The artist behind Octopus Ink

The artist behind Octopus Ink

NEWBERRY — Anyone who walks around Downtown Newberry may notice a mural on Tiny Paris (Caldwell Street). This piece of art was created by 28-year-old Ricardo Ramirez.

Ramirez, a New York native, said he started getting into art at a young age.

“I remember being in school and instead of paying attention, I found myself drawing in my notebooks…to my teacher’s dismay. I found art and drawing captivated me more than many other things,” he said. “This is what I wanted to do, it was always art, it was always creating. I think that has definitely made its way into my adult life, I never lost the desire to create to make anything.”

Ramirez’s first creation was of his mother, he said it started after he got in trouble and was sent to his room.

“As a way to make amends, I decided to draw a picture of her. I quickly learned the mistake in this, after I was done drawing, I held it up and it looked so bad, looked nothing like her,” Ramirez said laughing. “I did not give it to her and stayed in my room grounded.”

That was the first piece he remembered drawing.

When it comes to style and inspiration Ramirez thought hard and said he likes to create art based on what grabs his attention.

“There is so much out there that tries to grab your attention to sell you something. If art can do it for more wholesome or thought provoking, that’s the kind of art I like to make,” he said.

Simply put, Ramirez likes to create art that he likes to make.

“I think way before you put pen to paper it is just observing, just looking, noticing unique features in people, maybe different poses, differing buildings. Just be observant, just look,” he said. “From there, the things that stand out when you are looking, that make interesting subject matter to make a piece. Not just nature, different T.V. shows, directing shots, comic books, anything — if I like it, that is where I start.”

One of Ramirez’s pieces is that of a rooster, inspired after spending time with his friend, Sergio, who has chickens.

“Being raised in the city, I was not exposed to farm life, never saw a chicken up close until he took me to meet his chickens,” he said. “Sergio shows me his rooster, he held him up and the way the light hit the feathers, I saw all these colors, greens, purples, the colors moved in the sunlight; I thought it was amazing that something ordinary has extraordinary characteristics. It all comes from being observant.”

Ramirez added that there is a lot that can be done with something normally overlooked. He said if you take a look at something long enough, a grain of interest is already there. For example, Ramirez started creating art following a coffee stain.

“I was working on my computer, put my coffee cup on a piece of paper, it left a coffee ring and it held my attention. I thought, you could do something with a stain and coffee, something unartistic you can do something neat with. I created art from what the coffee stain said to do, one was spaghetti and the other was a fox,” he said. “I used a pen (to create the other side) and then got better shadows using the coffee, I layered the coffee with the watercolor brush.”

When it comes to his art style, Ramirez said he was inspired by the late Roy Lichtenstein, an American pop artist.

“He is one of my favorite artists, he broke the norm. He would take pictures of comics and blow them up (before computers) and paint it. I watched a video about him, he was nervous and talking to an artist friend, he didn’t know if it was art and the friend said it didn’t matter, art doesn’t have boundaries,” Ramirez said.

This inspiration led Ramirez to create a canvas painting based on Lichtenstein’s work.

“During school, I got into comic books and that is when I really got into art, the stories are great but the images really captivated me, heavy black lines, graphic style of the artwork. That’s what I want to do, that’s me,” he said.

Professionally, Ramirez uses Octopus Ink has his handle and he said the name was invented by his wife, Emily, when they were dating.

“I told her I wanted to start this business, I couldn’t come up with a name. She asked me my favorite animal and I said octopus. I get a call that same day and she said Octopus Ink and that was a pretty cool name,” he said.

While creating his work, Ramirez said he uses pen, pencil and paper, however, after a couple of years, he bought a drawing tablet.

“Buying that opened up a world of possibilities, may be expensive to create on a canvas, but with a tablet doing it digitally, there is no limit to your imagination,” he said.

To see more of Ramirez, check out www.octopusinkcreative.com or on Instagram.

Reach Andrew Wigger @ 803-768-3122 or on Twitter @TheNBOnews.

What is the Influence of Shamanism in Art?

What is the Influence of Shamanism in Art?
shamanism in art


SUMMARY

  • Shamanism, an ancient system of beliefs and practices, is prevalent in various cultures across the globe.
  • Art has a significant role in shamanistic practices, with many art forms having symbolic and healing purposes. Contemporary artists like Joseph Beuys and Ernesto Neto have drawn from shamanic traditions.
  • Indigenous artists provide an authentic perspective on shamanism, emphasizing its communal nature and resisting the homogenization of global culture.
  • The resurgence in shamanism and spiritual practices might be a reaction to the uncertainties of the modern world and a collective desire for reconnecting with nature and finding sustainable ways of living.

 

Shamanism is a system of beliefs and practices that many researchers consider the oldest surviving. This system has barely changed in the history of humanity. Shamanism is not a religion in the present-day sense since various cultures rely on various mythological systems, but a specific type of religious practice. It is surrounded by many myths and misconceptions imposed by Western culture. Still, many artists choose to employ shamanic practice not only as an homage to their ethnic roots but as a specific way of artistic self-expression.

What is Shamanism?

curtis shaman photo
Hamatsa Shaman Emerging from the Woods, photo by Edward S. Curtis, 1914, via Wikipedia

Shamanism as a practice is not limited to a specific region or culture. Although rituals and settings may differ, shamanic practices still exist in Australia, North America, South America, Africa, and Asia. The word shaman is familiar to the Western ear but it is often influenced by pop cultural images. Shamans are not evil magicians but practicing spiritualists and healers, usually deeply respected by their community. According to practitioners’ beliefs, one does not decide if they want to become a shaman as the spirits make their choice before the person in question is even born.

Entering the state of trance, often with the use of psychedelics, a shaman can supposedly communicate with spirits, negotiate with them, and sometimes even fight them. Shaman as a being exists outside the boundaries of the dead and the living, the spiritual and the human. Rebirth and transformation are crucial processes for shamans. Often they are symbolically killed during initiation rituals since this act is supposed to give them the ability to cross the borders between the worlds. Social and gender boundaries also rarely apply to shamans. In many cultures, a shaman is a separate category, not subject to the common characteristics of males and females.

Shamanism and Indigenous Art

shamanism navajo sand painting
Navajo Sand Painting, via The Old Jail Art Center

Creating art plays an important role in shamanistic practices, yet, contrary to popular belief, the artistic element of it is not limited to performance art. Painting and sculpture are also common. However, a shaman is not creating art for art’s sake. Instead, all of their actions have symbolic and practical meanings. For instance, Navajo sand paintings that are created by a shaman seeping colored sand through their fingers, have a healing purpose, with the design of the composition depending on a particular illness. The sick person then sits on the painting as part of the healing ritual.

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In fact, many varieties of shamanic art imply the destruction of the shaman’s work at the end of the ritual. Always made from natural materials like wool, soil, or honey, pieces of indigenous art involved in practices often come back to nature, completing the cycle.

In a way, the myth of a shaman is similar to the Western myth of an artist. Both shamans and artists perform their actions not because they are willing to do it but because they cannot avoid doing it. A shamanic gift can kill its owner when unreleased, just like the suppressed artistic self-expression harms the artist. The concepts of an artist and a shaman share the idea of non-regular humans, capable of seeing, feeling, and expressing more than others. Like a shaman transforming themselves during the ritual, an artist is going through a spiritual catharsis.

Joseph Beuys, the Shaman of Modernism

shamanism beuys america photo
I Like America and America Likes Me by Joseph Beuys, 1974, via The Paris Review

One of the best-known Western artists who incorporated shamanic practices in his work was the controversial German man named Joseph Beuys. Art historians regard Beuys as the father of performance art and conceptualism but nonetheless admit that his actions and claims need to be re-evaluated. Beuys’ artistic persona was the central element of his art.

Born in 1921, Beuys was old enough to volunteer for the Luftwaffe when World War II  unfolded. He was stationed in Crimea, Ukraine in 1942 and conducted attacks as a gunner until his plane crashed in 1944. That was the moment when Beuys artistic biography started. According to the artist, the tribe of Crimean Tatars found him and accepted him as one of their people. These events left a lasting mark on Beuys’ artistic practice. For years after the incident, he dived into shamanic practices and adapted them into his artworks, often using natural materials and ritualistic gestures.

However, it is necessary to state that Beuys’ story was hardly anything more than a product of his imagination. Although the plane crash indeed happened, there were no Crimean Tatars in the area. Despite Beuys’ claims that he was reborn as a new person and left Luftwaffe as soon as he got back to his unit, he actually remained in service until the Third Reich capitulation in May 1945.

shamanism beuys dead hare photo
How to Explain Pictures to a Dead Hare by Joseph Beuys, 1965, via Shin Gallery

Beuys never confessed what made him invent the story so difficult to believe. Apart from a rather understandable act of establishing his artistic persona, Beuys had probably felt the need to rehabilitate himself in the eyes of the public. After the end of World War II, being a German artist was not a crime, but being a Luftwaffe volunteer certainly was. To avoid accusations, Beuys fabricated the narrative of rebirth and redemption, which still did not stop him from maintaining his connections with some Nazi officials who managed to escape Europe.

The central topics of Beuys’ work were transformation, healing, and reconnection with nature. All these processes were necessary to fix the world after two great wars. He planned the world’s rebirth in the same fashion as his own life story, staging performances based on his archetypal mythology. Once, he spent a week in an enclosed room with a coyote, which he regarded as the most indigenous being in America, wrapped in felt blankets, overcoming the hostility of the poor animal.

During another performance, Beuys covered his head in honey and gold leaf and wandered through an art gallery with a dead hare in his arms, whispering the meaning of the exhibited works into the animal’s ear. Hare and honey are known as symbols of resurrection in German culture. The whole performance could be seen as both the lamentation over the natural world, destroyed by humans and replaced with simulacra, and the elaborate ritual of its resurrection, composed of movements, incantations, and sacrifices.

Shamanism and Contemporary Art

neto sacred secret installation
Aru Kixipa / Sacred Secret by Ernesto Neto and the Huni Kuin, 2015, via Galerie Max Hetzler

Borrowing indigenous spiritual practices isn’t anything new for Western artists. Apart from the not-so-carefully fabricated story of Joseph Beuys, we can recall Jackson Pollock, who had a profound interest in Native American art and shamanistic practices. Pollock’s gesture painting originated from Navajo art, used in healing rituals and ceremonies.

Only a limited number of artists inspired by shamanism directly present themselves as shamans. Still, their interest in rituals and shamanic practices illustrates a larger trend towards deeper spiritual involvement and reconsidering our relationships with society and nature.

Brazilian contemporary artist Ernesto Neto closely collaborates with the Huni Kuin people, an indigenous group living in Brazil and Peru. Neto didn’t just adopt the shamanic practices of the Huni Kuin, he also invited its representatives to join his artistic projects. Neto’s installations often incorporate smells, textures, and space manipulation to immerse the viewers completely, helping them reach a trance-like state.

Shamanism and Colonialism

bopape struggle installation
The Struggle of Memory Against Forgetting by Dineo Seshee Bopape, 2018, via Sfeir Semler Gallery

When we talk about the use of shamanist practices in Western art, we have to mention a certain degree of cultural insensitivity. Cultural appropriation and distortion of concepts inherent to the life and practices of indigenous groups not only offend the groups in question but interfere with preserving their traditions. The use of shamanic practices by artists like Jackson Pollock sometimes provoked criticism for the inward-driven nature of his art, which focused on the artist’s ego. Shamanism as a practice does not focus on a single individual since it’s a community-oriented concept shared by all members of the group.

Thankfully, as the presence of indigenous artists on the art market grows, the representation of shamanism radically transforms from a deformed retelling to first-hand accounts of practitioners and keepers of the tradition. Through their spiritual practices, indigenous artists are re-exploring their ethnic identities, while establishing them in broader cultural contexts. Turning to shamanic practices often signifies opposition to the globalized homogenous culture.

Shamanism, Tarot, Divination: Why Do We Bring Back Old Beliefs?

komarov cedar installation
Cedar Tambourine Triptych by Oleg Komarov, 2021, via Afisha

In recent years, anthropologists saw a rise in interest in spiritual practices and shamanism was no exception. But why exactly did we decide to shift back to wood, felt, and ritual dances in the era of social media and metaverse?

The experts give several reasons for such a shift. One is the uncertainty of the future, with wars, pandemics, and ecological and economic crises happening. Unable to rely on the world around them, artists turn their gaze inwards, addressing the internal processes.

The Covid lockdowns and isolation brought a certain degree of techno-fatigue to people. Too many things were happening online as the world struggled to maintain an illusion of order. Although previous generations of artists were enthusiastic about technological development and its seemingly endless possibilities for creating art, contemporary creators now realize that technology can only express as much.

The physical experiences of interacting with nature and its powers became valuable again. Shamanistic practices, rooted in close contact with the realm of nature and understanding of its laws, offer an alternative way of expression and perception. The use of natural materials in shamanic practices also falls into the trend of ecological consciousness. The revival of indigenous spiritual practices is hardly a step back from rationalism and it might be a step forward toward a sustainable future.

Maintaining a Strong Foundation: The Importance of Back and Lumbar

Maintaining a Strong Foundation: The Importance of Back and Lumbar

Landscape photography is a rewarding and captivating pursuit that allows us to capture the natural beauty of the world around us. However, it often involves long hours of carrying heavy camera gear and traversing various terrains. To fully enjoy and excel in this art form, it is crucial to prioritize the health and maintenance of your back and lumbar region. In this article, we will explore the significance of good back and lumbar maintenance for landscape photography. We will discuss the role of a suitable camera bag, the importance of ergonomic camera gear choices, and various exercises that can help you maintain a healthy spine, ensuring longevity and comfort in your photographic journey.

Note: Any text contained herein does not constitute medical advice. See a doctor for any issues and before attempting these exercises.

The Role of a Suitable Camera Bag 

When it comes to back and lumbar maintenance in landscape photography, the choice of a suitable camera bag plays a vital role. Opting for a bag specifically designed for photographers can provide excellent support and alleviate strain on your back. Look for a bag that features ergonomic padding, adjustable shoulder straps, and a supportive waist belt. These features distribute the weight evenly, reducing the burden on your spine and allowing for a more comfortable carrying experience.

Additionally, consider a bag with a well-designed internal organization system. This allows you to efficiently pack and access your camera gear, minimizing the need for excessive bending, reaching, or twisting motions that could strain your back.

Ergonomic Camera Gear Choices 

Beyond a well-designed camera bag, selecting ergonomic camera gear is essential for maintaining a healthy back and lumbar region during landscape photography expeditions. Invest in lightweight and compact equipment whenever possible to reduce the overall load you carry.

Consider using a tripod to stabilize your camera and avoid excessive handholding, which can strain your back and cause fatigue. Look for tripods with adjustable height and angle options to accommodate different shooting positions and reduce the need for awkward postures.

Furthermore, opt for camera bodies and lenses that are ergonomically designed and have built-in image stabilization. These features not only enhance the quality of your photographs but also reduce the strain on your body while shooting.

Exercises for Back and Lumbar Maintenance

Maintaining a strong and healthy back region is essential for landscape photographers, who often spend long hours in various shooting positions. Incorporating specific exercises into your fitness routine can help strengthen the muscles supporting your spine and improve flexibility. Here are five exercises that target core strength, flexibility, and posture awareness:

Core Strengthening

  • Planks: Start in a push-up position, resting on your forearms instead of your hands. Keep your body in a straight line from head to toes, engage your core, and hold the position for 30 seconds to a minute. Repeat for multiple sets.
  • Side Planks: Lie on your side, propped up on one forearm, with your body forming a straight line. Engage your core, lift your hips off the ground, and hold the position for 30 seconds to a minute on each side. Repeat for multiple sets.
  • Bridges: Lie on your back with your knees bent and feet flat on the ground. Engage your core, press your heels into the ground, and lift your hips off the floor, creating a straight line from your knees to your shoulders. Hold the position for a few seconds, then lower back down. Repeat for multiple sets.

Stretching

  • Cat-Camel Stretch: Start on all fours, with your hands directly under your shoulders and your knees under your hips. Arch your back up like a cat, tucking your chin toward your chest. Then, let your back sag, lifting your head and tailbone toward the ceiling. Repeat the cat-camel movement for several repetitions.
  • Seated Spinal Twist: Sit on the floor with your legs extended. Bend one knee, placing the foot flat on the floor outside the opposite knee. Twist your torso toward the bent knee, using your opposite hand to gently deepen the stretch. Hold for 30 seconds, then repeat on the other side.
  • Standing Forward Fold: Stand with your feet hip-width apart. Slowly hinge forward from your hips, allowing your upper body to hang toward the ground. Let your head and neck relax. You can bend your knees slightly if needed. Hold the position for 30 seconds to a minute.

Posture Awareness

  • Shoulder Retractions: Sit or stand with your arms relaxed at your sides. Squeeze your shoulder blades together, as if you’re trying to hold a pencil between them. Hold for a few seconds, then release. Repeat for several repetitions.
  • Chin Tucks: Sit or stand with good posture. Gently draw your chin in toward your neck, without tilting your head up or down. Hold the position for a few seconds, then release. Repeat for multiple sets.

Walking and Hiking

  • Walking: Walking is a low-impact exercise that promotes overall fitness and helps improve spinal health. Aim for at least 30 minutes of brisk walking each day. Maintain good posture while walking, keeping your back straight, shoulders relaxed, and core engaged.
  • Hiking: Hiking provides the additional benefits of being in nature and navigating uneven terrains. Find local trails or natural areas and enjoy regular hikes. Pay attention to your posture while hiking, keeping your back straight and core engaged.

Mindful Lifting and Carrying Techniques

  • Lifting: When lifting heavy camera gear or other objects, bend your knees and use the strength of your leg muscles to lift. Avoid bending from your waist, which puts unnecessary strain on your back. Keep the object close to your body as you lift and avoid twisting your spine.
  • Carrying: If you need to carry camera gear or other equipment for an extended period, distribute the weight evenly across your body. Consider using a backpack or a bag with both shoulder straps to balance the load. Switch sides periodically to avoid overloading one side of your body.

These Exercises Can Be Done in Various Settings

  • Core strengthening exercises like planks, side planks, and bridges can be performed on a yoga mat or any comfortable, stable surface.
  • Stretching exercises like the cat-camel stretch, seated spinal twist, and standing forward fold can be done at home, in a yoga studio, or even outdoors in a quiet spot.
  • Posture awareness exercises such as shoulder retractions and chin tucks can be practiced anywhere, whether you’re sitting at your desk or standing in line.
  • Walking and hiking exercises can be enjoyed in local parks, nature trails, or even in urban areas with pedestrian-friendly routes.
  • Mindful lifting and carrying techniques can be applied wherever you need to handle heavy camera gear or other objects.

Remember to listen to your body and consult with a healthcare professional or fitness instructor if you have any specific concerns or limitations. Incorporating these exercises into your routine will help maintain a healthy back and lumbar region, enhancing your comfort and overall well-being during your landscape photography adventures.

Good back maintenance is crucial for landscape photographers to ensure comfort, longevity, and the ability to fully enjoy their craft. By choosing a suitable camera bag, ergonomic camera gear, and implementing exercises that promote a healthy spine, photographers can minimize the risk of injuries and discomfort associated with prolonged shoots.

Investing in a camera bag that offers adequate support and organization helps distribute the weight of your gear and reduce strain on your back. Additionally, opting for lightweight and ergonomic camera gear choices, such as tripods with adjustable features and bodies with built-in stabilization, further alleviates stress on your spine.

Maintaining a healthy spine through exercises targeting core strength, flexibility, and posture awareness is paramount. By incorporating these exercises into your routine and practicing mindful lifting and carrying techniques, you can support your back and lumbar region, allowing for a more enjoyable and sustainable landscape photography journey.

Do you have any further tips and advice on this very important topic? Let’s continue the conversation in the comments below.

Cover image by drodotbean, lumbar image by kjpargeter.

World-renowned theater mask maker gives back to Canton community

World-renowned theater mask maker gives back to Canton community

CANTON, Ohio — From start to finish, theater mask maker and teacher Jonathan Becker does it all. 


What You Need To Know

  • Jonathan Becker is heavily involved in the Canton arts scene 
  • He has clients in 50 different countries 
  • Becker teaches the arts and grew up in Hiram 

The Hiram native has lived across the globe during his 35-year career and has clients in 50 countries. 

These days he calls Canton home, and the fruits of his labor can be found at his Historic Ridgewood neighborhood home. 

“This is a whole process that’s happened over years of sort of experimentation, trying to make a headpiece,” he said. “This is for the Milwaukee ballet, for their production of the Nutcracker. And once it gets painted, it will get an insert, a helmet insert that will get padded out in such a way that the dancers can wear it.”

The pandemic was tough for Becker and those in the theatre and performing arts community.

The 59-year-old was forced to sell his property in Muncie, Indiana, and chose to move closer to family in Canton. 

However, the move three years ago has been invaluable for Becker, and he’s embraced the local art community through first Fridays and the inaugural Artist’s showcase. 

“Perhaps one day it will become something of interest for people other than myself,” Becker sadi. “It’s an interesting foray into new materials, into a new market. I’m meeting new people in the arts community because of it.”

And his message to artists of all ages is, even during the tough times, don’t ever give up on your passion. 

“It’s really important to always say yes in every instance and then try and figure out how to make what it is that you’ve agreed to possible,” he said. “This sense of saying yes has really been important in creating forward momentum.”

The first Artists’ Showcase takes place from 10 a.m. to 3 p.m. on Saturday, Aug. 19, in the historic Ridgewood neighborhood in Canton.

Artist Talk This Thursday!

Artist Talk This Thursday!
We have one of our most special events of the season coming up this week! Join us in The Barn to hear local artists tell their stories! Our first of the season will feature three incredibly talented local artists. All three of these artists play…

‘Men want to order their subjects around’ – this photographer captures life in all its imperfection

‘Men want to order their subjects around’ – this photographer captures life in all its imperfection

In her top-floor flat in West London, 78-year-old Markéta Luskačová is on her knees. The Czech-born photographer is attemp­ting to demonstrate why she prefers to kneel when taking pictures at a low angle, rather than squat on her heels, despite the number of trousers she has ruined as a result. “See, you can move the camera up and down much more quickly,” she says, looking up at me, “which is very useful when you are taking pictures of children.” 

On the table next to us is a black-and-white photograph taken in 1988 of four London schoolgirls running across a playground, hanging onto each other’s cardigans like a row of paper dolls. 

In its top-left corner is another girl, separate from the group, whose presence in the frame still irks Luskačová. “I came to that playground again and again, ­waiting on my knees for this very image, and it’s still not as clean as I’d have liked,” she says. “The composition isn’t ­perfect. But life isn’t perfect. Sometimes you need a bit of imperfection to make a picture real.”

Girls running in the playground, London, 1988


‘The composition isn’t perfect, but life isn’t perfect’: Girls running in the playground, London, 1988


Credit: Markéta Luskačová

The photograph is one of a series Luskačová took of ­children at play for Citizen 2000 – a ­Channel 4 documentary that followed a cohort of British babies born in 1982 to their coming of age in the year 2000.

Another shot ­captures two grinning Liverpudlian schoolboys with jumpers pulled over their heads. Both form part of a ­retrospective in Edinburgh ­dedicated to the many images of children taken by Luskačová ­during a career spanning more than 50 years. There are the two unnamed children of an Irish street musician in East London, the girl squirming in a pram while her mother plays the penny whistle and, in a picture taken at the same spot a few years later, sitting on the pavement with her head in her hands. There are children on a school trip to Durham Cathedral, one looking up in wonder at the vast ceiling above. 

Children in Durham Cathedral (2000)


Markéta Luskačová’s Children in Durham Cathedral (2000)


Credit: Markéta Luskačová

There is also a piercing sequence taken at the Chiswick Women’s Aid refuge in 1976, children tumbled together across mattresses on the floor, their mothers staring fixedly at the camera. “I took these while I was pregnant, thinking they would earn me money to support me after my son was born,” says Luskačová. “But, at the time, no one wanted to publish them.” The timeless photo­graphs were finally printed as a pamphlet in 2020. “It was the most extraordinary place. It was absolutely rammed, because the woman who ran it could never turn anyone away.”

Luskačová’s tiny Notting Hill flat is the same one she moved into as a newly arrived Czech émigré in 1975. It is where she brought up Matthew, whose father is the late British photographer Chris Killip, with whom Luskačová had an on-off relationship for several years. As a child, her son would play in the communal garden overlooked by all the flats in the row, supervised by other mothers. Luskačová would stick a pelargonium on the kitchen windowsill while she worked so, looking up, Matthew would know which flat was theirs. 

Woman street musician and her children, London c. 1990


Woman street musician and her children, London c. 1990


Credit: Markéta Luskačová

Today, the sound of ­children playing still drifts through the open window, although the ­writers and artists who were once her neighbours have long gone. Only Luskačová remains, in one of the few rent-controlled apartments left in the area, its five small rooms crammed with photographs, from the withered family Polaroids tucked into the corners of ­picture frames to the framed prints in teetering piles on the floor. 

It’s a modest base from which to have launched a career of international acclaim; yet there’s rarely been a year in which Luskačová – who worked with Magnum Photos in the late 1970s – has not exhibited her work either in this country or in Europe, and more recently, in the US.

Her pictures, nearly all black and white, combine a documentary immediacy with a stranger poetic intimacy, as though her subjects are players in a larger historical drama, but at the same time uniquely themselves. So intense and instant a relationship does the viewer form with the figures in her pictures that one can’t help but wonder what has become of them – Luskačová admits she thinks often of the Irish musician’s daughter and where she might be now. 

Markéta Luskačová's Carnival procession, Roztoky, Czech Republic (2008)


Markéta Luskačová’s Carnival procession, Roztoky, Czech Republic (2008)


Credit: Markéta Luskačová

She doesn’t only photograph children – each year, for instance, she returns to the Czech ­Republic to shoot the annual carnivals – but it’s evident she has a natural ­empathy with them as a subject. “Many photographers, particularly men, want to order their subjects around. You can’t do that with ­children. I like to capture them simply as they are.” 

She also likes to earn their respect: once, on a visit to a school, she spent hours in the classroom first, getting to know the pupils. She thinks the choristers in ­Durham, whom she photographed over a period of several weeks in 2000, were so at ease in her ­presence because they recognised they shared a similar dedication to their respective crafts. “They would be up at dawn. And I’d be there at 7.30 in the morning, too, waiting in the rain on the corner with my camera.”

Choristers marching to the rehearsal at Durham Cathedral (2000)


Choristers marching to the rehearsal at Durham Cathedral (2000)


Credit: Markéta Luskačová

Luskačová grew up just outside Prague, the only child of a ­chemist. Four years after she was born, the Communists took over, in 1948. 

At school, when asked what her parents did for a living, she would try to reply as quietly as possible. “Most of my school friends were the children of farmers, but my ­parents were considered part of the bourgeoisie.” 

University places were reserved for the children of workers, not the middle classes, but a couple were kept back for bright exceptions – “It was like Margaret ­Thatcher’s Assisted Places programme in Britain in the 1980s, but reversed,” she says with a smile – and she went on to study sociology at Charles University, in Prague, graduating in 1967. 

Three choristers during the rehearsal at Durham Cathedral (2000)


Three choristers during the rehearsal at Durham Cathedral (2000)


Credit: Markéta Luskačová

But she had also become increasingly aware that data collected in the course of sociology research was being used against the ­public by the Communist Party, so she turned to photography as a more humane way of “studying ­people”, as she puts it.

 By chance, her grandfather, the ­illustrator Miloš ­Klicman, was friends with the great Czech ­photographer Josef Sudek, who became a close confidant and ­mentor. “He taught me how long it takes to take a good photograph, even though the average ­shutter speed is about 1/125th of a second,” she says. “I think often of that ­Robert Doisneau quote when he talks about an entire career ­consisting of only ‘two, perhaps three seconds, snatched from eternity’.”

Initially, Luskačová photographed minorities persecuted by the Communist Party, and spent several years documenting religious pilgrims in Slovakia, determined, as would remain true throughout her career, to memorialise a disappearing way of life. She emigrated to Britain after the collapse of her marriage to the Czech poet Franz Wurm, when conditions in Czechoslovakia had deteriorated following the Soviet invasion in 1968. 

Life and death: Boy with his grandmother, Holumnica, Slovakia, 1971


Life and death: Boy with his grandmother, Holumnica, Slovakia, 1971


Credit: Markéta Luskačová

Yet life as a freelance Eastern European immigrant photographer was not always easy. Early on, she approached The Sunday Times for work, but the picture editor refused to employ her, saying there was nothing a woman could shoot that a man could not. Instead, she found her subjects on the streets of London while walking Matthew in the pram, discovering a vivid theatricality in the market communities on Portobello Road and the immigrant street artists in the East End.

She resists the impulse to apply additional meaning to her work. “My job is to articulate things with a picture,” she says. “It doesn’t have to be spelt out.” Yet it’s hard not to see in her instinct to bear witness to the dispossessed – be they penniless performers or desperate ­mothers – something of her own feelings of displacement, even a profound ­lone­liness, in those early years. After all, she was on her own, and far from home. “I coped with solitude,” she says simply. “But that’s not the same as saying solitude suited me.” 

Man and girl, St. Patrick Pilgrimage, Ireland (1972)


Man and girl, St. Patrick Pilgrimage, Ireland (1972)


Credit: Markéta Luskačová

Luskačová continues to take pictures, often leaving the house for a walk with her Leica. Even when she doesn’t have a camera in her hands, she finds herself taking pictures in her mind. “As Sudek once said to me, photography is a way of life.”


Markéta Luskačová opens on Aug 12 at Stills Centre for Photography, Edinburgh (stills.org), as part of the city’s Art Festival, and runs to Oct 7

Wyoming Arts Council Announces Native Art Fellowship Recipients

Wyoming Arts Council Announces Native Art Fellowship Recipients


Rose Pecos-SunRhodes

Rose Pecos-SunRhodes




The Wyoming Arts Council is pleased to announce the recipients of this year’s Native Art Fellowship.

This year’s Native Art Fellowship recipients are: Rose Pecos-SunRhodes (Jemez Pueblo) and Taylar Stagner (Arapaho and Shoshone).

The native clay pottery that Rose Pecos-SunRhodes creates stems from the upbringing she’s had as a member of the Jemez Pueblo tribe in New Mexico. Born and raised with the tradition of pottery she has learned from the masters of the village who have taught her to continue the age-old cultural practices. As a contemporary traditional artist/potter, she respects and takes from the old traditional methods of collecting the clays, paints and firing to using a more contemporary, unique flair on the style of the clay piece she is working on.

Rose considers herself a contemporary figurative potter. Storytellers, which depict village storytellers from long ago are portrayed by many pueblo potters. She has won numerous awards at Santa Fe Indian Market, Heard Museum, Red Earth Art Festival, Eiteljorg Museum and featured in permanent exhibits at the Buffalo Bill Historical Center, traveling exhibit, “From One Hand to Another” owned by the Eitlejorg Museum and the Indianapolis Children’s Museum. Her recent entry at The Autry Museum American Indian Art Marketplace show earned her a second-place award in pottery.

Taylar Dawn Stagner is a writer and a journalist from Riverton, Wyoming. She focuses on Indigenous Affairs and has worked for Wyoming Public Media, and High Country News Magazine, and has won an Edward R. Murrow Award for her podcast episode on rural drag queens in Wyoming with The Modern West Podcast. Currently, she is an Uproot Environmental Journalist Fellow and an Air New Voices Fellow as well. She mentors for NPR’s Next Generation Radio: Indigenous as well as holds a master’s degree in American Culture Studies from Bowling Green State University. Stagner is a Southern Arapaho and Eastern Shoshone descendant.

The Native Art Fellowship is a $5,000 unrestricted award of merit, based on the artist’s portfolio, honoring the work of Native artists based within Wyoming. Artists working across any artistic discipline or medium (visual, literary, performing, folk & traditional, etc.) may apply. This fellowship is designed to raise the profiles of the highly talented Native artists in Wyoming and celebrate their artistry.

Submissions are juried anonymously by jurors from outside the state with extensive backgrounds in each artistic area. This year’s jurors were Karen Ann Hoffman, a Haudenosaunee Raised Beadwork artist and citizen of the Oneida Nation of Wisconsin and artist Daniel McCoy, of the The Muscogee Nation, who resides in Santa Fe, New Mexico with his family. 

Greg Gorman: Celebrity Photographer Who Leaves Something to the Imagination

Greg Gorman: Celebrity Photographer Who Leaves Something to the Imagination

Greg Gorman is a celebrity and portrait photographer with numerous iconic images to his credit. He does not “shoot anything that can’t talk back” to him.

In a career stretching over five decades, he has photographed Leonardo DiCaprio, David Bowie, Michael Jackson, Andy Warhol, Michael Jordan, Robert De Niro, Barbara Streisand, Orson Wells, Marlon Brando, Sophia Loren, Elizabeth Taylor, Al Pacino, Grace Jones, Mark Wahlberg, Brad Pitt, Marina Abramović, and many more.

A Photograph Should Not Answer All the Questions

Gorman does not want to reveal everything in his photographs.

Johnny Depp, 1990, Baltimore, MD © Greg Gorman, courtesy of teNeues.

“When I first started shooting pictures,” says Gorman, “I used to put the lights right over the camera, and everything looked like an interchangeable postage stamp. Everything was lit. There was nothing left to the imagination.

“I sometimes look at a photograph that strikes me or pictures that maybe don’t answer all the questions and leave me wanting to know more. So, I find that intriguing element, and that’s also what I do with many of my photographs that interplay between light and shadow. More mystery lurks in the shadows than it does in the highlights.”

Michael Jackson, 1987, Los Angeles © Greg Gorman, courtesy of teNeues.

Gorman (born 1949) has never been impressed with Ansel Adam’s Zone System, where 11 zones were defined to represent the gradation of all the different tonal values you would see in a black and white print, with zone 5 being middle gray, zone 0 being pure black (with no detail), and zone 10 being pure white (with no detail).

Drew Barrymore, 1990, Los Angeles © Greg Gorman, courtesy of teNeues.

“I never gave a s**t about the Zone System,” says the master, “Because I use black to frame my subjects, so the Zone System is right out the door. The Zone System doesn’t apply as much to my pictures.

“I said I’m not looking for that Kodak moment. I’m looking for a certain style, a certain look in my pictures that becomes inherent in my work and in what people see in my photography.

“[Similarly] I don’t play with the Zone System. I’ve never been too much by the book or specific rules and regulations. I just pretty much go for the throat. What I want to shoot in a person, and I see, is I want to play up in the highlights and play down in the shadows. So, it’s a different game for me.”

People Photography with a Passion

Gorman has always photographed people — no landscapes, no products, and no objects.

Grace Jones, 2018, Los Angeles © Greg Gorman, courtesy of teNeues.
Kevin Costner, 1987, Los Angeles © Greg Gorman, courtesy of teNeues.

“I don’t shoot anything that can’t talk back to me until recently. My latest book is not about people [Homage is photographs of his collection of African tribal art shot during COVID-19 when he could not bring people into the studio], but all my books [13 in total] have pretty much been about people.

“I always shot people. I mean, I’m a people person. I’m very gregarious, and I love people and the communication that goes on and goes down between myself and my subjects and the challenge of getting inside their heads to get the right picture.

“Working in the movie business, you come up against some tough characters from time to time, and breaking through that psyche and getting them to play for your team is a nice challenge. It’s one of the reasons I never really pursued fashion, where I would have people getting paid to do what I tell them. I have to challenge the people I’m shooting to get inside their heads and get that connected portrait.

“You have to be a psychologist to do what I do for a living—no question about it. I always share my vision with the people I shoot in front of the camera. I always would show them the Polaroids or [more recently] the digital captures so that we work together as a team, and that way, they think that you’re playing for their team.

“If I’m shooting them for a movie where they need them in character, I’ll talk about the character because I always read the script for the movies I worked on. I was pretty familiar with who they were and the persona in that movie, but I don’t like to do a lot of shticky directing, so when I’m shooting, it’s more about angle your head this way, bring your chin down, turn this way.

“If I want them to lighten up a little bit, I’ll tell them a joke or something, and then generally they’ll laugh big, and that’s never the picture. The smiling picture is when the big smile is kind of coming down.

Djimon Hounsou, 1991, Los Angeles

“[With] Djimon Hounsou, I had him scream,” says the photographer and winemaker [under his own label, GKG Cellars, receiving high scores from the Wine Spectator]. “That picture was personal, not a commercial job.

“I get what I want through body language, lighting, and constant banter. I talk throughout the shoot and don’t overdo it, but I’ll talk until I get them to where I want it. And then I’ll have them kind of not move, to hold still, and I’ll shoot a little bit.

“I always have music playing in the background, so the studio has no big void. It depends on the artist because the artists I’m shooting usually have their specific tastes. I like to listen to kind of freeform jazz.”

Sylvester Stallone, 1991, Los Angeles
Dustin Hoffman, 1982, New York City

Gorman finds digital shooting more rushed than in the film days.

“Absolutely, absolutely, there’s no question about it,” emphasizes Gorman. “And it’s because people know that digital doesn’t take so much time. The digital era is excellent for many people and just as destructive because once the digital scene happened, people knew they could get the pictures instantaneously.

“So that was one thing, and the other thing was it was very difficult for a lot of photographers that had made their name on their work myself, Herb [Herb Ritts], Matthew [Matthew Rolston] and a lot of people. It got to the point that producers didn’t want to spend the money that we commanded, and they’d hire Joe Schmoe, who could do a cheap knockoff of Greg Gorman, and they really wouldn’t fu**ing worry about it because they could fix it in post.

“Those photographers didn’t have the personality, didn’t have the wherewithal to be able to deal with the talent, but the studios didn’t care because they were saving money and the picture looked like the celebrity, so that was good enough, and they could easily fix whatever wasn’t good in post compared to the old days with film, where it was much more difficult.”

Tom Hanks, 1985, Los Angeles

Jared Leto, 2002, Los Angeles

In the digital era, Gorman found the workflow faster by not having to load Polaroids on his Hasselblad and shooting proofs. In the film era, many commercial photographers shooting in medium or large format would shoot a Polaroid to check the lighting and look of the photograph or to show it to the art director/client before exposing the same on film.

“Yeah, definitely, that’s faster,” he says. “I don’t know that it’s always better. The better side is if you got a good capture, you did great because I got a killer Polaroid many times and could never match it [on film afterward]. I’d kill myself trying to match [the expression on] a great Polaroid, and I would get close, but I would never get the same one.

“That was always a frustrating part of that, but also, you’re seeing the capture on the back of the camera, and it’s small compared to a Polaroid, so also you don’t know if you’ve got as good of the detail [yes, you can expand, but it is not convenient] of what you see on the back of the camera.

The Canon Explorers of Light Saga

In the 2000s, Gorman moved to digital photography.

Clint Eastwood, 1993, Los Angeles
Meryl Streep, 1991, Los Angeles

“I think the very first digital camera that I owned, and I was, of course, in those days looking for people that wanted to give me a camera, but you’ll be shocked, was a medium format [digital back] from Kodak,” says Gorman.

“[Also, another early] digital camera I had was a Foveon — a PC laptop with a Canon lens attached in the front with a different color matrix system. The files were incredible. I mean, they were unbelievable.

“Talking about [early] digital, it was a Canon 1Ds, the very first professional digital 35 mm camera I owned, and I shot through all their cameras. They were fantastic cameras.”

Gorman was also a Canon Explorers of Light, but things did not work out well.

Robert Redford, 1986, Pacific Palisades
Jane Fonda, 1986, Los Angeles

“[I was with them till] just a few years ago. I just got f**king aggravated with them because it was such bulls**t. They wanted me to shoot [with their cameras and also use] their printers and other stuff. I told them, ‘Look when I’m dead and pushing up daisies.’ I’m a damn good printer, but I don’t prefer to be known as a printer.

“They had all those great [photo] shows all over, whatever it’s called PhotoPlus in New York and all the great shows they had up in San Francisco, those wonderful digital shows when all the new products were coming out.

George Lucas, 1986, Marin County, CA; Steven Spielberg, 1994, Los Angeles
Robert DeNiro, 2001, New York City

I have a decent Instagram following, but I don’t spend my life on social media, and they [Canon] wanted the numbers, and I remember one time going to PhotoPlus. I remember sitting in on some of those crackers sponsored by Canon getting lectures that were big Instagram numbers guys. They didn’t have a f**king clue of what they were talking about, and the people in the audience were asking them questions they couldn’t f**king answer.

“I thought this is where it’s gone to, but they’ve got a quarter of a million followers, so Canon’s going to put their eggs in that basket. When I started talking for them in the early days, I didn’t know s**t, which made me nervous. I was one of the first people to speak digital when I was barely using a computer and a camera, and if someone asked me a question I didn’t know the answer to, I just said, ‘I don’t know, but I’ll find out for you.’ But I didn’t bulls**t my way through the answers, which is where it’s gone now.”

David Bowie and Other Memorable Shoots

Gorman has had many memorable shoots in his over 50 years career.

David Bowie, 1984, New York City

“I think probably the first time I shot David Bowie was a great experience,” says Gorman. “And the first time I shot Betty Davis and, of course, honestly in the early days Leonardo DiCaprio, because you know he was great, and we ended up having a long run together, which was great.

Leonardo DiCaprio, 1997, Los Angeles

“I was very excited when a very close friend of mine that was David Bowie’s publicist [photographer Bruce Weber’s sister, Barbara DeWitt, who also got him shoots with Frank Zappa and Iggy Pop) asked me if I would like to shoot him and, of course, I said, ‘That’s amazing, I would love to shoot him,’ and he turned out to be a great guy, funny. I often had him at my home for dinner, and we often hung out. He was great, and he was a character. He came to dinner one night with a full face of makeup on, and I had a pretty good dinner table, Bette Midler, and a bunch of other personalities, and no one said anything.

“I shot part of [my first Bowie shoot] in Bruce Weber’s little daylight studio in the Flower District in New York. [It was both] daylight and studio lights around the time his album, what was it called…Scary Monsters (and Super Creeps). And I went on to shoot half a dozen album covers for him, single sleeves, and stuff over the years.

“The first Leonardo DiCaprio shoot was in my studio in Los Angeles in 94. I was using strobes in that first shoot with David [Bowie]. I couldn’t afford HMI lights until later in my career. They were a little pricey, but I ultimately bought an Arri 6K HMI, which I still have in my studio. I remember paying $30,000 for it with the ballast. I mean, my God, you know the bulb was $2,500, it was a significant expense, and I had to put 220 volts of power in to run the light.

“I just shot with it this last weekend with James Balog, the photographer, and it’s just such a gorgeous light. You have that big [light], and then you put a Sunbounce silk [on a C-stand in front of it], you’ve got one hell of a beautiful light.

“Yes, it gets very hot; it’s a very impractical light. Today I shoot everything pretty much with my Rotolite LEDs which I love. I shot two-thirds with the LED lights and about a third with the HMI.

“James is a rugged kind of outdoor guy, and I wanted that. HMI gives you just a spectacular look.”

Style or No Style

Gorman’s latest book of portraits, It’s Not About Me: A Retrospective, a 400-page book, was published by teNeues in 2020.

Michael Jordan, 1996, Beverly Hills; Kareem Abdul-Jabbar, 1985, Los Angeles

“It’s about the person in front of my lens 100% [and not about me],” says Gorman. “I think one of the big problems with a lot of photographers…I think some photographers invoke more of their personal style in the image instead of focusing on the individual they’re shooting.

Sir Elton John, 2018, Las Vegas

“It’s funny because Elton John is a good friend of mine and wrote something [foreword] for the book about the fact that I didn’t have a style, which I thought was quite funny. I never really confronted him with that, but I probably will one of these days as I see him regularly.

“I thought, well, that’s interesting because I believe I have a style, but I understood what he was saying as he’s very savvy about photography.

“I think what he was saying is I try to express the individuality of the person in front of my lens without stylizing too much like Annie Leibowitz… whose pictures are more styled, they’re more of a statement because the environment takes on quite a personification within the framework of her photographs.

“Whereas if you look at the majority of my work, it’s pretty simple, very minimal backgrounds, usually dark backgrounds, dark clothes. It’s definitely a different look.”

In the late 1970s, Gorman’s photographic style began to evolve.

Liam Neeson, 1987, Los Angeles

“My style began to change around the time of my shoot with Tom Waits,” says Gorman. “Quite honestly, a lot of that is owed to my dear first assistant David Jacobson. He was working with me and showing me some things when I started taking the light off the center focal point of the camera.

“I did some pictures of Tom in front of a tattoo parlor which ended up being an album cover and became my most prolific image of Tom. When I started taking the light off the center focal point of the camera and creating a more dynamic range between my highlights and my shadows, I began to find my voice as a photographer.

“I had several big breaks early on in my career,” says Gorman. “Working for Interview magazine was a big plus that helped get my name out there. And the same with creating a campaign I did for l.a.Eyeworks, a signature advertising campaign that I’m still doing for more than 40 years. Those were two commercial things in terms of people that I think put me on the map. Certainly, my work with David Bowie, but I also shot the motion picture campaigns [which started when Barbra Streisand called out of the blue] in the early 80s for Tootsie, Big Chill, and Scarface. Those movie posters really helped launch my career for sure.

Color for Assignments, B&W for Personal Work

Every photographer has to shoot commercial work in color, but Gorman had a personal passion for B&W.

Orson Welles, 1970, Los Angeles

“I always had to shoot color for assignments,” says Gorman. “But for my personal work and my books, I’ve always shot black and white. In the day when everything was available, I always shot Kodak Panatomic-X. So, I shot a fine-grained film at 32 ISO for most of my career.

“I always shot color because color was part of my commercial work. I worked in the movie business, and very little of that was black and white. Same with my nudes. I could only really use the nudes that I would shoot when I would do advertising for Europe because the United States was too hypocritical to use a nude.

“I’ve always shot color alongside black and white even if I was doing a commercial job, and if it was a color job, I would usually sometimes shoot a couple of rolls of black and white for me.

35mm vs. Medium Format

As digital quality improved, with increased sensor resolutions, 35mm cameras started to come close to medium format film images.

Tom Cruise, 1983, Los Angeles

“When we got into the digital realm, I liked that the 35mm digital captures had the spontaneity of a 35mm camera with the quality of a medium format capture. I shoot now mostly with a Sony a7R IV or V. A lot of my personal work I shoot with the Fujifilm GFX 100 and GFX 100S. When I just went to the Middle East for a 10-day cruise in Egypt, I took their new little Fujifilm X-H2, which I love because the camera’s about the same size as a 35mm, but it’s an APS-C sensor, so the lenses are quite a bit smaller.”

Gorman is not a fan of the shorter focal lengths in lenses.

Diane Keaton, 2006, Los Angeles; Warren Beatty, 1990, Los Angeles

“Because of being a portrait photographer, I use long lenses,” says Gorman. “I mean not that long, but my go-to length for my whole career, if I had to pick one lens that I’ve used pretty exclusively with good depth of field, is a 70-200mm. I just got the new Sony FE 70-200mm f/2.8 GM II, that’s slightly lighter than the older version. I also have the ZEISS Batis 85mm f/1.8 lens for Sony, which I like. I’ve never been a big prime guy, mainly because of what I have done in my career. I also have the Sony FE 24-105mm f/4 G, Sony 85mm, and the Sony FE 100-400mm f/4.5-5.6 GM. With my Fuji GFX, I’ve got all great primes.”

Gorman does not like shooting tethered.

Barbra Streisand, 1982, Los Angeles

“I hate shooting tethered,” says the portraitist. “I probably shot tethered half a dozen times in my life. Why? Because I don’t want some a**hole telling me what my picture should look like or what they want. It breaks the flow and continuity of a photo session, making it extremely difficult to keep a rapport with the person in front of your lens. It just makes me crazy. I’ve done it when I’ve had to or if I’ve shot overseas and had to have a connection, and they’re looking at the pictures, but rare.

“I think it makes the person self-conscious. I wouldn’t get what I’m looking for. He’d give me what he thinks I want, and that’s not what I want. I want my pictures to be expressive of me, not what they think I want. If they have a secondary source to look at, that screws up what I’m going for.

Film Cameras and Film

Elizabeth Taylor, 1989, Los Angeles

“I shot a lot of cameras. I shot a 67 Fuji [film camera] for a long time, and I liked that camera. The only box [boxy] camera I ever shot with was the twin lens; I think it was a Yashica.

“I might have had a Mamiya version, also. I had a couple of those, but mostly I shot the Fuji 67 for a long time, which I liked a lot. And Hasselblad, obviously, for a long time. I had a brief stint in the middle with Contax. I shot the Contax medium format camera, but it wasn’t very reliable.

George Burns, 1984, Los Angeles

Gorman started photography in 1968 on Kodak Tri-X B&W film and stuck to it for much of his work until the coming of digital.

“For many, many years, I shot Ektachrome 100 [in medium format],” says Gorman. “Later on, I moved to Fujifilm, like Velvia and Provia, which I liked better.

“I would buy blocks of film as I was shooting so much. I was shooting six-seven days a week and sometimes a couple of times a day and going back and forth between LA and New York. I would buy blocks of film, 250 or whatever those big cases were that you’d get from Kodak, and then I would run film tests to get my filtration down.

“Because I always liked warm pictures, and the film batches would vary. I’d buy cases of that film if I’d got a batch I liked. I usually used an 81A and an 025 magenta filter pack or something like that, sometimes an 81B and a 05 magenta or whatever to get those skin tones where I wanted them.

Lighting the Portrait

Andy Warhol & Dustin Hoffman, 1982, New York City

“The first lights that I owned were DynaLite and then went on to Comets, and I still have my Comets from the 70s and 80s in my studio,” says Gorman. “I still shoot Comet but rarely because I don’t do that many commercial shoots anymore. I also shoot with Briese.

Bette Midler, 1982, Los Angeles

Gorman, who has been influenced by the work of George Hurrell, Irving Penn, Richard Avedon, and Helmut Newton, prefers to shoot with LED lights these days.

“I like to use Rotolights, [especially] the LEDs that they produce in the AEOS 2 Pro and the new Rotolight Titan X1, I love. I have the X1 and the X2, the little and the big one.

“For all my light modifiers, I work with Sunbounce. I use their silks, and I use all their reflectors.

“I like a single-point light source and additive and subtractive light. I mean, I’ll use a single light and one of Peter’s [Peter Geller is the inventor of Sunbounce] reflectors, and that’s about it.

“I like to work with the single point light source. I always start with my subjects up close because I achieve several things if I’m on top of them. One, I find out what I want to play up in the highlights and play down in the shadows, and two, I establish a level of intimacy. If I start taking a picture and you are clear across the room, I don’t pick up you or your energy.

“I establish a personal relationship by starting in close. That way, when I pull the camera back, I have a better idea of which angle I want to play up or down, and I don’t have to go in and analyze a face.”

Getting Into Photography with Jimi Hendrix

The year was 1968, and young Gorman, at 18 years borrowed his friend’s Honeywell Pentax (probably a Spotmatic, which was introduced in 1964) with screw mount (before they introduced the bayonet K-mount in 1975) to photograph a Jimi Hendrix concert in Kansas City. He bought a ticket in the third row and was close to the stage.

“Knowing nothing about photography or film or anything, I borrowed a camera from a dear friend of mine Buzz Gher who was one of my hunting and fishing buddies and also an avid photographer at the time,” says Gorman. “He told me to shoot Tri-X at 1/60 sec at f/5.6 and ‘You’ll probably get a picture.’

“The following day, I went to his home, and in his basement, he had 11×14 inch trays set up with the chemicals. We processed the film, and when I saw that first print on a white piece of paper, I was hooked.

“They were published, yeah, you know, in a little local rag…I mean, they weren’t very good, they were a little bit soft on the focus, and I don’t know whether that was from me shooting too slow [shutter speed] or smoking too much dope. Back then, in the 60s, everybody was a hippie with long hair and all that stuff…”

Jimi Hendrix, 1968, Kansas City. Gorman’s first photos.

“I only had a 50mm [probably the Super-Takumar 50mm f/1.4, a marvel of fast optics then despite the narrow throat of the M42 screw mount] lens, so sadly, the pictures weren’t that amazing, but it was enough to get me interested in becoming a photographer.

“I was in college [University of Kansas] in my, I think, second semester [freshman] in Liberal Arts and Sciences, and then the only course they offered in photography was in photojournalism, so I changed my major to photojournalism.”

One of Gorman’s earliest celebrity shoots was of Alfred Hitchcock on a Minolta SR-T 101 [with “contrast-light-compensation,” an early Matrix metering], the first camera he bought in college.

“I did two years of schooling at the University of Kansas before transferring to the University of Southern California in Los Angeles for an MFA in Cinematography,” says the celebrity shooter. “I was going to film school at that point to finish my degree, and we had a class called Thursday Night at the Movies run by the late film critic Arthur Knight and in every class, he would bring in a movie star or a producer or director to present their film.

Alfred Hitchcock, 1972, Los Angeles

“On a special night, he brought Alfred Hitchcock to present Frenzy, and I just took my camera to class and banged off some pictures.”

Digital never really interested Gorman in the early days owing to the low quality.

“I always thought digital was a good excuse for poor photography,” says Gorman. “And because of shooting medium format and Hasselblads in those days, I pretty much gave up 35mm in the early days when I was shooting film.

“As digital came along, I always loved the little point-and-shoot cameras. I had every one of them…but I never felt like the digital cameras, the 35mm digital cameras, were of any interest. They had three megapixels and then up to five or six megapixels. There wasn’t enough information to make a print.

“I don’t shoot commercially so much anymore,” says Gorman with a sigh of relief. “I do more personal work. I’ve got a couple of just personal shoots coming up that are not well-known people but people I like to photograph.”

And it’s still not about him, just like on a fateful day in 1968 when he borrowed his first camera and took a photo!


About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at The International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him here.


Image credits: All photos Greg Gorman, courtesy of teNeues. Header photo Greg Gorman; Mendo Workshop OCT 2014; Albion; CA. © 2014 TeevonTeePhoto