What's under the sink? A few paper bags from fancy shops. Coke cans, yogurt containers, and a few empty bottles of Alaskan Amber. Cleaning products like Comet and Pledge. A dustpan.
What's on the counter? Six coffee mugs in varying shades of yellow, green, and white. Brioche studded with raisins and ginger scones from Cafe Besalu. A trail mix of almonds, cashews, and cranberries sweetened with sugar. And let's not forget the big pot of black coffee, whose delicious aroma infuses the kitchen.
One of the most exciting things about taking part in photo shoots is the joy of physical making: the process of design on a much larger scale than a mouse and Photoshop. Your palette is the world, and your tool is the camera.
Scattered throughout Patrick's studio were all the ingredients for a series of highly planned photos, but that won't stop us from furiously working our way through all of the material that's on the props table, the racks of clothing, the refrigerator.
But all of this material can't be forced onto each photograph. You have to let the scene speak to you, and react as nimbly as possible to sound the right note in the shot.
Clothing gets cycled a few times. The laptop on the table is a bit too heavy-handed, so that goes out the window. We throw some boots in the corner so it looks like the model just sat down on the floor for a quick break. Hair is let down, put up in a ponytail, and blush is furiously applied -- all in the hope that each change will make the scene feel finished.
Though that probably isn't the right word. No photograph is ever finished. Each RAW file is just another slice of time, some feeling more complete than others in their level of expression. If you're quick on your feet and willing to discard your presupposed ideas through each shot, new opportunities emerge that can feel more potent and human. Just by creating a space to allow them.
How do you create that space?