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