This Self taught Photographer Has Extreme Professionalism in His Work

Portrait photography is being judged again as an art form. An artist who currently showcases his portraits at the Pittsburgh gallery says his work is motivated by a reaction to the character of portraiture being traditionally confrontational. During his whole life of photographing portraits of individuals, he became sick and tired of the quick and careless way characterization is being done as a result of the smile please hold it thank you good bye technique.

He has raised a point. There is a misconception that media portraiture is a cool profession, but it does tend to be quite dull. It is in different settings that subjects in the photographs do different poses, and this is done on the photographer's orders.

Getting sitters to contribute more in the shoot is the solution to getting rid of the banality in this type of work. In this exhibition there are 13 portraits of creative people living in the city of Pittsburgh and they are specifically described as collaborative. The sitter can give a number of suggestions and even choose the place where she wants to be photographed. In this profession, this is something that some may not be used to.

According to the artist, there is no project that is preconceived. What is important to the ideas of collaboration is a preliminary meeting in which the concept of the photograph is discussed. Aided by the sitter, he begins looking for a site that would work perfectly for them. The set, looking like a confined cell like structure, is usually constructed for the purpose of the portrait to be taken.

One sculptor chose to be photographed with his own work, and a writer chose the scenario of the bar. Although the idea of bridges came out in one case, when the actual photo came out, it didn't stand out.

He is able to create complex and difficult lighting effects in his photographs, which displays his great skill. The lighting effects were not added when developing and printing were being done. Using colored gels and lighting equipment, he is able to create a beautiful array of colorful effects. The exposure times for these photographs are lengthy, almost Victorian, in duration. The time it takes for exposure of the nocturnal portrait outside the bar is 15 minutes, which is ample time for the sitter to step in and out of the camera's range.

He can come back and form letters in the air with a wand of light, and it would be eerily captured on camera. When people left and entered the bar during the exposure, there was the no evidence found on the film of their presence. Another series of photographs, taken in the garden of a factory on the North Side, again nocturnal, indicate that for all the chromatic luxury, there is a relatively simple, perhaps austere, sensibility in the lighting.

Surprisingly, though he shows a great deal of professionalism in his work, he actually just taught himself how to do photography. Collaboration becomes a challenge for him because he seems to have this desire to dictate what he wants over his work. Of course, the final decisions have to be those of the artist, and this exhibition makes that clear. The exhibit shows photographs which are reversal prints and which have been professionally printed.

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