ONE SMALL SEED MAGAZINE Issue #26 Digital 01 | Page 11

ot many portraits of celebrities – Clint Eastwood, Flea, es, Ludacris, Tony Bennett, B.B. King, Tommy Ramone… y to capture the subject’s reality or the reality you y I attempt to capture with the celebrities I shoot is are willing to show me that day. The best way to do t justice is by allowing them to be unaffected by my n of reality and simplify the process by just putting et and pressing the button. Once they trust me, a real arts to present itself between the ‘poses’ most people vert to when in front of a camera. I shoot incredibly achieve this reality that I believe to be honest and That’s what excites me, when someone lets their wn and I can represent my understanding of the truth ey are. ‘mass-sharing’ of photographs through social media g the style of photography? growth of technology we have some push back, some nts and a learning period about what is important isn’t. How did we react when a Polaroid camera easily available? When we no longer made actual photos and just had them on our computers? With w platforms, I see that content is needed in a much olume. This dilutes the work, as you have to feed the east constantly. But again, if your work is worthy it will top and you will stand out. I don’t feel the need to add unnecessary photos to my Instagram, unless they e to me and show my life or personality more clearly. g simply to upload is for those same people that talk movies and feel the need to shout on their phones in st because your volume is higher than others, doesn’t r message more relevant. platforms allegedly serve to represent our lives – to private lifestyles to the world. Are we obsessed with ng a suitable reality? Can photography help us do hange from a selfless to a selfish society, people have to show off their imagined