I am always looking for formulas and keys so good performances can be repeated. Sure you hit a good shot once in a while, but often it’s on a test and not an editorial so I can’t send the images out. Serendipity is great for art, but it has to be repeatable to be profitable. There is less difference between performing on stage before an audience and walking into your own gallery show than one might imagine. In both cases you must attempt to pre-cognize the experience of others. In both cases, getting it right in the shower doesn’t count. Some artists prefer to satisfy only their own needs and leave the viewer on the wind. I have gone to far too many art galleries and left confused to not give a decently explanatory label to the viewers of my own work, even if I make them look around for it a bit first. I feel indebted to the audience for taking the time and energy to view my work, and therefore strive to satisfy both my own needs as an explorer and to communicate my experiences on the journey to viewers as a reward for their own curiosity. Curiosity should always be encouraged.

There exists a requirement in the fashion photography I favor, that the model should exist in the environment of the image and be somewhat connected to that world. Most often when I find myself believing my work on a constructed image to have yielded a failure, it is the result of an apparent lack of connection between the model and the other things in the frame. If that is not the case, the second most common culprit is having failed to control the light. Both can be improved with practice, as my own work has shown. What I refer to as the model being connected to the world, director Richard Donner calls “verisimilitude,” meaning “the truth of the thing” or “self-truth.”

There may be some universal formula for projecting how a model will play off a given prop or costume. I have not yet found it. Perhaps it is too complex and individualized to forecast. Possibly at least some generalizations could be divined, but then would their employment by an artist be detrimental to originality? I think such things are better left to instinct honed by experience, for my own work at least. Yet, still I wonder if there could be a primer written to guide outside of instinct. Can you bracket models and props like they do sports teams in a tournament?

I believe that tension, composition, and detail are the keys to a great image. The viewer must be presented with drama (or the equivalent), context, and a visual focal point in order to relate to most images. Drama is given by any notion of tension within a frame, whether that is interpersonal tension, spatial tension, or implied kinetic tension.

The story of the single frame must have a context, as all stories presented visually do. The context is revealed and highlighted (successfully or poorly) by the composition. In this use of the word “composition,” I mean the juxtaposition of complimentary and contrasting areas of color tone, hue, and saturation (or simply brightness in a black and white image). Void and filling shades and levels between them must be shaped to draw the viewer’s attention to your intended purpose in presenting the image. With multiple frames, a sequence of images, it’s a whole other ballgame.

The visual focal points are also of great importance, and without these details the image will appear totally meaningless. In photographing people, the visual focal points of an image almost always include the eyes. The detail need not be overpowering. It could be as simple as a green dot on two hairlines intersecting. What is important is the presence of an anchor of some sort. An image that is totally unfocused cannot ordinarily hold or even momentarily capture the viewer’s attention.

In most cases, a formulaic approach to fashion photography would be counterproductive. However, if one is conducting some sort of experiment to find the subconscious mechanics of one’s work, looking for patterns in the behavior of subjects would probably be useful. Finding such patterns would be a step in a long path to allowing for a conscious and controlled paradigm shift in production and visualization methods.

If you think about it, becoming successful in fashion is a lot like becoming a rock star.

• It all comes down to having a great band behind you. You truly cannot do it alone.
• If you don’t have talent, the best guitar in the universe isn’t going to help you.
• It’s more about the vibe than precision, but you have to have the command of precision to create the vibe.
• You just have to keep playing and be out where people can see your work, and that’s how you become popular. You cannot both be genuine (and therefore have staying power) and start out playing in stadiums, just as a photographer shouldn’t start out in major international publications (I’m slowly starting to realize).
• You must get out there and network.

Twiggy says, “You always must connect with the photographer.”

Twiggy gives the best advive on ANTM.

We have to fall in love to get good pictures, if only for a little while.

I learned to value layering effects when I was into computer animation in the mid-90′s. The concepts of good compositing translate to fashion photography and many other art forms.

Complex things tend to look more special.

If it looks like it took a long time to do by hand, that’s less common now than it used to be, so there is value assumed. Add considered detail to make things look expensive. Just don’t over-do it.

This was my response to a photography forum post asking “what is an editorial?”

An editorial tells a story, argues a point, focuses on an issue. Like a written editorial, a photographic editorial expresses a position on an idea. It is an editorial comment, a note from the artist or editor or publisher. Someone is communicating an idea through the images.

Someone asked a few weeks ago, on a photography forum I frequent, “what is an exotic model?” This was my response:

When you do a double take, thinking something about a model is makeup and it turns out to be their real face and it is beautiful, that is the “exotic” I look for.

Sofia Loren is exotic, Djaimon Honsu is exotic, Yvonne De Carlo was exotic.

They have sculpturaly breathtaking features that really would shock the kind of person who never leaves their hometown, but even people who get around are surprised when they first see these people.

Exotic must be elegant in form, and exotic must be breathtakingly rare. For me, that is.