I always have liked Havana (1990), The Electric Horseman (1979), Three Days of the Condor (1975) and They Shoot Horses, Don't They? (1969) which he directed them.
I also have always liked The Quiet American (2002), The Talented Mr. Ripley (1999), Sense and Sensibility (1995) which he produced.
...and I always have tried (and trying) to learn from Out of Africa (1985), Tootsie (1982) which he directed and Michael Clayton (2007), Cold Mountain (2003) and Searching for Bobby Fischer (1993) which he produced in addition to my enjoyments.
I have come to believe that a positive chemistry and dynamic between the photographer and his subjects can elevate the quality of photos dramatically.
It might sound obvious but it's very easy to take a good thing for granted or be blinded by production values, concepts and other side elements.
This specially could be more important in a portrait session, where, the present energy should be what we are after and not our own projections and at times misconceptions about the subjects.
Subject is there and no matter how hard he/she tries, we can always feel his/her true essence even if for a short while. The challenge is to not only feel that essence, and try to photograph it but also stay true to our own vision, style and perhaps aesthetics.
In my opinion that is where the balance lays between an artistically charged portrait and a true portrait. Do we value our own vision more than the subject's true personality? And are we gaining much by this sacrifice of truth?
Depending on our goals and plans the correct answers to those questions would vary from each other...the key is to ask those simple questions before every portrait session.
Model: Miss Ree Ja, Films: Ilford B/W 100 and 3200
This is an on going documentary photo essay which focuses on the human attitude and effects on their own surroundings and living spaces as well as how those little impacts can shape our point of view towards life.
This project has been a work in progress for about two years. The shown images are part a rather large body of work which would be presented in sets of two, without trying to conclude a firm response towards the images...viewers, can draw their own conclusions based on their own past experiences and thought process.
At times the images might seem like simple abstract shots and at other times the snap shot qualities hopefully connect the viewers with images on an "everyday" level.