Posted by Workbook on 08/21/2014 — Filed under: Features, Headline, Photography
You can read Part 1 of Dave Moser's series HERE and Part 2 HERE
: I have the ideal client in the truest sense, and this is a dream project. We shared in the editing process, possibly the most important part of the project.
When I shoot, I work quickly and intuitively, shooting at times without looking at the subject and looking for something I have not seen before. Because I am limited to thirty minutes at most per subject, I tend to shoot quite a bit, rather quickly, stopping to ask, listen, connect, and share.
Sometimes my client will ask me to edit prior to presenting the images to him. Other times he goes through each frame with me. He makes the call whether to leave it in but may concede to my opinion if it is strong enough. Often he excitedly states, “That’s it! That’s it. That’s Kenwyn!” Sometimes he considers multiple options and compares.
He is looking for what he knows of that person during the edit, what he has seen before, his experience of that person. I am looking for the best image, unexpected, telling, emotional, and powerful. But what I know of these people is limited and intuited at best. He conceded that he learned more about these people through the experience I conveyed while photographing them. I found the dialogue during our routine editing sessions profound, confirming subtle and intimate details from each of our experiences. His understanding of photography and portraiture grew rapidly, reminding me of why he heads a very successful company.
When I described what I have understood of the subject, my client often felt I was spot on. He often looks for consensus in the editing, which I cannot always provide. I weigh this conviction to his decision with my feelings about the images. At times I strongly disagree and at times I simply nod, totally agreeing.
He will switch out images, often after they are hanging. He will go back and re-edit, or ask me to re-edit, as he sees a pattern of expressions that he decides are not revealing or possibly redundant. I believe on any given day we may pick different images. There is no right image. I know this bothers him, but I cannot consider his occasional question, “Which image is most artistic?” That would lead me towards choosing the best photograph that satisfies my pursuits rather than supporting his collection. After all, the creative process and spontaneity are strong allies of this project.
: This project is dynamic. You will not find someone quite like this man again; he is a man of vision. Could you see this project happening for someone else?
: I don’t know. Don’t know. Don’t know…certainly not with the same treatment. The Thread of Vision...
: There is a thread of vision no matter how you treat the subject. It feels as if it was photographed by the same person. It goes beyond technique. It goes beyond style.
: I think the relationship with the man is the thread. These subjects all love him. Many relationships go back decades. Since he did the editing with me, his vision, as well as my own, runs through the project. Our blood is everywhere.