I once photographed a scientist who shyly asked if I could make him look ‘cool’. I thought, “you’re a doctor, that’s pretty cool already”, but I knew what he meant. Or at least, what he wanted. After several standard science-guy-in-lab shots, I thought it was time for a prop. Not a casually draped stethoscope though, something with more drama. He took me to the ominously named Tissue Culture Room with lots of those hazardous material stickers placed on big pots and vats and things. We dimmed the lights. “Let’s try this”, he said, locating a nearby cryogenic storage dewar (one suspects), taking hold of a thick metal handle and easing out a long, rectangular tube of what was probably liquid nitrogen (I forget right now). Dry ice filled the space. Lots of it. Taking the shot in a darkened room with a single strobe angled for effect, I thought I was creating something cinematic, quirky, powerful. But it wasn’t. Reviewing the finished image on the screen later it had a low budget horror film look that was entirely at odds with what the brief required. And that was ok … because it was worth the try. Nothing great happens until we try new things and fail a few times.
Then, how do we make it work? I have found that the best approach to a portrait - for me, at least - is to force myself to feel unrushed. Better to take more time for less shots. Better to take less shots with effective lighting and interesting composition. Better to take time to talk with my subject. Now, there are many jobs when I simply don’t have the time to do all I want and I have to organise my thoughts and the whole process quickly. It’s rushed because the subject can only give you 10 minutes before they leave. But that doesn’t mean I have to feel rushed. I just have to use that 10 minutes to the very best of my ability, make a connection and draw on my experience and eye. That will still allow me to capture a terrific image or two.
No, I can’t publish the scientist pic, much as I’d like to. Sorry! 😉
