, someone who only did a few, a book so powerful it changed our life. A work like that is never mass produced. It takes too much pain, good and bad, to produce. It’s like the author left a part of themselves behind when the final pen stroke was made. This is what I’m looking for. But again folks, these images, these true portfolio breakthroughs, the handful of images you will take into the next world, they don’t come around very often.
It’s funny. Actually making the images should be the best and most fun part of what we do, and most of the time it is. But, I think sometimes we grip so hard during the time we are actually working we limit ourselves by the mental baggage we carry with us. We find ourselves running so many scenarios through our minds, thinking of all those we are trying to appease, thinking of all the techniques we have read about and we actually, in some ways, close ourselves off to what is possible. We should have a clear mind when we work. Don’t look at me. I’ve, at times, got the Samsonite of mental baggage. I’m no Grasshopper. If you have the answer put it on DVD and sell it for $99.99 and I’ll buy it.
So go forth my friends and search high and low for your edge of control. Don’t be afraid when your breath comes in short gasps, it just means you are living.

An Old/Young Friend





Fun Alert:

You might recognize this one, as I have photographed her many times in the past. Often times people ask me what I like about photographing kids, and the answer can be complicated, mostly because there are many things I like.

In this particular case, I had not seen this little one for some time, and the best part of the shoot was the first five minutes, when I wasn’t shooting, but rather was just talking with her.

I must have been sleeping for the past 40 years because I’m still shocked at how fast kids grow.

Just spending five minutes, not shooting, just catching up,hearing about her side of life is, for me, really fascinating. She has a sister as well, so I’ll be posting some pictures of her in the coming days.

These images are with the new Sony Camera, the A900, which is a very nice camera, with a fantastic assortment of lenses. But in the end, the best equipment is the gear you never have to think about, the equipment that simply allows you to connect with what you are doing. If you are thinking about, or looking at……….your equipment, you are not thinking about or looking about, what you SHOULD be thinking about and looking about. Know what I mean?

These were all shot with fixed lenses. I don’t use zooms. Although if I did use zooms, there are few stellar options in the Sony lineup, including a Zeiss or two.

This shoot was so much fun for me, and I hope it was fun for the girls. I feel being able to do this is a complete luxury, one which I never take for granted. Being allowed in to see these little people becoming big people, and just listening to what they have to say.

It never gets old. Only we do.

A New York Family State Of Mind





It has been a while since I posted about my kids work, so after being encouraged by the folks in these snaps I thought I would post up about this little scene before you. These images are from my “family photo-essay” work, which I do more and more these days. I’ve begun to do these all over the country, and this was my first New York shoot, but if all goes as planned, there will be many more of these New York contributions coming along very shortly.

As many of you know, I’ve been doing documentary work for years, so shooting in this style is something I’m very comfortable with, and in fact, is my favorite way to shoot. This is just a tiny taste, but hopefully it will give you an idea of how a shoot like this works.

In short, I spend the day, or days with the family, sorta like the long, lost uncle who emerges from nowhere to reengage with the family, only I’m not related, but I AM an uncle!! Actually, one of my “regular” kids I photograph three or four times a year recently asked his mom, “Is Dan my uncle?” Love that.

Anyway, back to the story.

A New York day, Brooklyn, subway, Chinatown. I prefer to do a real day, or gathering or event in someone’s life, as opposed to a “fictional” day of photo-ops. You can never substitute for real, and you can really see when snaps are faked.

These shoots are so much fun for me because I feel like I’m back working at a newspaper, assigned to follow a mayor, a politician, an athlete, or police officer.

My Leica(Zeiss/Contax) in one hand, my Blad in the other, a bag of film, and the opportunity to just follow and watch.