B&W photography is dear to my heart, so this is right up my alley. Shots Magazine is a subscription supported quarterly printed magazine. Read by photographers and galleries here and abroad and so worth the $25 annual fee. There are calls for artists for the juried competitions and features the works as well as interviews with the winners. It’s been around since 1986, and as a photographer I draw inspiration from seeing what’s out there. It helps open up the creative boundaries I sometimes place on myself, enabling me to push my own envelope and move from my comfort zone. It’s okay to try and even fail because it is all part of learning.
These are 3 of Keira Grant’s images that I submitted to Shots juried competition “The Body”. Hopefully 1 or some of the 12 that I sent will pique their interest. So hard to tell what someone else is looking for. They won’t get noticed sitting on your hard drive, you have to be in it to win it. Jene also submitted a few images so I wish both of us luck. We’ll find out soon enough when the spring issue # 111 is delivered.
Being in love and now married to photographer, Jene Youtt has had a positive effect on my creativity and vice versa. Although our styles vary, there are underlying similarities. We try to start stories for the viewer to relate to. I listen to his concepts, lending support whenever I can and have become his unpaid model for some experimental lighting tests.
Jene has many years of lighting experience (the 2 emmy’s on his shelf are there for a reason) and all sorts of equipment in which he creates. Only recently did I purchase an off camera flash and wireless trigger. Before that using natural light, then in a home studio with 2 hand-me-down hot lights and 1 spot on a boom stand that I use as a hair light, I do alright. When we shoot together in his NY studio, he uses multiple flashes/softboxes and even a beauty dish. My captures are lit with the overhead modeling and a side softbox so that I don’t trigger his lights. Even though we are shooting side by side with the same models, the captures are different. Jene tends to use color as an underlying emotional factor which sets the tone. I love the way he lights for color, a true artist, creating mood that embodies the image, adding drama and an edginess.
My work is simpler in form and function. The light plays upon the subject, revealing and drawing you in. I’m guessing because that’s in my nature. Jene the type of person that probes deeper, asking questions while I wait for the moment you open up to me. He knows what he wants to bring out and is better at verbalizing direction also Jene tries to meet with the models first, explaining what his project is about and seeing if they are right for him. I set the scene differently, I talk and see what a model can give me.
When we first met, he asked me what my dreams were… maybe he instinctively knew that he would have to draw things out of me, peeling off the layers. I sat quietly on his couch, talking but mostly listening and allowed his feelings to rise to the surface. The outcome was the same, the approach was different. He cuts to the chase – his work reflects that – BAM! He is a master of light and shadow. I think his work is powerful and blows me away. I am blown away by my images too but my images tend to be softer.
These images were from a photohoot that Jene set up for himself and let me shoot along with him. He used his Canon D20, 70-200mm lens with flash while I shot with a Canon Rebel with a fixed 50mm lens using the overhead modeling light as my main source of light with hugh boucnecards to reflect as much light as possible. The similarity and difference are both apparent. Emma’s grace comes across effortless. To see more of Jene’s work click on his name. For a more extensive look at my website click Mary Durante Wehrhahn
We’ve exhibited together and separately in the NY/NJ Metro area and Jene had a solo exhibit in Kyoto, Japan. Funny how 2 people find each other and how your separate lives can meld together so easily.