Sofia & Cammy

Dance is the hidden language of the soul of the body. ~Martha Graham

Lee

There is something about this image that I find delightfully strange. A nice combination of awkwardness, elegance, and tension. It is not posed— posing is something that I've been avoiding for a long time, as I think that it tends to lead to stilted and artificial images. I make my models work, constantly moving and trying to get over self-consciousness. They never seem to mind, since they can appreciate that I am willing to work just as hard. I'd be lying, of course, if I said that I entirely avoid posing— I'm a sucker for a strong image of an obviously professional model working it, which makes things easier for me at the same time. I really do try to avoid it, though. That's when I get images like this...

Suhanisa

Full disclosure: I’ve always been a cropper. Having started with film and spending years developing black and white photos, cropping in the darkroom always felt natural. To me, it also felt necessary to accomplish what I wanted to. This despite being vehemently told otherwise by others— they said that cropping was a cop-out for not being able to get it right in the camera, and it was a form of lying. Of course, that's B.S. All photographs are lies, all photographs are crops. My definition of a photograph is to add edges to the world which has no edges. But, none the less, I had guilt about cropping. I realize now that a “perfect” rectangle or square— pulled back so you see the edges of the negative in the exposed print (to “prove” you haven’t cropped) is basically a parlor trick. Over time I've seen the work of many photographers who don't crop beside the camera— and I honestly feel that while they may sometimes get an image that looks pure and wonderful, usually their compositions in the majority of their work are kind of (if not very much so) seriously lacking. So, yeah, I crop. Not always, sometimes just a little, and sometimes a lot. Sue me. All these years later, I look back with no regrets about it.

Ramonita

If you are a 100% amateur, shooting might be as simple as your photos existing to make yourself happy. Or to preserve memories of your friends, family, and experiences. For a pro, it might be as simple as earning a paycheck— and nothing more. While I've met a couple that is one or the other, the real world tends to have more shades of gray. Most photographers fall somewhere in-between. I think that I've always been right in the middle— in fact, most people might have a hard time telling the difference among images that I've been paid for or not. The truth is that I've often been paid for work that looks very personal or even indulgent. I never really cared, because I (mostly) have not needed to— clients tend to come to me with a trust to let me do my thing because that's what they want. I definitely have always appreciated that...

Ajaye

I've had an avid interest in photography as an art form since childhood— I read National Geographic and Life from my grandparents' subscription and collection (which went back to the mid-50's) since I was as young as I can remember. I suppose that my inherent interest in photography has surely been influenced by that. In fact, there is one NG cover in particular—  Steve McCurry's Afghan Girl from 1985, which is probably the first photographic portrait that had an immediate and lasting effect upon me. I've never forgotten it, and it's most definitely in the back of my mind whenever I'm doing portraits.

Katie Marie

The fingers must be educated, the thumb is born knowing. ~Marc Chagall

Maeve

I made a version of this where the scar has been removed, but this un-retouched version is infinitely more interesting.

Grace

Imagination versus creativity...  imagination for most people connotes an ability to envision something before or without it existing. As a photographer, that usually means pre-visualizing an image or developing a concept. To me, something new and/or interesting can be photographed, but I tend to utilize creativity instead of imagination. For instance, Jackson Pollock (although I can't attest to how his mind worked) could have done his paintings on intuition alone but possibly without imagination. Full disclosure: imagination is something at which I have long sucked at. I have long seen myself as having very little imagination, yet being very creative. Years ago I painted, but I would sit and stare at a canvas with no clue what to do. I tried splatter painting, but the results were (duh...) pathetically derivative. When I finally picked up a camera I knew that was what I was meant to do. Voilà— I could suddenly create without having to pre-visualize. Many photographers are good at imagining concepts, of course, but that was never my bag (I usually find photographic "concepts" to be cheesy). I prefer to work off of intuition— pick up the camera and shoot. Having the skills necessary to create something, be it a wooden sculpture or an interesting image, is just as valid— and necessary, as being imaginative.

Natalie

Milk. It does a body good.

Lucy & Nathalia

A naked woman in heels is a beautiful thing. A naked man in shoes looks like a fool.   ~Christian Louboutin

Surgical Grade Enema Syringe

I was taking close-ups of BDSM paraphernalia during downtime at a dungeon shoot...

Natalie

Janet Leigh never took a shower again in her life after starring in Psycho.

Kati Kill

Keeping old negatives, and their digital equivalent (computer files) isn't just a hoarding obsession for me. I look back over both on a regular basis, and I tend to find missed gems more often than not. I've shot so much over the past 30 years that even going through a small portion is time-consuming. It is consistently worth it, though— I'll typically spend an hour looking, and find a couple of nice images. It's like doing a shoot and getting a couple of great shots, but without having to do an actual shoot. I've always realized that something that I like at the moment I may dislike later (sometimes intensely) while something that I might have overlooked I've found to be quite a prize (better than my original picks). This image is actually ten years old, but I just made a finished version of it today. I probably thought that it was too unflattering to the model. That is something that I'm not at all concerned about these days. People that I shoot with now tend to be very aware that if I'm not flattering them, at least it will most likely be a powerful image worth more than just a pretty picture... plus they'll get some pretty ones anyway.

Ramonita

The stroke of death is as a lover's pinch, which hurts and is desired.  ~William Shakespeare
                           

Natalie

I made this look like a Collodion Wet-Plate process, which was an early photographic technique invented by Frederick Scott Archer in 1851. It is a process still practiced today, but I was pretty happy to achieve a digital version of it— despite that,  I would rather be able to achieve it the real way. Another day...

Percolate

I feel as if there is something poetic about this one.

Li

The charm around black and white has a lot to do with the past. The old masters of 19th and 20th-century photography shot in black and white and locked it all into timelessness forever. But one should keep in mind that the practice of black and white in the past was also a product of technical limitation. Photos were taken in black and white up until the 1930's and really often up into the 1970's until color film was technically perfected. Technicolor may have been aesthetically pleasing, but far from technically perfect. From that I believe there is a perception that black and white is history; realistic color is contemporary. Or, if you shoot black and white you are creating; if you shoot color you are documenting. B&W is not more difficult than color with digital. This might be true of film negatives, but not so much with digital. I ask myself, though— historically, why wasn’t there a shitload of black and white painters? If B&W is all about paring things down better than color, why didn't Leonardo try a few B&W paintings? My guess is that he and others were satisfied with drawings to fill that need. That leaves me wondering about if photography had started with color (as painting did), would B&W be considered a gimmick rather than pure? As it is, monochrome has always (for better or for worse) made the photo seem more artistic and genuine than color.

Ramonita

A very frequent question that I get is "what equipment do you use?", or "you must have a great camera". Whenever I hear that I smile and think yes I do have some great equipment— but, honestly, there is a bit more to it than that. A good amount of the "more to it" is me; the rest is a complex and often changing mixture of tech. Over the years I've noticed that no matter what equipment I'm using (and it's been changed up a lot) is that my work continues to bear my distinct fingerprint. The same goes for just about any photographer that has developed a style, even if they happen to be of a low-tech variety. If you hand a complete amateur the best equipment money could buy the result will not look all too much different than if it was shot with an iPhone. Hell, it would probably look better with the iPhone, because that is a camera that is purposely designed to make things as easy as possible for a novice...

Kacie Marie

Living is like tearing through a museum. Not until later do you really start absorbing what you saw, thinking about it, looking it up in a book, and remembering— because you can't take it in all at once. ~Audrey Hepburn

Grace

Something that I rarely do— I planned this shot out ahead of time, magazine cover style, purposely leaving ample negative space at the top for the type. I've actually done a couple of calendars for hire in the past, one of which was girls in bikinis on motorcycles... you won't be seeing any of those on this blog.