PHOTO BY: KENWYN MURRAY LOCATION: Trinidad and Tobago Trinidad Carnival 2015 www.kenwynmurray.com
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PLATFORM FOR CREATIVE MELTDOWNS EDITOR’S NOTE I was sad to miss Trinidad’s Carnival this year, all the images on social media reminded of the great times. Fortunately it only fueled me to talk more about it and spread the love for Trinidad that is deep in my heart. I tried to infest people with the stories I told in the media and continue to do so through this issue no 4. I wanted it to be filled with carnival related stories, personalities, fashion and of course images from the road. For all the readers who are not interested in carnival (hard to believe but true) I tried to put together artists who can inspire and impress you with their talents. As carnival still flowing in the veins indulge in images of carnival, traditions, great reggae artists, illustrators and photography. Next time I will take you on a trip to Jamaica and its’ talented people.
Ania Orlowska
CREDITS
Editor in Chief Ania Orlowska Creative & Art Direction Kerron Riley Managing Editor Lina Komin Graphic Artist Che Geoffroy Kerron Riley Managing Editor Lina Komin Advertising & Creative Contribution Marko Depender www.bassculture.nl Special Thanks to Cover: Photographer Ikenna Douglas Wild Mas Ltd Carnival Deisgns Photographer Worthy De Jong Bassculture Foundation Caribbean Creativity Roger Holder Group
Photograph By Kwesi Marcano
w w w. t h e o r l o w s k a . c o m
SUMMARY
PHOTO BY: Kenwyn Murray LOCATION: Trinidad and Tobago Trinidad Carnival 2015 www.kenwynmurray.com
Joanna Zalech
112
Ray Traboulay
Kwesi Marcano
18
34
Rawle Permanand
Ziggi Recado
94 68
Tafar Chia Lewis
32
Chris Guinness
102
Sian Mcintosh
60
48
Kenwyn Murray
84
Liselotte Wijma
Kerron Riley
128
PHOTO BY: Kenwyn Murray LOCATION: Trinidad and Tobago Trinidad Carnival 2015 www.kenwynmurray.com
www. bassculture islands .com
Trinidad & Tobago
Farewel l to th e Fl esh ‌
RAY TRABOU LAY
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The word “Carnival” is derived from the Latin “Carne Vale” and translates into “Farewell to the Flesh”. The inspiration for this Series of Carnival Photographs came after being a key on camera interviewee for a Documentary which aired in Canada recently titled “Where is Home?” which was produced by Two Time Emmy Award Winner Paul Saltzman and directed by Aga Alegria. The film discuses the lives of Expats who grew up around the world and the trials and experiences they encountered in a globetrotting lifestyle. One main aspect of the film is that it discusses how one may not feel connected to their parent’s homeland if they live outside that country for an extended period of time, especially during their formative years. I grew up in four continents, living in diverse places for significant periods of time. These places include Borneo and Jakarta in Indonesia, Paris, Argentina, Texas, Canada and more. I did live in Trinidad for a short while when I was very young, but didn’t at that time partake in mas fully, so doing this whole project was a form of self-discovery and discovery of my parents’ heritage that I was never around to be a part of and never fully understood until now. I am primarily a portrait photo-
grapher so I approached the subject matter as if they were portraits as opposed to large group shots with hundreds of masqueraders in the frame. I spent the years of 2011 to 2013 focused on photographing mainly Traditional Mas and J’ouvert as each costume tells an element of the folklore and history of the country. I did however photograph certain kings and queens as well. Doing this project was a way for me to learn about the heritage and culture I never knew growing up. I also spent the past three years researching as much as I could about the characters in my photos by talking to the individual masqueraders such as the fancy Indians, blue devils etc. and by spending time in their homes and mas camps. All these experiences furthered my appreciation of the Art that is mas. When first witnessing the celebration, I found it to be similar to a live Broadway Show on the streets, or a form of street theatre. As they masqueraded through the streets, I felt driven to capture them in the cathartic frenzy that is Trinidad Carnival. In doing so, I learned a lot about Trinidad’s heritage, folklore and culture.
‘Instead of using on camera flash or daylight, I carried around large studio lights single handedly or with a taxi driver as an assistant.
I photographed the project in a slightly unorthodox manner. Instead of using on camera flash or daylight, I carried around large studio lights single handedly or with a taxi driver as an assistant. I was running around Trinidad photographing mas with everything from Alien bees to Profoto studio lights with large soft boxes and octabanks powered by battery packs and stands balanced by weights and bricks. As a result, the photos have a polished aesthetic. The work may look heavily photo shopped or digitized but it’s the lighting from large soft boxes, which gives the photos that polished feel and look. The only factors that were done in computer were dodging, burning and sharpening of the image. The rest is all lighting.
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PHOTO BY: Kenwyn Murray LOCATION: Trinidad and Tobago Trinidad Carnival 2015 www.kenwynmurray.com
www. bassculture islands .com
then we go paint the town blue
“Djab se yo Neg me die se nom-la blah” = ‘if the devil is a black m a n t h e n God is a white man“.
The Story told by Tafar Chia Lewis
These words paint the rebellious, fearless energy of the Blue Devils, an energy that could only be experienced. A sudden burst of madness onlookers would see but to the player of this Mas he experiences sane honesty; the honest playing of the side of us that we wish to suppress since slavery oppressed and since Carnival for the lower class was the chance to have an opinion that mattered and could be expressed. Blue devils did that. It instead is not a devil as what we know in the biblical sense but, it is the title given to blacks in slavery, it is the antagonist through the eyes of a very subjective society, and it is the person who chooses to revolt or rather stand up against the ills of politics and capitalism. “If everything we do and every fiber of our being can only be considered evil because of the mere blackness of our skin then we go paint the town blue.”
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The Functions Of BlueDevil. The Blue Devil does not only torment spectators this is just one of the functions. Other functions are: ‘sensuality’ which is seen in the placing of the paint on each other skin as in the preparation of the Blue Devil as the biscuit thin is stroked, White Oak puncheon poured on the ground and lit aflame as a way to respect and ask permission from the ancestors for this playing. ‘Sensuality’ is also shown in the way we whine to the music. The ‘grotesque’ or nasty function in which we see the player doing all kind of disgusting activities using aloes and colouring to get their mouths running and having an avid red color that makes spectators run. ‘Bravadage’ is the bold, confident and exaggerated in which he plays and performs the Mas as big as it can be played with no limitations. It is the aspect of us that secretly wants to be seen or validated. His ‘humorous’ qualities makes spectators laugh, this one time a bird was placed and was painted blue carried around and made to dance as the devils whine with the bird. ‘Mischief’ is the function that teases and provokes, venturing outside of given boundaries by society. Everyone’s process in playing Blue devil is different when we light the puncheon that is thrown on the ground we drink some and as we start painting and dancing the Blue Devil character or rather energy
manifests. The paint there- and seeing my father this fore becomes the Mask for strapid, deep voiced, stubthe player of the Mas. born man without a cussing giving away his beer really It all started one intrigued me. I saw another carnival friday side to my father, the vulnerable side he looked at himWhen I play Blue Devil it is a self through the blue devil, very high energy, almost ca- or rather the side of him that thartic holistic experience. has been suppressed, smiled The spectators become ex- and supported its honesty. ‘ tensions of you that you - Tafar Chia Lewis. She plays want to interact with striving blue devil in a group called to get pure honesty out of Campbell Trace. them. It all started one Carnival Friday if my memory serves me right my father, an ole Mas man continued exposing me to traditions, as he insisted that I experienced all the many things that made Trinidad such a Gem. Carnival being his first love always. I heard screaming but I saw nothing, as I stood looking at the other traditional carnival characters passing I became distracted. I wanted to know where these timed, foreign screams came from. Then another rhythm was added which influenced me body moving to the beat as the screams seamlessly fit within the rhythm of what I then saw was a biscuit tin. A group of five Blue Devils came my way and I heard my father at this time saying “Oh lord, dey go harass me”, and he then tried to grumble down the end of his beastly cold Carib but he didn’t succeed cause he caught one of the devils eye and he came up on my father and taunted him till my father smiled as he succumbed to the wit and unstoppable fearlessness and gave him it. I was probably about eight years
“blue devils represent an ancestral fearless energy that represents all aspects of the human being through honest portrayal”
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Kw e s i Marcano
TRINIDAD & TOBAGO
Photography
Blue Devil
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PHOTO BY: Warren Le Platte LOCATION: TRINIDAD AND TOBAGO Trinidad Carnival 2015 http://leplatteart.wordpress.com/
Revealing to us our humanity
Tr in i dad
& Tobago
KENWYN MURRAY
bassculture islands
Why draw a portrait? I’ve always been drawn to the faces of people that surround me. Even when I am not painting them I am looking at faces trying to figure them out; trying to figure out their lineage and their meaning. We all come from somewhere and that story is written across our faces and on our body-that fascinates me. Portraits are a way of honoring a life and a history.
How do you select a person you want to paint?
It depends on what I am painting. Most of my work tells a story so I choose subjects whose very image I feel tells that story. I have to confess that in that regard I am not removed from my context. I understand very well that I am a Caribbean being of African descent and that the image of people who look like me finds itself continuously excluded from notions of beauty, purity and value. Through my work I explore ways of removing future generations further For me it is about accurately away from that ignorance portraying what I see before and I deliberately engage me. There is truth in that subject that reminds us of process. I come with biases our humanity. and they are not static, they change and they reshape. Similarly the model is not a singular identity, they are a multitude. The convergence of us meeting is a very special occasion in our individual evolution and being faithful to that has a beauty on its It depends on the message I am working on conveying. own (if it can be achieved). For example, in my current work I am using the idea of the angel to explore concepts of beauty and power. It is important for me that the images I produce relate strongly to my context and I capture what I am able to this is interestingly where see and what I am able to the tension occurs. I have render (technically). It is a deliberately chosen subjects constant battle between whom I believe ask the viewattempting to remove the “you” from the process and er to question their notions of what shape purity takes letting the process benefit from the full wealth of your in our minds, and how the beauty and ideals we aspire humanity and training. to define as well as shape us.
Is it about facial expression?
Do they have some important characteristics?
What do you capture?
You are also a photographer. Is there any connection between capturing person’s face on camera and on a painting? Does it serve the same purpose? Photography can serve the same purpose and very often it does. The difference is that the painting by the very virtue of its process tells a different story. It speaks to a different kind of labour and a level of attention that was once reserved for affluence. That is the politics of a painted portrait. The photograph is immediate and through it one can see the world from a single moment. They both have their place in revealing to us our humanity.
PHOTO BY: Kenwyn Murray LOCATION: Trinidad and Tobago Trinidad Carnival 2015 www.kenwynmurray.com
www. bassculture islands .com
Photography: Ikenna Douglas www.fb.com/idouglasphoto
“ Designs: William.M&Co
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Sian McIntosh
Trinidad and Tobago
MONDAY WEAR Desi g ner Model: Arveyann Thomas
Monday wear means to express your own individuality during carnival. On carnival Monday you can see person’s creativity. On Monday people design their own look. Monday wear is open to designer’s creativity but it has to stay practical. I have to think of the masquerader on the road, how it is going to move and how they are going to look in it. As a designer I try not to get too complicated, try to have simplicity in my designs, still make it very sexy… the difference is in the prints. It’s crazy to think you can only wear the piece for one day, I try to design a line that you can wear on the road and look amazing and still be able to wear it to the beach and rock it after. A dual role of Monday wear is important.
Model: Kristy Agar
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Photography: Ikenna Douglas www.fb.com/idouglasphoto
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PHOTO BY: Kwesi Marcano LOCATION: Trinidad and Tobago Trinidad Carnival 2015 https://buzz.tt
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Ziggi Recado
bassculture islands
St.Eustatius/The Netherlands
Photography:
Worthy De Jong
With four successfully released studio albums and outstanding performances on major European festivals and venues Ziggi Recado proves once and for all that he is amongst the top reggae acts. We caught up with Ziggi in Amsterdam and talked about his Caribbean home, Statia. We went back to times when he recorded his latest album “Therapeutic” and spoke about his plans for 2015. Lately you spent a lot of time in St. Eustatius, the place where you grew up. Tell us a bit about this island. What is your favorite place to hang out? Best beach? Why do you like to go back there? Statia is one of the smallest islands in the Caribbean with a population of about 3500. It’s generally a very laid back, easy going place. I have some close friends there from the time I grew up and we hang out at different spots. I think hanging out is more about the company than the location. Best beach is probably the one generally used for swimming. There’s one beach on the island where the population actually swims. The beach has black volcanic sand, very different than white beaches you might be used to seeing on pictures.
Having lived there it’s always sweet to go back. To connect with people I might not have seen in many years and to see where the island is at now in terms of development… In May 2014 you released an album “Therapeutic”, is this album completely a result of your stay on the island? How did island life influence your creativity? One of the main purposes of my trip there was to record this album. I went there prepared to do that, and with no other obligations on the island my life was about that album for those months. It was a completely different way to work in the sense that for the first time I would wake up every day and the only thing on my agenda would be to make music. So I started creating every day. Got into a great flow and was able to
record the bulk of the album within the first two months. It’s obviously a different vibe sitting in the yard, in the sun, vibesing with some brethren about a track as opposed to being locked in a studio in Amsterdam. Personally though I think the biggest thing was having that time to devote entirely to music. In Europe where I live I’d have my regular life going on, shows, two kids etc. So I have to plan when I can actually make time to work. When I was in Statia I was ONLY doing that. Walk us through your day on the island. Where did you record music? Who are the people you worked with? I’d get up late morning. Have breakfast. Head to a friend of mine’s spot ’Bigs’. I created most stuff at his place. We’d vibe there from midafternoon till (continue)
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evening. Often times I’d have a track completely written in that time. Sometimes a hook and a verse… stuff like that. Evening I’d get some dinner. Then head to the lab and record what we had been creating all day. Finish before midnight. Head to a next close friend ‘Jabby’ who runs a little fast food spot. Play the track I recorded there and check the feedback from friends and others passing through at the spot. Repeat the next day. Took some days off now and then to not burn out but that was my routine more or less. My crew was all the close friends I’ve known from a kid.
How do you find inspiration for the topics of the songs your write? Often from the music itself. If I get a riddim usually I think it has a specific feel. Major or minor note, a lot of elements that give it a feeling. I try to work with that feeling and create ideas from there. I guess inspiration for topics comes in different ways. One time I could have some clear lyrics in my head already or a melody that I need to create music for, other times I get music and let it give me the lyrics. Whatever feels best…
Lots of music artists based in the Caribbean want to ‘make it’ in Europe and be popular here.
Do you think you set an example for them with your work? I guess I could inspire some guys from smaller islands just with what I’ve achieved coming from a tiny island like that. I think every situation is unique so I inspire more than I actually set an example of how it should be done. In my situation I moved to Holland when I was 18, got into music when I was here. So by the time I started putting out music I was already in Europe. It’s nice to aspire to do grand things. I think if someone wishes to gain traction in Europe, as long as they know why they want that and what they want to get from it, it’s all good...go for it.
How is year 2015 shaping up for you? What are you looking forward to? 2015 for me is going to be unique. I’ve gotten to the point where I think I’ve learned a lot about the music industry and life. I’m trying to create something very special and unique, something unheard of. I don’t want to put any pressure on that process so I can’t say exactly when you’ll be hearing and seeing this new stuff. But when it does arrive I can guarantee you it will be worth the wait! I’ll probably be in Europe most of the year. At the moment Statia is not in the short term plans.
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PHOTO BY: Warren Le Platte LOCATION: Trinidad and Tobago Trinidad Carnival 2015 http://leplatteart.wordpress.com/
www. bassculture islands .com
PHOTO BY: Warren Le Platte LOCATION: Trinidad and Tobago Trinidad Carnival 2015 http://leplatteart.wordpress.com/
Liselotte Wijma
Fete The N e th e r l a n d s
To illustrate photos it’s like starting from scratch. I see it as a painting which is not finished yet. Sometimes the idea was already there and the photographer and I thought it all out. And sometimes I’m just trying different techniques, colors and shapes to see what works. The added value is to exaggerate the feeling in the image so it gets stronger when you look at it. My creative flow comes naturally, I can’t stop it. Inspired by all the experiences I have in life. Sometimes I wake up in the middle of the night and thinking of new ideas and these are so hard to ignore that I get so excited and can’t sleep anymore. Want to start immediately. With series “FETE” I tried to show the party that is going on. An explosion of colors, beautiful women all looking like queens, with different colors and shapes but all taking and deserving all the attention. – Liselotte Wijma
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Costume Design: WildMas Model: Carlene James
Costume Design: WildMas Model: Sherrece Villafana
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PHOTO BY: Warren Le Platte LOCATION: Trinidad and Tobago Trinidad Carnival 2015 http://leplatteart.wordpress.com/
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The man behind the feathers
Rawle Permanand
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Tr i n i d a d a n d To bago
What exactly is a carnival costume? Carnival costumes have evolved throughout the years but were once a form of freedom and expression from the days of slavery. Carnival costumes may range from traditional such as the Fancy sailors to Blue devils... to what is now considered the modern costuming of bikini mas with feathered adornments. The transformation of freedom and revelry comes into play when costumes are worn. Some costumes, more on the traditional side, depict a story which is acted on the streets during the parade day…while the majority now just wears costumes for fun, vibes and parade.
What was your own favorite design so far? My favorite design thus far was the collection I did last year that consisted of 5 shades of blues inspired by the ocean to show depth. It was a wing with cascading plumes from shoulder to the floor beginning with powder blue and ending with cobalt blue with elements of turquoise, teal and sky blue and accented with clustered peacock feathers.
What makes a costume the best costume on the road?
Definitely colors and gems that catch the sunlight. How do you get Sometimes the size makes the inspiration for it more attractive as the deyearly designs? tailing shows off most. Also, how effective the masquerInspiration comes from any- ader portrays the costume in where basically... I’m attract- movement shows the feathed to color combinations... ers in motion. so anywhere I go and I see a combo that I like I take a pic- What would you call ture then get feather samples this feeling you feel of it and hold it till the right when you see the vision of design comes to mind. At times I am inspired whole section in the by moods, movies, nature or carnival band wearyour design? simply by the theme that is ing put forth to design under The first time I experienced this, it was some
what emotional.... A happy sad feeling just full of anxiety and excitement... Just knowing you are able to make someone’s day through your work makes it all worth the sweat, burns and toil. what emotional.... A happy sad feeling just full of anxiety and excitement... Just knowing you are able to make someone’s day through your work makes it all worth the sweat, burns and toil.
What are your future plans as a designer? Everyday I’m learning and always willing to…whether it is research or just better techniques. The goal is to remain humble and work honestly. I’ve been fortunate to be the mentor to few persons wanting to enter the design world which is a blessing taking into consideration. I do want to continue spreading happiness through my work worldwide. Apart from Trinidad, I continue to design for carnivals throughout the Caribbean and North America definitely keeping the flag of color and bling hoist high.
Your advice to people venturing into this career? It is easy to get ‘swell headed’ as I have seen happened to persons who have just entered into the industry. This industry looks pretty but it is not as easy as it looks… Like in every profession, there would be obstacles and challenges but you MUST remain focused and keep your eye on the prize. Get proper training not just in designing but in proper work ethics. But I say once you have the love and passion for creativity, mas and people then go for it. Remain humble and embrace each opportunity as it comes.
Model: Avionne Mark Photographer: Kwesi Marcano
Model: Sian McIntosh
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Tr i ni d a d a n d To ba g o A world-class Caribbean creative
Christopher Guinness Interview by Emiel Martens of Caribbean Creativity Christopher Guinness (1981) is a director and animator hailing from the southern-most Caribbean island of Trinidad and Tobago. After having worked for leading advertising agencies at home and abroad, Christopher decided to launch his own creative agency, Bepperton Entertainment, together with his wife at the time. Their two short narrative films to date, Pothound and Captain T&T, were released on Vimeo and almost instantly found acclaim all over the world.
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Could you first briefly introduce yourself? Where were you born, where did you grow up, what sort of education did you have and how did you get involved in the creative industries? My name is Christopher Guinness and I hail from the southern-most Caribbean island of Trinidad and Tobago. I grew up drawing, painting and experimenting in all sorts of visual art disciplines which eventually lead me to pursuing studies in animation at Sheridan College in Ontario, Canada.
You have worked for two leading advertising agencies,
first as a graphic artist at McCann-Erickson and later as an art director at Saatchi and Saatchi. How did you get in these competitive positions? The job at McCann I was offered by the creative director. I had created a piece of animation which caught his eye and was subsequently used by one of their clients for the FIFA World Cup. I had no plans of entering advertising but the opportunity seemed interesting and, not unimportantly, the girls there were cute. After spending some time at ME and beginning to feel a little creatively stagnant I interviewed for a job at Saatchi. A week into the job they lost their biggest client in a competitive pitch
which was prior to my arrival. As a result they had to let go a portion of their staff. At this point Leizelle, my wife at the time, and I were thinking, bad move, coming to Saatchi and Saatchi. But we rallied with the company, won the first pitch we worked on, then the next and the next. In the following couple of years we won more creative industry awards and business than any agency in the Caribbean, the biggest awards as well. It turned out to be a good move.
In 2011 you started your own design, film and animation agency, Bepperton Entertainment Productions, together with your wife, now ex-wife, Leizelle. (continue)
Why did you decide to strike on your own? And how is it to be working together with your ex-wife?
It’s important that our work to not only entertain but inform, inspire and creates discussion. Much like the best art seems to do. Our work is seasoned with the Caribbean I think it’s unavoidWell, our working relation- element. able, it’s innate in our creship is what our former mar- ative process. riage can only hope to be. The move was natural, we So far you have made were getting jobs and needed a company for the checks three short films together, Married Peoto be made out to.
On your company website it is stated that you aim to produce work with social purpose. What do you want to achieve as a socially committed filmmaker? And how does your Caribbean background play into your work?
ple (2010), Pothound (2011) and Captain T&T (2013). Could you tell us more about how these projects were conceived and executed? Married people was above all an experiment in seeing if we can tell a story with as
little as possible. Hence it stars Leizelle and I in our former apartment and little more. From there we decided to get a little more adventurous.My writing is influenced by life experiences, so a tragedy involving one of my dogs inspired Pothound and my childhood, Captain T&T. Once you get a clear idea down on paper, the process becomes organic. You begin to see ways of making things work, ways to serve the story without the unlimited problem solving money of Hollywood.
You premiered both Pothound and Captain T&T on the video-sharing website Vimeo, from where
they went viral. Pothound even made it to the finals of the 2012 Vimeo Awards in the narrative category. Why did you decide to distribute the films through this platform? The choice was heavily influenced by money. It really adds up, distributing through film festivals trying to get your work seen by the right person. A lot of films get lost trying to do the festival route and are shelved from the greater public for years much to their detriment. So we took a shot just putting it out there for the world or no one to see. The content appealed to many and the films got traction and were a hit on
Vimeo and other social media. They even got pirated on YT, countless Asian websites, torrents for christ sakes. But what it came down to is that we got recognition and work from the exposure, which I think is the point of short films distribution anyway. I still do think the festival circuit is better if you have an extremely refined masterpiece on your hands, but for us now starting up, it was the way to go.
You are currently working on your fourth short film, Fade to Black. What is it about and when can we expect it to be released? Also, you have specialized in making short films, do you
have any plans in store to make a feature-length movie? Fade to Black is about aging, memories and love and will be out this year. I consider making short films as a stepping stone. There is a feature-length movie in the works. A very special story that is uniquely Caribbean. Just wait and see!.
POLAND
Joanna Zalech
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Graphic Play With Forms
Are you more of a graphic designer or an illustrator? When it comes to this series of work I’m a graphic designer but I also love creating illustrations using traditional tools like pencils and pen. What techniques are you using to create these amazing images? I work in Photoshop by merging pictures of models taken by my husband with my pictures of elements or textures surrounding us. I often use the paper forms I make by myself I photograph them and use them as graphics on the images.
How do you decide which element to use on a photo? Usually I have an idea, a concept and I look for a proper image. I try out few different images that could match the concept and select the one. The whole creative process is partly an adventure with an unknown ending.
What are your creative intentions when you illustrate a picture? I aim to create a portrait of a woman that would highlight features like beauty, feminine side, individuality, sometimes also mystery and loneliness. I try to create unusual vibe and take the observer into a different reality. It is also a form of a play with forms and colors, the search for new outcomes.
PHOTO BY: KENWYN MURRAY LOCATION: TRINIDAD AND TOBAGO Trinidad Carnival 2015 www.kenwynmurray.com
www. bassculture islands .com
fashion & lif e style photograp hy
Kerron Riley bassculture islands
trinidad & tobago
Who is the most important person on the photo shoot set?
What are your 3 major turning points in your life that affected your career as a photographer? First major turning point was my decision about going professional. Second one was when I decided to take my photography to the Caribbean. Third and the latest one is my move to Poland where I live and work now.
How do you like Poland so far? It’s cold! … But I like the landscapes and personalities, I look at everything with curiosity and it gives me a lot of inspiration. I look forward to working in this whole new environment.
What kind of photos do you like to take most? I like to think of myself as all rounded photographer, I do fashion, lifestyle, events and landscape but I definitely enjoy artist lifestyle photography. It brings out the personality in a picture.
What makes a perfect picture?
A good photo tells a full story in one image, it shows The model or person be- person’s feelings, personality ing photographed… It’s and the whole story happenimportant that they are re- ing when it was taken. laxed before they get photographed… Bonding before What makes you want a shoot helps both the pho- to take your camera tographer and the person out and take a picture? feel at ease… So I would tell jokes or smile to make them I always feel like I should feel at ease with myself and have my camera on me because when you miss somethe camera… thing or the moment is gone, you can’t have it back… I am What are the steps you always willing and ready. A take to ensure that a lot of times I look at colors photo shoot will be that attract my attention… even a colorful dust bin on successful? the street can make me grab I research looks and poses a camera. that would work well with my model or person being What is the ‘higher’ photographed. Before every purpose of photogshoot I sit down and look at raphers in the world? images of the person I am Do they have a special supposed to photograph so role for humanity? I can get a feel to how they look in front of the camera. Photographers tell stories; we just look at things difCan u look at the per- ferently as if we are looking son on a street and tell at something for the first if she/he would make time… It’s very important that we do that… And eva good model? erything matters to us the I think everyone can photo- colors, shapes and angels… graph well and get a picture We influence the humanity that would reflect their per- by delivering to them images of faraway places, situasonality. When it comes to modeling tions and people, capturing there are certain beauty cri- moments important for the teria but some people look whole world. very ordinary who can look completely extraordinary in fashion clothes and make up. I can picture that in my head when I look at them.
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PHOTO BY: Kwesi Marcano LOCATION: Trinidad and Tobago Trinidad Carnival 2015 https://buzz.tt