The Process Of A Portrait Session
I always like to consider a portrait session as a collaboration between the photographer and the model. Some people might think it’s a therapy session as the session helps you relax, share ideas to each other, and focus on the present process of making incredible imagery. For this blog post, I wanted to show behind the scenes of this photoshoot set in New Westminster, British Columbia. This concept of a BTS process of a portrait session was originally going to be planned as a partnership with a brand but didn’t go forward so I decided to pursue my vision without a brand on board.
Every year, Clara Cloud, Brjen Rito and I would work with each other depending on the right time and the right place. You might know Clara from this photoshoot back in 2022, where it was shown by MOB Journal and Tamron Americas. Clara, Brjen, and I wanted to recapture the use of indoor spaces with minimal light to create the feel we did in the past. Clara would model based on the ideas that I had off a mood board and Brjen would also share his ideas but also shoot on his medium format film.
Pre-Production
For the pre-production process, I like to think of location, lens, wardrobe and also poses. With Milanote, I create a mood board to help describe the vision that I have. Brjen, known for his innovative use of film, decided to shoot on his MamiyaRB67 with CineStill 800T Medium Format Film (120mm film). He suggested to me adapting the style of CineStill 800T in my editing process. I wanted to photograph on the 35mm F1.8 because of the lens’ flexibility of both environment and space of the subject. Originally I had plans to use other lens like the 28-75mm F2.8 and the 85mm F1.8 but I had always envisioned myself just using the prime lens for this photoshoot. Some photos off the mood board were also based off influences from other photographers I admired as well as filmmakers like Wong Kar-Wai (Writer and Director of Chungking Express). I have drawn influence from songs of the 80s as well as modern-day music in my work.
The laundromat location was recommended by another photographer I knew in the area. The owners were completely okay with the crew photographing before closing time.
With the pre-production process done, the concept of the photoshoot was placed into production. We still had no idea what to call this photoshoot so it was just called “The Dylan x Brjen x Clara Portrait Session.”
SHOOTING DAY
On May 18th, 2024, the three of us embarked on a photoshoot centred around this concept at the laundromat. It was evident to me how much both Brjen and I had honed our skills since our last photography session. Sooner than later, this photoshoot was becoming more experimental on light as well as adapting to the locations’ environment. As the laundromat closed, we decided to keep looking for more locations on the spot.
Brjen photographing on CineStill 800T on his Mamiya RB67. His camera shoots on 6x7 120 film shots.
Next on the list was an Arcade place in New Westminster with low-light. The location presented both challenges and opportunities. The dim lighting had been trouble for Brjen’s medium format camera, as it required Brjen and I to carefully manage exposure settings and lighting equipment to capture clear, well-lit images without sacrificing the ambiance of the arcade as well as the overall feel to the concept. However, this very challenge is what makes photographing in such a setting so incredible. The setting made me love the process of photographing subjects more and more especially like myself when I prefer to photograph in much more green scenery.
Myself photographing Clara at the Cap-City Arcade in New Westminister with low-light.
Finally, we strolled to the nearest gas station convenience store and ventured into the shopping aisle for the third set. This experience held a deeper personal significance for me, as I felt compelled to recreate elements from a previous photoshoot I had undertaken with Clara but use the 35mm F1.8 instead of a much wider lens.
Myself photographing Clara at the nearest 7-11 in New Westminister.
EDITING
With Production ended, I delved into post-production work, dedicating two to three days to edit the final images meticulously. During this phase, I deliberated extensively on the direction of the colour grading, aiming to ensure that each spot in the series exhibited a distinct ambiance. Upon completing the editing process for all the photos, the three-part portrait set titled "Birdy" was finalized. Drawing inspiration from the 1985 soundtrack album by Peter Gabriel, I chose this name to encapsulate the essence of the portraits with a focus on blue luminance, hue, and saturation. Each photo exudes a nostalgic 80s vibe while still creating a dreamy, poetic storytelling. This process allowed me to showcase mastery across various lighting techniques, including minimal, natural, low, and fluorescent lighting.
Final Thoughts
As I mentioned earlier, this portrait session felt like a true collaboration. Not only does collaboration offer long-term benefits for the future, but it also fosters the sense of community you've always needed. I'm consistently grateful to work with both Brjen and Clara as they each bring a creative spark to my projects. Personally, I believe that collaborating within a small team and exchanging ideas is a deeply personal way to continue growing as creators. This photo shoot is something I'll always remember for its highly collaborative and improvisational nature.
Since collaborating with Brjen, he has influenced my approach to photography. He advocates for capturing fewer frames, typically only shooting between 10-12 frames per roll on his medium format camera. The difference between film and digital cameras lies in the number of shots available, but as a photographer, it's crucial to know what you want to capture instead of taking hundreds of images and narrowing them down later. You always need to consider "The Final Cut," as you serve as both the director and producer of the project.
