PORTRAITURE. I have very strong feelings about how to do it, so much so that I don’t even think about it anymore. I just live it. What is a portrait? For me, it’s about the subject at hand — not about me or what someone else thinks it should be, unless it’s the sub-ject being photographed. As photographers, we have license to have an impression. Prior to photographing anyone, I do my best to gather information no different than a journalist would: who, when, where, what, and, most of all, I try to have a conversation before the shoot date. I ask subjects how they feel they would like to be portrayed. Together we decide the right setting that meets everyone’s needs. I really want the subjects to be themselves, and in an environment that tells a story about who they are now. I always try to go to their studios, homes, or locations that are part of their natural habitat.

Doing portraits on location is, for me, like a surprise package. Often there is no pre-scout; I just show up and create on the spot. I can only hope it will have some sort of natural light situation that will render a chiaroscuro quality like that of the old master painters. This isn’t always the case, but it’s my preference. Often, the meeting is brief and the artists are busy, but they have given me a set amount of time to make a few images. We usually wander around till something suits my fancy, space and light wise; then I set up. I always know a little about the subject. Some subjects are very open and will gladly offer up suggestions, and others have little time to fuss over it. You have to be quick on your feet and mindful of their feelings about themselves. It’s a dance, and, naturally, no one ever wants to offend anyone, but sometimes suggestions just don’t fly. So, move your idea on quickly and simply. I like photographing people who are inspiring and passionate about their work, in hopes that I can come away with a celebrated moment about someone who can influence others in some human sort of way.

Wilson Hurley (on the cover) is a world renowned painter. When you fly into the Albuquerque Airport, you come down the escalators and, flanked on both sides, you can see two rather large paintings by Wilson. They seem so photographic, but they are painted with the old school craft, much like a Thomas Hart Benton. I just felt so drawn to them, and thus I found out that Wilson lived locally, and I contacted him to do his portrait. His home and studio are all in one. I was mostly struck by the orderliness of NO MESS as an artist. He is so opposite of what you’d guess a Jasper Johns sort of painter might create as happenstance. So, the day of shooting, I stood in a grand old room with tall windows facing north…great…let’s always start with the light. Then add a few elements… the space, an easel, a painting, and our subject. I usually do at least two to three variations…. backed off, and in close, and something classic, and something con-ceptual. Not every portrait has to be deep and conceptual, as every artist has something that is their twist, or tells their point of view. Wilson has a studied, precise way of seeing. He’s classic.

Ray Abeyta is another artist that has my eye… boy… for me, he’s the modern day Frida Kalo and master of painting with icons and secret messages. One of his paintings had an upside down St. Anthony, which, if buried, is believed to bring a great man into your life. Naturally, I buried one in my yard as well. He pulls from his Hispanic culture and translates his feelings in such a way that it grips you where it counts. He’s spiritual and superstitious and inspiring. His work made me think that I needed to bring some sort of iconic feeling to the portrait. I only had a little time with him at the Hispanic Cultural Museum, so I asked ahead of time if he minded me bringing a wrestler’s mask for his wife to wear and a donkey for her to sit upon. He laughed and took me seriously, and I explained that if you sit on the back of a donkey with the Lord’s cross, it is superstition that it will be a blessing. Both agreed, and the next day I showed up donkey in hand. Most of these shoots I do alone, except that my son helped me with our donkey.

The symbols I use in photographs are all obvious and important, driven by the individual message about each person portrayed. Things can work against you if you over do it.

If the conceptual idea doesn’t come to me right away, even after researching my subject, then I keep it as simple as possible. I view the portraits as little vignettes or stories. Story telling is what I do. And if I’m only as good as my last story, then the challenge is in getting right to the point about the subject. It’s often more about psychology and thinking about who they are, not whom you want them to be — your impression. “Concepting” can be a mentally athletic opportunity to expand your vision.

I came across Kevin Tolman through a friendship with his wife. I kept saying, “I need to do his portrait,” so finally I went to his studio and just looked. He is a dedicated painter and his craft holds you beholding and leaves you in wonder. How can someone know how to paint like he does? Abstract is so complicated for me, I’d never know when to stop. When is a painting done? What is completed, and how does a person see like that, and translate into simple, yet complex forms and make you comfortable? With Kevin, it wasn’t about concept as much as great light and a voyeur moment on my part. We did do other sorts of concept things, but this is the image I liked most. He is one within his work, churning it out daily, and that is inspiring to me as I work toward daily shooting for a bigger picture as well.

Until recently, Patty Gallegos was my next door neighbor. In life, it’s said that we have several careers…she has had such a life. She is in her early 50’s, with a pension from the military; she was a detective for the police department in Albuquerque, and is now an artist. She and her husband have recently moved to southern New Mexico, and I miss the woodburning stove smoking from her artist studio adjacent to my property. She was always throwing pots and sketching animals for pastel shows, friends, and commissions. She is naturally driven to create like most artists. She doesn’t talk about it, but, rather, does it.

Chip Simons, a long time colleague in photography, has inspired my change of location to New Mexico. Chip is hyper creative and is always exploring new ways of seeing. He has a bunny series that is awesome and timeless, and I wanted to include him in my series of artists of New Mexico, for he’s got such a passionate sensibility. Chip sees wide; thus, the magnifying glass. The bunny in the back is his daughter, replicating a bit of his subjects mirroring his own personal work. He has many sides that are complex and woven of many details. What I see with a person like him is the basics…a bit of imagination, a bit of foundation and keep it simple…don’t get too lost in a complex subject. Just reveal a bit of the essence.

Ok Harris is a welder who makes public art and inspires “Art is your Life.” He’s a character. He moseys along with his steel and then, voila: you have a dancing horned toad or two that make you want to laugh. A set of sand hill cranes that evokes elegance and grace, or manta rays floating in ways you could imagine them anywhere in the universe… they make your mind travel. Photographing him was easy…it would be for anyone… steel… sparks…. how could you go wrong?…. a couple of close shots, as his face is his road map for his life…. he’s just plain interesting…. full of vitality and abundance.

The process of portraiture, meeting and exploring one person’s world. One of my passions is to translate a small piece of their soul on film. For me, it’s about collaboration as well as my impression. I try to be in the moment every time. I usually come with a prop or two, but I don’t always suggest it, as the creative process for me is in the midst of evolving and might not need any extras. It’s usually pretty quiet when I am shooting, so most of the verbal exchange occurs before and after a shoot. I just ask the subject to be patient with me while I fumble under the dark cloth to see things right side up. Most folks are intrigued by the old camera I use, as it’s older than myself and a bit rickety to boot. I approach everyone as a new individual, not married to any preconceived ideas, but rather open to the “new” that may occur. try to be athletic in my point of view…and I try to imagine what it feels like to be the subject, and to make the art or do what they do best.

It’s a playful process for me, and my imagination sometimes leads me to a better idea to portray the subject before me.

I ask questions that lead to answers and, at the very least, pondering about the questions that could provide the ingredients to maybe your best portrait ever.