Robert Lee Morris Meets Jackson Pollock

CASE STUDY #28 Robert Lee Morris Meets Jackson Pollack

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 I was assigned to photograph jewelry designer Robert Lee Morris for the cover of a Fairchild Publication, Inc. magazine.

Visual Objective Mr. Morris was becoming very famous for his work in silver and gold and was known for using deconstructed plaster busts to display his creations. I asked him to bring samples of his work and a couple of busts to the session. I wanted to create a strong visual that reflected his creativity with gold and silver.

Posing It is always easier to pose your subject when they have something to hold. This pose was centered on framing 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 specific 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.

For this shot, I was agonizing over the background. Before the Internet, when this happened I would go to art galleries. In this case, I stopped in a Soho gallery featuring a show of early Jackson Pollack and got the idea to have dripping silver paint on the backdrop. I proposed the idea to the art director and she agreed— but also suggested I shoot it on a plain blue background. Happily, the publication ran the shot with Pollack-esque backdrop.

Tips Never be afraid to suggest ideas to your client; they hired you because of your talent and skills. They may not always agree with your ideas, but they will appreciate your creative input. Of course, you should always cover yourself by shooting what the client wants.

78 50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS

umbrella on background

30-degree grid for hair light umbrella on background

beauty dish with 30-degree grid for main light