Simply put: July was a great month.
On the filmmaking side, though I wish I had gotten a bit more done (many July to-do's becoming August to-do's), I did manage a few good things: First, I finally incorporated- founding the Master Procrastinator Film Co. The process was surprisingly quick and easy. Now I realize how shady people can have so many shell companies. Second, though I didn't write the short scripts I had planned to, I wrote treatments for a couple films that had been keeping me up at night. Also, I made contacts with industry figures I hope to work with in the future- people who've steered me toward writing my first feature. That goal tops my list for August.
On the photography end, this was the first month in a while that I didn't but a lens. Shocking. More importantly, July was the month I really began working with models. Until this point I had been primarily a street shooter, carrying a camera with me always. Trying to capture beautiful moments in the wild. However, I have had been wanting to work with models for a long time. For a number of artistic reasons, mainly control and being able to design a photo to a greater degree than I could in street photography, capturing the essence of a subject. Also, working with a muse, though nerve-racking, is far less angst-inducing than I often experience on the street stressing over all moments the lens isn't to my eye and every fleeting instance I miss or didn't have the nerve to snap. Working with willing participant is comparatively relaxing!
First came Brooke, who I first saw in as I was entering the edit lab one day late June. Inside, a filmmaker was editing a project she had featured in. I asked to watch the whole thing and was really impressed. She was great and the film was beautifully lit and produced. When I saw her again the following Monday we spoke and I mentioned I was a photographer and if she would be interested in shooting. Thursday morning we met in Washington Sq. Park- it was overcast, the light was soft, a few passing showers, and even with my too-slow film it worked out beautifully. It was great not just to have a muse, but someone who was experienced, knew how to move, and be, in front of the lens.
The next day I did the second part of a workshop with photographer Cameron Davis. The idea here was to observe him on a shoot, and take a few shots of my own. The model was Kelly Thomas.She knew how to work it. I shot only four rolls but had such an incredible hit rate it was hard to widdle down.
I was hooked. I created the MODELS tab to serve as a portfolio. I compiled a list of friends, and friends-of-friends, and acquaintances of friends, and friends of old acquaintances who might be open to shooting. This required firing-up the way-back machine and reaching out to girls I met years ago. There have been a few non-responses, some apprehension, but thankfully some positive responses as well! I now have a coalition-of-the-willing a dozen strong and growing.
I have four shoots this week- and I'm really looking forward to it. I've been cleaning feverishly and moving furniture around my apartment to get as many looks as possible because I get bored easily. Tragically, my processor, Sunshine Color Lab in midtown closed down forcing me to find another lab. I'm pretty pissed off about that because they were cheap, fast, and very, very good. I'm looking at a professional lab in Alabama that comes highly recommended. They're experts, but more expensive than I'd come to enjoy at Sunshine- Which means I am NOT looking forward to bill for the nearly 50 rolls I'll have.
Coming up- more on working with models, my lens collection, and film!