Charles Jin—a Shanghai native who now resides in Atlanta, Georgia—attributes his collecting journey to his formative years spent at the Maryland Institute College of Art (MICA). That’s where, in 1992, he became the first Chinese MFA graduate in photography to matriculate through an American art school. He then ventured into entrepreneurship, founding a leading manufacturing company in Georgia, but soon returned to photography with a newfound passion for collecting the art form.

Jin’s collection focuses on individual photographers, particularly 20th-century masters such as Edward Weston and Aaron Siskind. He owns around 200 vintage photographs by Harry Callahan, comprising a significant portion of his collection. His fascination with photographic greats is deeply rooted at the MICA, where his mentor Jack Wilgus was a former student of Callahan’s, and another of his instructors, William Larson, had been a student of Siskind’s. The artistic legacy passed down through these influential mentors played a pivotal role in shaping Jin’s views on photography.

Jin’s enthusiasm for photography encompasses contemporary names as well, including Wolfgang Tillmans, Cindy Sherman, Thomas Ruff, and Barbara Kruger. Jin counts about 90 signed Robert Mapplethorpe works in his collection and he could be the world’s largest individual collector of Sally Mann, with a trove of approximately 80 pieces from her iconic “Immediate Family” series. The sheer size of his collection would suffice to give each artist a solo show, a testament to his dedication to the art form. 

Jin’s keen interest in photography extends beyond his private collection. In 2011, he began bringing a curator’s eye to his acquisitions, recombining the images to create thematic exhibitions such as “100 Vintage Prints” and “Sea Series,” captivating audiences across cities in China. In addition, Jin is now the owner of photo licensing company SIPA Press in France, the United States, and China.

We spoke with Charles Jin about his first purchase, the works he hopes to add to his collection this year, and his quest for promoting the art of photography.

Charles Jin walks through an exhibition of his collection called “Sea Series” at Sanya Contemporary Museum in Hainan, 2017. Courtesy of Charles Jin.

Tell us about the exhibitions you’ve curated. How do collecting and curating influence each other? 

I have found that there are a lot of connections among the photographs, so you can combine them naturally. I didn’t think too much about it at first, but in the end, it just became clear that a lot of it lends itself to a natural curatorial idea. I don’t have a huge amount of Cindy Sherman’s prints, only about 30 or so. As you know, all of her photos are self-portraits. You could curate a very good show with self-portraits as the subject matter.

There are some “close-ups”—that is, some masters took photos of hands, feet, and other parts of the human body, or even the back of the body, which can be curated to create a very good exhibition. There are also people who specialize in photographing mirrors, walls, tree roots, and so on, which can be singled out and combined to make a separate exhibition.

Your question is a good one, how does curatorial thinking influence my collection, and how does the collection react back to the curation? I think it only requires one condition, that you have a certain amount of collection—without quantity, it is impossible to have qualitative leaps, which bring endless possibilities.

Dovima with Elephants, Evening Dress by Dior, Cirque d’hiver, Paris (1955). Courtesy of Charles Jin.” width=”900″ height=”614″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/08/charles-avedon-dovima1.jpg 900w, https://news.artnet.com/app/news-upload/2023/08/charles-avedon-dovima1-300×205.jpg 300w, https://news.artnet.com/app/news-upload/2023/08/charles-avedon-dovima1-50×34.jpg 50w” sizes=”(max-width: 900px) 100vw, 900px”>

Charles Jin with Richard Avedon’s Dovima with Elephants, Evening Dress by Dior, Cirque d’hiver, Paris (1955). Courtesy of Charles Jin.

What was your first purchase?

It started at the end of 2005 but was more formalized in 2006 with the Association of International Photography Art Dealers (AIPAD), where I bought about 30 prints—mainly by Harry Callahan, but also some Edward Weston and Aaron Siskind. The first one I remember was Harry Callahan’s silhouette of his wife, with the person in black and the background in white, and that was one of his masterpieces.

Charles Jin with a work by Harry Callahan. Courtesy of Charles Jin.

What was your most recent purchase?

Huge works by Wolfgang Tillmans and Thomas Ruff, as well as works by Barbara Kruger and Cindy Sherman.

Tell us about a favorite work in your collection.

There are quite a few. Self-portrait with cigarette (1980) by Robert Mapplethorpe and Identical twins, Roselle, N.J. 1966 by Diane Arbus.

Which works or artists are you hoping to add to your collection this year?

It should be Cindy Sherman as well as Wolfgang Tillmans. They are the main direction of my collecting these days.

Pablo Picasso at La Californie, Cannes (1957). Courtesy of Charles Jin.” width=”530″ height=”677″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/08/charles-penn1.jpg 530w, https://news.artnet.com/app/news-upload/2023/08/charles-penn1-235×300.jpg 235w, https://news.artnet.com/app/news-upload/2023/08/charles-penn1-39×50.jpg 39w” sizes=”(max-width: 530px) 100vw, 530px”>

Charles Jin with Irving Penn’s Pablo Picasso at La Californie, Cannes (1957). Courtesy of Charles Jin.

What is the most valuable work of art that you own?

Many, such as the big three-meter wide Andreas Gursky, and a few vintage pieces including Edward Weston, Irving Penn, and Richard Avedon. 

Children with Flowers (ca. 1950s). Courtesy of Charles Jin.” width=”800″ height=”600″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/08/charles-main1.jpg 800w, https://news.artnet.com/app/news-upload/2023/08/charles-main1-300×225.jpg 300w, https://news.artnet.com/app/news-upload/2023/08/charles-main1-50×38.jpg 50w” sizes=”(max-width: 800px) 100vw, 800px”>

Charles Jin with Richard Avedon, Children with Flowers (ca. 1950s). Courtesy of Charles Jin.

Where do you buy art most frequently?

Mostly galleries like Hauser & Wirth, Pace, and Bruce Silverstein. For example, I recently bought a vintage Diane Arbus from a gallery.

Is there a work you regret purchasing?

No. Some of the work I bought has not been in very good condition, but I still want to keep them. I think it’s still not a bad decision.

Singapore II (1997) at left and Bangkok II (2011). Courtesy of Charles Jin.” width=”1024″ height=”655″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/08/charles-gursky1-1024×655.jpg 1024w, https://news.artnet.com/app/news-upload/2023/08/charles-gursky1-300×192.jpg 300w, https://news.artnet.com/app/news-upload/2023/08/charles-gursky1-50×32.jpg 50w, https://news.artnet.com/app/news-upload/2023/08/charles-gursky1.jpg 1250w” sizes=”(max-width: 1024px) 100vw, 1024px”>

Singapore II (1997), Bangkok II (2011), both by Andreas Gursky. Courtesy of Charles Jin.

What work do you have hanging above your sofa? What about in your bathroom?

Actually, I do not have anything hanging on my sofa because my room is relatively big. And the bathroom, I don’t think so. I do not have anything in the bathroom because of the moisture. It’s going to harm the photograph.

What is the most impractical work of art you own?

Basically, I do not collect impractical work. When I was at school learning about the history of photography from 34 years ago, I knew exactly what I was looking for.

Charles Jin with a Chuck Close self-portrait. Courtesy of Charles Jin.

What work do you wish you had bought when you had the chance?

There was a lot that I missed. I forgot to bid on some sophisticated work, sometimes at Artnet.

If you could steal one work of art without getting caught, what would it be?

I don’t want to steal anything. If I have the money, I buy it. If I don’t have the budget, I just appreciate the work.

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

Misan Harriman has shared the reality of what it’s like to snap some of the world’s biggest stars.

Speaking at his ‘Storytelling The Future’ event at London’s Huckletree Public Hall this week, the photographer and social activist commented on “the hyper-sexualisation of women”. 

© Getty

“If you see how I shoot women in particular, it’s very much, I hope, a representation of who they are,” Misan remarked.

“I’ve shot some very famous actresses and I’ll say, ‘Why are you moving that way?’ For years, men have been shooting them like they’re a cold cut on the table.”

He added: “Women have not been able to tell their stories. The hyper sexualisation of women is fine when it’s coming from a woman’s point of view, but when it’s a man’s, nah.”

The father-of-two also spoke about his fears for his “two little ladies”. 

“I’m a man that’s seemingly comfortable in talking about vulnerability and wearing it as a badge of honour and I think we need more men out there that are influential,” Misan continued, adding that children are the most at-risk of “hyper misogyny” being preached online.

© Getty

“It can get to the most vulnerable of us which are kids who are still forming themselves.”

Misan, who was encouraged to pursue professional photography by his wife, added that the camera has become his “sword and shield” in his fight for the truth.

© Getty

“Photography, for me, is a way to help people ask themselves the big questions without being shouty or judgmental,” he said.

“There’s a quote that says ‘Raise your words, not voice. It is rain that grows flowers, not thunder’, and I think that’s the thing about photography. There’s an intimate stillness.”

Misan has photographed stars including Angelia Jolie, Rihanna, Cate Blanchett and Olivia Colman but famously snapped Prince Harry and Meghan Markle via an iPad when they announced their second pregnancy with daughter Lilibet during the pandemic.

© Getty

In the candid black-and-white image, taken in the couple’s California garden, Meghan was seen reclining in her husband’s lap, her hand cradling her burgeoning bump, as they smiled proudly at one another.

Misan was also behind the lens for Princess Lilibet’s official first birthday portrait taken at Harry and Meghan’s former UK residence, Frogmore Cottage. Dressed in a sweet blue frock, Lilibet sat in the grass and smiled angelically at the camera with a matching bow in her vibrant red hair.

Back in April, Meghan proudly introduced her friend for his TED Talk. Speaking from her and Harry’s Montecito home, the Duchess of Sussex rocked a sleek look with her long locks straightened as she revealed her and Misan’s close bond.

“Our next speaker has an unmatched eye for a good photograph. I’ve experienced his talent first hand as he has captured many meaningful milestones for me and my family. And I know there are many others who share this experience,” she shared.

“His lens has photographed everything from events that have changed the world, invisible moments we all desperately needed to see along with some of the planet’s most recognisable faces.

© Instagram/Misan Harriman

“But this wasn’t always his path, and you might be surprised to hear not who, but what he credits for his success. I am so thrilled to welcome to the TED stage, my dear friend Misan Harriman.”

The highlights from one of Europe’s most significant festivals dedicated to photography and visual arts, taking place in the south of France until 24 September.

More than 700 photographers from over 70 countries around the world entered the 2023 World Sports Photography awards.

ADVERTISEMENT

Here are some of the winners.

2023 Main winner

Sky Drive. Team captain Lee Westwood of Majesticks GC plays a shot during the semi-finals of the LIV Golf Invitational in Miami.

Team Kazakhstan competes during the preliminaries of the artistic swimming at the 19th Fina World Championships in Budapest, Hungary. 

Superman. Gymnastics category. Donnell Whittenburg of the USA competing on the high bar during the men’s qualifications at the World Artistic Gymnastics Championships in Liverpool.

Formula 1 category. Zhou Guanyu of China crashes during the F1 Grand Prix of Great Britain at Silverstone.

Athletics category. B of the bang. Jereem Richards of Trinidad and Tobago celebrates after winning gold in the final of the Men’s 200m at the Commonwealth Games at the Alexander stadium in Birmingham, UK.

Cricket category. Surrounded. James Anderson of England bowls to Mohammad Ali of Pakistan on the fifth day of the first Test at Rawalpindi cricket stadium.

Tennis category. The shadow cast by Coco Gauff as she serves during Round 1 of the Australian Open on Margaret Court Arena at Melbourne Park.

American football category. The Final Kick. Buffalo Bills place kicker Tyler Bass (2) kicks a game-winning field goal as time expires during the fourth quarter of an NFL match against the Miami Dolphins.

Martial arts category. Silek Lanyah.

ADVERTISEMENT

Boxing category. A flying mouth guard during a bout between Leti Leti and Conor Wallace.

Water category. Justine Dupont of France rides a big wave at Praia do Norte in Nazare, Portugal.

Baseball category. Catcher. Sunday Baseball.

For the full list of winners and their photographs, head to World Sports Photography Awards.

In today’s age, billions of photographs are uploaded to the internet. We’re accustomed to it. It’s the norm. However, like anything on this planet, it started somewhere and some time. Photography was invented in 1822, 39 years before the opening shots of the American Civil War. Digital photography made its appearance 48 years ago. Comparing this, you can say digital photography has been barely a thing even though it’s something that’s such a staple in today’s world. But to those that lived in the mid-19th century, photography was a thing of magic. 

We’ve all seen them. Flipping through history textbooks in school. Photographs from the American Civil War have become iconic. However, when you learn that the conflict was the first to utilize this medium, it’s almost hard to believe. After all the American Civil War, seemed like a long time ago. So with that, photography has been around since a long time ago. But at the time, it was in its infancy and this war, pitting the Union against the Confederacy, not only marked a turning point in American society but also played a pivotal role in shaping the trajectory of photography. For the first time in history, photographers ventured to the battlefields, capturing scenes of the war and its aftermath, forever changing the way the world would perceive war. 

Among the many historical figures who played a crucial role in preserving the war’s legacy was Matthew Brady, a pioneering photographer known for his exceptional documentation of the conflict. Brady’s contribution to the visual record of the Civil War was groundbreaking. Often referred to as the “Father of Photojournalism,” Brady and his team of skilled photographers were granted permission by President Abraham Lincoln to document the war effort. Brady’s dedication and passion for preserving the historical record led to some of the most iconic images of the war.

The photographs taken by Brady and others such as Alexander Gardner, during the Civil War had a significant impact on public opinion, both within the United States and abroad. Until then, war had been depicted through illustrations and paintings, which often portrayed heroic scenes rather than the stark realities of combat. The introduction of photography changed this narrative, offering an unvarnished and unfiltered look into the horrors of war.

Much like today’s photojournalists, these pioneers of photojournalism humanized the individuals fighting the conflict. People saw the faces of the young men leaving their homes to fight, and the portraits of weary soldiers showed the toll of that war. Their photographs challenged the glorification of war that was common at the time. Instead of idealized portrayals of battlefield heroism, the public was confronted with the harsh reality of life and death on the frontlines. And finally, they provided a visual historical record that went beyond words. These images became invaluable resources for future generations and provided historians and educators with the resources to paint a more comprehensive and nuanced picture of this pivotal period. 

The American Civil War was the first conflict to be extensively photographed, thanks to the pioneering work of photographers like Mathew Brady and Alexander Gardner. And in the video above, brought to you by the American Battlefield Trust, you can get a quick 4-minute introduction to this birth of photojournalism.

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.

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.

“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.”

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).

“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.

“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.

“[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.”

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.”

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.

“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.

“[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.

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.

“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.

“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.

“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.

“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.

“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.

“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.

“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.

“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.

“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

“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.

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

“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.

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…”

“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.

“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

Jakarta, Indonesia

Players of the angklung, a traditional bamboo musical instrument, achieve the new Guinness world record for the largest ensemble performance using the instrument, with 15,110 participants

Photograph: Yasuyoshi Chiba/AFP/Getty Images