Robert Lee Morris Meets Jackson Pollack CASE STUDY #28
CAMERA:
Hasselblad 503cw
LENS:
120mm macro lens
FILM:
Fuji RDP
EXPOSURE:
f/8 at 1/125 second
LIGHTING: Comet 1200ws pack (beauty dish with 30-degree grid for main light; reflector with 30-degree grid for hair light; two umbrellas on background)
Assignment
For this shot, I was agonizing over the background.
I was assigned to photograph jewelry designer Robert
Before the Internet, when this happened I would go
Lee Morris for the cover of a Fairchild Publication,
to art galleries. In this case, I stopped in a Soho gallery
Inc. magazine.
featuring a show of early Jackson Pollack and got the idea to have dripping silver paint on the backdrop. I
Visual Objective
proposed the idea to the art director and she agreed—
Mr. Morris was becoming very famous for his work
but also suggested I shoot it on a plain blue back-
in silver and gold and was known for using decon-
ground. Happily, the publication ran the shot with
structed plaster busts to display his creations. I asked
Pollack-esque backdrop.
him to bring samples of his work and a couple of busts to the session. I wanted to create a strong visual that
Tips
reflected his creativity with gold and silver.
Never be afraid to suggest ideas to your client; they hired you because of your talent and skills. They may
Posing
not always agree with your ideas, but they will appre-
It is always easier to pose your subject when they have
ciate your creative input. Of course, you should always
something to hold. This pose was centered on framing
cover yourself by shooting what the client wants.
the bust. I had Mr. Morris cradle the bust, turn sideways to the camera, and—on the count of three—turn his body toward the camera. After repeating this motion many times, he was feeling very comfortable. The Story
There are some benefits, in addition to the notoriety, to shooting covers for publication. First, there is a spe-
umbrella on background
umbrella on background 30-degree grid for hair light
cific format; the image will be a vertical with space above the subject for the masthead. Second, the art director will be able to direct the point of view. Additionally, there is more pressure to create an arresting image to draw attention the magazine. 78
50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS
beauty dish with 30-degree grid for main light
