Trisa, the Ohio Group shoot; Tomorrow and Friday...
I received a nudge from a very pretty lady telling me I should start showing my work again (thank you very much), so here I am. Before I go into the story, a heads up- tomorrow I have another shoot with Melissa and we are going to be silly with the outfits- camouflage pants, with blue suspenders, and a bow tie...should be a fun time. The next day a
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What are you mainly trying to capture these days?
-Those things we see out of the corner of our eyes but don't think about or explore. I have seen the look on model's faces when I show them this or that in regards to a shoot. They kind of look at me like I am crazy, "You saw that when we were there? Kevin, how do you find this stuff? I look like that. I look like that to you?" Best way to say it is this, we can't see for the most part and we don't really look either. I am trying to look at this point.
What do you want your pictures to say to people?
-this is the one question I hoped you would not ask as I do not have an answer for it at this time. I have thought about it often recently because the corollaries to the answer are so profound:
(1. If I want my pictures to say x to the public, what do I have to do to get them to say this? - a great deal of answers follow this as how to direct your work.
2. If I choose one thing to say or a relatively broad statement as an answer am I bound to make work along one vein that is broadly similar? Let's say I want each picture to say - erotic heat. Do I keep shooting things in ways to show only erotic heat? Does everything have to have erotic heat, etc? Basically does answering this question free me or bind me?
3. If I want my pictures to say x to people, what happens when I try to make them say x to the public but they are saying y to me. "I know the public likes such and such as a way to shoot x but it does not really work for me." Again with the binding. Do you become a slave to the public when you are trying to speak to them? Seriously do you?
Basically to speak we use a common language and because of that common symbols. What happens when those symbols are not your own and you move beyond the common language? What happens when you make your own symbols for language? are the pictures still speaking to the people...
Adnausem on this one. The answer for me here is to let the pictures speak to me and let the chips fall where they may)
But again, this one I am still working on an answer. The above are just some recent thoughts as I probe for an answer. It worries me because if you pick up the camera and don't have an answer, what the hell is your yardstick for getting the shot or not? I have sidestepped the answer a bit and set up projects for myself that allow me to answer whether I got the shot or not and whether it is good or bad....but overall my work shows a lack of a true response to this question.
Is there a specific reaction you're hoping to get from people or doesn't it matter as much as how you feel about them?
- It matters to me much more how I feel about the shots than anyone else. I could give a shit about the public's opinion for the most part. I think the public's opinion is bad or at least a device to chain a mind down. This is why so many photographers are only willing to show their best work (read work you know people will like or come to like it) they fear the public's reaction.
Right now there is a brilliant photographer, that is plugging hard how when the shutter clicks there is never a bad shot. What bullshit! You gotta crawl to run. You gotta start somewhere where it sucks to create your new work. It's a process and right now, fear of the public's opinion is making quite a few of us lie or hide the process. "If I show a bad shot will people continue to work with me?"- that kind of fear. So I think the public's opinion is for the most part bad to consider when shooting or showing your work. So I don't consider it heavily.
( I had to break this into 2 parts)
-KevintheVerbose
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