Unique Dominique & Being Flexible

Dominique is a woman I met in art school. We didn't have many classes together (in fact I think we shared only one) but there was definitely a good chemistry between us. I always thought her perspective on things was very interesting and for some reason she tolerated me.

Anyhow many years had passed since we had seen each other. I asked her if she was available to model for a shoot. She agreed and the following weekend we met up for some pictures, drink & Thai food.

Most of my shoots are highly structured but this go around I decided to do something more casual. Some of the first scenarios we tried building seemed to cast Dominique as some sort of high-society Bond villain. The process felt like pushing a round peg into a square hole. It was definitely time to try something else. We went back to wardrobe and picked out a few things that seemed more like her and walked down the hall towards the freight elevator where everyone throws their garbage away.

In this environment Dominique's personality really started to show. With a bottle of Cuervo and box of fake cigarettes to use as props she gave me everything I was asking for and more.

The relevant lesson: Be flexible. Build flexibility into your shoots. If the model is being paid sure, that's one thing. But if this is a TFCD situation the idea for everyone involved is to simply get the best possible pictures. That's what a little flexibility did here.

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f/5.6 at 1/60th sec ISO 100 using my Nikkor 55-200mm zoom and adjustable neutral density filter.

A different perspective on an everyday object can alter perceptions and meaning completely.

Also note the funky effect the wide aperture produced with the focal point placed between the foreground and background.

Neverhome

During a visit to the local zoo--a place I find myself often--I rounded a corner and grabbed a photo of this grandmother/grandchild combo as the elder was hiking up her capri pants while looking up toward the ass end of a lioness.

There was something so prosaically "Jeff Wall" about this scene. Grandma's body and posture suggest Duane Hanson's "Supermarket Shopper." Her oversized flesh colored bag is an extension of her own tired physique. The child takes a mechanical pose recalling the very angular girls of Balthus. The two of them might as well be pausing to admire a window display at the local mall.

Humorously the animal, perched atop her artificial rock, finds no dignity in turning away from her peeping Toms. Instead in the distance a small brick chimney rises above her mockingly. There is nothing in any direction that looks, smells, tastes, sounds or feels like the African Savannah. She is permanently in a state of Neverhome.

The overall tableau strikes a nihilistic note. The lion's enclosure is a testament to homo sapiens' earthly dominance over even the King of the Beasts. But this pudgy old boorish woman and her sad little companion as representatives of man's superiority are coming up short. The lion's total lack of interest in her viewers underlines their mediocrity. 

But even the lion disappoints. She issues no commanding roars. She flashes no sharp teeth. Instead she gives up and turns around to show us her business end while she stares at the food court just beyond. It all begs the question: What was the point of it all? Is this what western civilization is for? Did Grandma take her loved one to the zoo so she could stare at a lion's ass? Is the child disillusioned? Can a lion die from boredom?

Never Trust the Back of Your Camera!

f/7.1 at 1/2000th sec ISO 100 using my Nikkor 55-200mm

Something I do to keep in practice is find a photographer whose work I admire or whose technique seems challenging and try to emulate that person's style / methods. This process rarely produces anything of any real merit but it is very educational. Last night I was looking over some Karl Blossfeldt. He may have been the first "macro" photographer using a camera of his own design to take extremely detailed photographs of various flora as a teaching tool for design students. His intent aside, many of them are excellent works of art in their own right.

The distance between Blossfeldt's technique and modern digital photography is interesting to me so I set up a small white box and tried to create my own Blossfeldt. The image you see here was originally shot for black & white. I planned on adding a bit of grain in post-processing. Once I had the subject, lighting & speedlight all correctly placed the photos I was seeing on the back of my camera were very encouraging. 

But never trust the back of your camera! That screen has mislead me often. Only when I brought up the files in RAW did I see exactly what I was recording. In monochrome the subjects looked well enough, but in full color they really popped! In the end I found myself with a handful of passable Blossfeldt imitations but rendered in gorgeous colors made more outstanding by the white background pushed into cool grey by light fall-off from my strobe.

Mark William Mills 

Get Something Spontaneous Once In A While

f/13 at 1/100th sec ISO 200 using my Nikkor 55-200mm zoom

I love photographing models. Of all the subjects out there nothing gives me the feeling of symbiosis that a good model does. I am on one side of the lens wanting to make something beautiful; the model is on the other side of the lens trying to do the same. 

When a model and I click, the collaborative atmosphere I try to cultivate for every shoot really blossoms into a supremely enjoyable & productive experience. 

This is Lindsey. So far I've worked with her three times and she is always a lot of fun. We were in the middle of a super moody B&W noir-style shoot and decided to break up the rigor with a few spontaneous shots. As anyone who works with me knows, I tend to have every shoot gamed out by the minute to make the most of everyone's time. Occasionally that kind of scheduling needs to relax to allow for some release. 

So after more than an hour of my very specific direction I got Lindsey in front of the black screen and with a flip of my hand said, "okay.....do some model stuff." After a bit of laughing she immediately took this pose.

If only wetting her hair wouldn't have ruined it for the remainder of our shoot! A good soaking with water followed by some gel and a severe brushed-back style and we would have had a little Robert Palmer / Patrick Nagel woman on our hands!

 

Four Pours 2012

Four Pours 2012 is a collage of four photographs depicting the dynamic interaction of fluid in motion and light. 

Limited edition prints are available. Sizes begin at 10"x10" and come in lustre, glossy & metallic paper with optional professional mounting for an additional fee. This visually engaging photograph will make an excellent addition to your kitchen decor or personal bar and can add a welcome splash of color to your place of business!

Email Mark William Mills Images for pricing. 

Right Place Right Time

f/5.6 at 1/50 sec ISO 1600 using my Nikkor 18-55mm at 55mm

Sometimes I catch flack for having my camera around my neck all the time. This doesn't bother me. You never know when a good photo opportunity will happen so it is better to be prepared.

I took this picture during a birthday party for the little boy here. The event lasted about two hours and was your standard birthday fare. Cakes, candles & gifts met with smiling faces from young and old alike. The parents were pretty pleased with images they received of this happy memory being made. 

I had my shutter on rapid-fire and followed this boy as he ran to his mother and she took him in her arms. Just as she had lifted him up he went for her cheek to plant an appreciative kiss. What strikes me most is mom looking straight on, engaging the viewer. Her posture, the way she holds her head high and the expression on her face all communicate a uniquely motherly blend of female strength, pride & love. 

This is an example of how you can't always be the author of your images. Sometimes you have to let luck write a page or two.