graeme mitchell

At work:

“I have no ethics.”

Or are your ethics just bigger than the commonplace, Bruce?

I recently spoke to a class at Parsons, invited by the wonderful fine-art photographer and super sweet gal to boot, Amy Stein. Seeing what interested this next generation of photographers and the fashion work they were doing was enlightening for me and took me completely out of my usual box of viewing the landscape of photography. I had a feeling I left the talk more inspired than the students!

We of course touched on technique and equipment, and it was nice to see most of the students embracing 35mm for fashion work and their surprise and positive reaction to much of my work being on 35mm. It’s obvious from this blog that I’m far far far from an equipment junky or even from being interested in equipment beyond its working and not breaking. I will use about any camera within reach or that I happen to have film for, but with that I’ve always been fond of 35mm b/c it’s a format, like all, that if given a certain kind of love can give unique results other formats can’t. The smaller negative if well shot has a bite and crunch to it that can’t be mimicked by other formats, and well shot is the key word here, b/c you really need to be a technically superior photographer to shoot well on 35mm: any errors are magnified many fold when repro sizes get big: try printing a soft 6×7 neg to 11×14 and it’s pretty; try it with a 35mm neg and it looks, well, soft…that is if sharp is your cup of tea, which it may not be, like H.C. Bresson you might facetiously humor focus as conceit of the bourgeoisie. Also, a lot of people pick up 35mm and default to candid on all production fronts including the very basic use of light, while a seasoned 35mm photographer (hey, Peter Lindbergh) never forgets that good light is good light, no matter what size the film is. You know? Anyway, this is an ode to those guys who don’t shelve the Nikons on shoot day and to those up and coming kids I met burning up all 36 of them frames. 36 chances at fame! Keep doing it.

photo: from men’s fashion story, ©Graeme Mitchell 2006

A first edit is a difficult thing to do, approached chock-full of biases and nerves and without any distance from original intentions…so, well, possibilities are often missed. I’d like to say I casually return to contact sheets again after a few months, after a few years, to find what I’d missed, but honestly by then I’m tired of it and done with it and on to more pressing matters, namely, the next piece of film to be exposed.

I recalled this image from the portrait of Benjamin, but didn’t remember noting it, or even scanning it, but last night while backing up files, I saw it and its implicit complications suddenly became interesting. And the only reason I even had a scan of it was b/c Benjamin had seen the contacts and specifically requested it…I’d never have bothered.

Photo: Benjamin Diggles, 2007. ©Graeme Mitchell, 2007.

Doing an edit is a series of conflicts, practical and personal and everything between. Despite frowning upon showing my contacts to anyone, I believe the strongest edits are those I’ve done alongside other people, be it a photo ed, my team or just people I trust.

Rarely do I talk about the process of work; attempting to seems full of fallacy, but, recently, I tried to explain to a good friend my discomfort towards people’s assumptions when I photograph on the street. If I’m lucky I am supposed a tourist, but more often I fear the presumed role of colonizer, in regards that I sense heavily the assumption of exploitation - and the hate of some reactions can’t be underestimated…it can leave an awfully miserable taste in my mouth. But there is little I can do to share the imperative that I do this with a unimaginable amount of compassion; nor to share that attempt to recognize universality in the harrowing despotism of the day in and out; nor, furthermore, to share a glimpse at a pursuit of a truth. As this is what it amounts to for me on some inordinate yet fundamental levels. Sure, the road to hell is paved with good intentions, so to speak, but if this aphorism is speculative then I refuse it on a personal moral level.

Maybe it’s more simple to understand this through another conversation I had with another friend, an older photographer, when he warned me in realizing projects of these kinds; he chuckled in tones full of terrifying nihilism that he had known a photographer years and years ago who similarly photographed the street in NYC and had subsequently lost his mind and ended up being committed, to end up I think dieing alone and crazy in some sordid fashion that you’d usually associate with a man broken by war or likewise.

This, I thought to myself, was very easily imaginable.

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

photo: © Graeme Mitchell

Some snaps Covet’s creative director, Tara took whilst we shot her spring ‘08 line. It was hard not to feel a sadness there at Coney Island; neglect was apparent, and you could see that it’s long life was coming to an end. There was also a mood of bitterness, nostalgia and heartbreak amongst the proprietors, people who’ve lived and worked there their entire lives, and who were now watching the boardwalk fall into disrepair.

On another note: Tara did a great job on this season, some great pieces to photograph!

Location: Coney Island, NY.
Hair: Sarah Potempa w/ Wall Group.
Make-Up: Kehla.
Assistant: Aaron Modico.
And a big big thanks to J.T. at Cha Cha’s on the boardwalk for staging the shoot.

Polaroids from a spring editorial. Keep your eyes on the newsstands, should hit’em in May.

polaroid: ©Graeme Mitchell, 2007

polaroid: ©Graeme Mitchell, 2007

Details:
Styling: Anna Shimonis
M.U.: Meredith Baraf
Hair: Sarah Potempa
Model: Marissa w/ Elite
Location: Studio 814 (yes, a special thanks to Studio 814 who facilitated our every need.)

The title, Film Voodoo, is in reference to half the NYC Journal rolls I shot over the last 3 weeks being unusable due to…well, nobody really knows. The predominant proposition right now is that there is static discharge on the film from the cold and dry weather, but others think it could be bad film. It took many minds many minutes to not be able to figure out what these marks resulted from, but whatever they are, they are uncommon. Example (its the dot pattern through length of the film):

photo: ©Graeme Mitchell, 2006 (like it matters)

This brought two thoughts to mind: 1) the process of working with film involves an inclination towards fate, and while often fate’s path is embraceable, or at least manageable, other times it can be ruinous to much of one’s efforts, and 2) dwelling on this is tempting but doubtlessly unproductive; it is after all fate we’re talking about here, and who’s to argue with that - that dirty dice roller in the sky as Faulkner might submit.

Now, to be able to load those dice in ones favor is the trick isn’t it - the capability of someone who knows.

photo: close-up crop of the pattern

photo: close-up crop of the pattern

When shooting 4×5 it’s not uncommon for other photographers to inquire about the camera I use, b/c the camera itself is a bit uncommon, so I figured it was worth noting here. First a little background, when I originally set out to find a 4×5, I searched for some time trying to find one that suited my style of shooting fashion and portraits, both on location and in the studio. I wanted a camera that was tuff, small, quick to operate, but also with decent bellow draw and movements to spare on both standards. These criteria ruled out everything I knew of. Finally, I was informed about the Linhof Color.

A hidden gem, it’s been out of production for ages as far as I can tell, but it basically amounts to a Linhof Technika on a rail. It’s built like a tank, sexy, and I can fit it, a few lenses, and holders in a Domke bag.

As I side note, yeah, sure, for the most part a 67 RZ can cover almost everything, but for that extra 3%…well, a nice piece of sheet film can be something else.

photo: Covet Spring ‘07, ©Graeme Mitchell, 2006

You’ll often hear me refer to a team or crew, and obviously it’s a group of people I work with, but maybe I should point out how tantamount they are. A huge part to doing an effective fashion shoot is coordinating and communicating with your team to realize an idea. I’m talking about stylists, hair, make-up, models, assistants, techs, retouchers, set-designers, everyone. They’re all important and contribute to the outcome. If collaboration is not something you’re into, okay, but then you need to include a good producer in that list too. To burst all the photographer as artiste egos out there: releasing a shutter turns out to be a minor part of it all.

Every photographer is different, but I think there’s something to be said about a small team, say 6 people on set tops. Once you start to get more than that distractions are too naturally occurring (hence closed sets, or to send everyone away except the model when shooting). Sure, I long at hearing the tales of the intimate shoots of Helmut Newton with one assistant and a naked model, or of Penn shooting models who would have done all their own hair, m.u., and styling, but you can have a lot of fun with a good crew of people, and moreover, if you allow an open creative dialogue amongst the group amazing work can come about.

Anyway, this probably boring rambling came about when I found this picture in my temp folder:

photo: Sarah Potempa and I, Sarah’s Apt in Chelsea, Halloween 2006

It is me and my favorite hairstylist the world over, Sarah Potempa (w/ the wall group) on Halloween. She is always the #1 call for hair on my shoots. Give me her and Meredith Baraf (also w/ the wall group), and pow, it’s on. The problem is, when you’re as good as they are, you work ALL THE TIME, so it can make it tricky for them to be had.

This is a shot we all did together:

photo: model test in J. Mendel gown, photographer’s studio, ©Graeme Mitchell, 2005

I just visited LA for a week and shot two editorial specs with the stylist Kenny Wujek (older bro of Johnny Wujek, another stylist there). One day we shot in Johnny’s driveway in Hollywood: roll of white seamless, a case of bud light, and 80 weather (read: rad!).

photo: models on set, Hollywood CA, ©Graeme Mitchell, 2006

photo: outtake, Hollywood CA, ©Graeme Mitchell, 2006

photo: outtake, Hollywood CA, ©Graeme Mitchell, 2006

The other day we shoot around Kenny’s house, this overgrown, grungy dream on Hollywood and Highland. The whole place was a series of natural sets that couldn’t have been designed any better.

photo: outtake, Hollywood CA, ©Graeme Mitchell, 2006

photo: outtake, Hollywood CA, ©Graeme Mitchell, 2006

It was two totally different shoots that interested me equally. On white always fascinates me, b/c it’s a test of parring an image down to it’s fundamentals. On the other hand, a really great location is always a treat, but technically the images must coordinate with the location and yet cannot be allowed to become gimmick. It’s a conflict for me being attracted to and producing such seemingly different images, and I only hope that people can sense an underlying and consistent sensibility throughout.

I’m not sure how this happened, as I like color pictures a great deal, but there’s a simplicity and a difficulty to working in B&W that I’ve had an ongoing love affair with since, well, since I can recall. Give me a case of Tri-x or Plus-x, and I’m happy happy.

Most of what I shoot I process myself in small tanks. But when I shoot sloppy, feel it’s out of my realm, shoot sheet film, do anything of huge importance, or if I simply don’t have time, I take my film to Jim at MV labs.

I’m mentioning this for no other reason than I think he’s nice guy, and I appreciate people who care about what they do (he does). It’s not a common thing as far as my experience dictates. In addition to this, Jim’s a wealth of information and is always game to chew the fat, even when I’m persisting with an inane line of thought while the much to do about something, Antonin Kratochvil, is waiting to be helped.

photo: fashion test on TX@800, Brooklyn NY, ©Graeme Mitchell, 2005

photo: editorial w/ Alexandra Richards on TX@800, photographer’s studio, ©Graeme Mitchell, 2006

For those interested, Jim’s default soup is seasoned HC-110, and he does development by inspection to dial in the times for every job. Take him TX and he’ll make it sing, or for a real treat try TMZ rated @ 1600.

I shot two editorial celebrity portraits a bit ago, well okay not celebrities but more like an 80s actress and a writer. With the actress, Molly Ringwald, I had 12 minutes and a TV crew chomping at the bit to have their go. With the writer, Itamar Moses, I was given a subject who was very very ill in the stomach, great sport regardless. You can sum up the method of shoots like these as, a balancing act. It’s great fun though, and I hope to do more of in the future, could be an outlet for some strong work.

photo: Molly Ringwald, 42nd St. Studios NYC, ©Graeme Mitchell, 2006


photo: Itamar Moses, photographer’s studio, ©Graeme Mitchell, 2006

Just dropped the final press files for the Covet Spring ‘07 look book. I usually wouldn’t mention or post a commercial job like this, but the designer, Tara, has become a good friend over the last 3 books we’ve shot together, and I wanted to giver her and her cool line a nod. It’s always a pleasure working with her. She fits right into the team’s vibe: super chill, fun, loves the good food & coffee on set, and understands what it means to do good work.

Photo: Covet Spring 07, Brooklyn NY, ©Graeme Mitchell, 2006

The crew met at call and had a quick morning pow-wow on what we were feeling, and then decided to approach the shoot with a vague “1950s couples” theme. If you’re not depending on a concept, sometimes it’s best to gather the elements with little intentions, and then let the shoot take on a life of its own and just roll with it. Not an uncommon approach with editorial, but it takes a cool commercial client to have that kind of faith.

Photo: Covet Spring 07, Brooklyn NY, ©Graeme Mitchell, 2006

Some candids:

Photo: model, ©Graeme Mitchell

Photo: client, Tara, under the dark cloth + old timer chilling, ©Graeme Mitchell

I’m excited for next Fall’s book. It’s the first time we’re going to the studio. I’ve already shot a test for it, and it’s going to be sexy sexy.