photography Paul Fanara model Cortney Chyme
Inspiration from the incredible multi - award winning movie Moulin Rouge, Blue highlights Cortney as both a model, and entertainer.
This shoot was shot with a variety of white balances to achieve the blue hue often seen in the performance, and also in the romance scenes of the movie.
Cortney Chyme is a model, dancer, actor, and singer from the Buffalo, NY region. Living In The Buff Studio by Paul Fanara has been a piler and has been helping photographic visions come to life since 2007.
What do you think are the core elements of a “strong” image and how do you feel when encountering one?
When I find an image, or take an image that captures such elements, I feel engaged often emotionally charged on both conscious and subconscious levels. Whether it's bringing to the forefront the carnal, or animal remnants that exist within, or pushing me as an artist to consider my own trajectory, and how I make my art more engaging, or even become a better person, there is an emotional edge that most images don't force me to recognize.
To elaborate on the previous question, I’d love to discuss the importance of the “story” in the image, especially in your portraits. For me portraits are much more about the subject than the artist. My goal with portraits is to capture the essence of the subject. Headshots, event portraits, behind-the-scenes images when working on films, or even street photography, my goal is to always capture exactly what makes the subject engaging. Often I like to finish such images in black and white. I've always loved the style photographers achieved from Rolleiflex cameras. I feel it strips away the distractions, and pushes the view to see the subject in a different way; in a less visual, and more intuitive, or emotional kind of viewing. The story, at that point, is the story the subject wants to tell. You can feel it through the image, that is, if I've done my job well...
So do you think there is a difference in creating a “story” in a solo image, compared to a series, as part of a photographic assignment for a magazine, for example?
I don't. And I know plenty would disagree with me, but even as part of a series of images, each image, I believe, should be able to stand alone. Perhaps a bigger story can be told in multiple images if that's the goal, but for me, pictures are worth more than a thousand words. Stories are also interpretive. The story a photographer might seek to tell might not be the story the viewer actually reads in the images.
Of course, every portrait is a “new story” and a whole new challenge, but can you share some workflow you’ve mastered over the years in your people photography? For example, how do you choose between a close-up shot and an environmental portrait, when you encounter striking face?