My series, Women with Icons, continues to amaze me in how diverse it's becoming, and how much each new situation encourages me to think on my feet and come up with new ways to photograph.

The case in point here is one of my recent additions to the series, Sarah Mattingly:

Sarah

Sarah's appointment was unusualy frenetic. It was scheduled on-the-fly, shot on-the-fly, and edited nearly as quickly as it was taken. She was leaving home in a matter of days to return to college, which gave me little scheduling leeway for weather and even less time for mental preparation. I was also late to our appointment, meaning that the available light I was so hoping for was quickly waning even as I sped my way to her house. But in the span of about 20 minutes, and with a pair of frozen hands later, I knew exactly which shot I was going to use from the session. She warmed me up with a cup of cocoa and sent me merrily on my way.

But while external factors--time, location, available light, etc.--have a significant effect on my approach to photographing, internal factors--level of familiarity with the subject, my impression of their personality, emotions at the time of shooting--have an impact as well.

I'll use two somewhat similar portraits as an example here: Liana Lloyd and Sylvia Araj. Both are intent, highly personal close-ups of the subject, with the icon featured prominently near the face. Both are somewhat dramatic and intimate. But I have known Liana for more than 10 years, and met Sylvia as an acquaintance a mere year or so ago.

Liana


Sylvia

For Liana's portrait, it was my initial friendship and intimacy with her that allowed me to photograph her in a vulnerable, close-up position. She was comfortable with me, and I felt that I could fuss with her hair and get in her face. Giggles of friendship were interspersed between more serious silences. The quiet, knowing companionship we have had allowed me to bring out a sense of regality from her (which I've always felt was there).

Not so with Sylvia. Initially, what struck me about her were the strong lines of her features, how frank and open she seemed to be, eager and interested in the things and people around her. She had a sharp and self-assured quality that led me to zoom in on her, to make the viewer stare deep into her challenging and confident eyes. She, too, is regal, but in a different way than Liana.

As you can tell, I tend to do a high-level of interpreting--forming impressions and assumptions--while I photograph individuals. It's partly why I enjoy traveling on-location to people's abodes, because what you fill your surroundings with, how you live your life, and where you choose (or happen) to live your life say a lot about the kind of person you are. It's never the complete story, and folks will always surprise you, but it doesn't hurt to observe, reflect, and disappear into others' worlds for a space.

And, as a portrait-painter I know once said, "You've always got yourself hanging around your neck while you make portraits." No matter what you do to try and describe the other, a little piece of you gets injected into everything you make.