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Create at least two iconic wide shots of each Frankenstein Monster for the poster— plus individual portraits and portraits of both Monsters together for a social media campaign.
As always-- I wanted to create images with high contrast for easy visibility on small screens and social media-- and lots of negative space for the designers to add title, text, logos, major donors, etc.
_______About My Approach:
My promotional theater photography is based in portraiture. I've been a performer most of my life-- so as a photographer I like to create unexpected moments through play and experimentation.
Most often, I only have actors for a short amount of time— usually a half an hour-- so I have to move quickly to create useful and compelling images that capture the essence of the show. I give a starting action, and push us all fast and loud to make as many surprises as possible. The less thinking-- the better.
Having no time has taught me to quickly eliminate what's unnecessary-- and to work quickly to get to the strongest moment. Too much time to shoot— leaves too much opportunity to think, to doubt. Just as in performance, the less time I have, the faster my terror (of failing) will make me see what's really compelling.
_______About the Frankenstein Shoot:
This is my third time working with Remy Bumppo-- a vanguard Chicago theater. And-- since their audience expects more challenging shows-- I have more freedom to create more stylistically edgy images.
The show is double cast-- with Nick Sandys (the Artistic Director of Remy Bumppo) and Greg Matthew Anderson alternating the part of the Monster on different nights. Greg's Monster will be played as more vulnerable-- Nick's more threatening and agressive.
For the poster image-- I wanted to use one, harsh, damning search light. I asked Greg and Nick to explore the limits of 1920’s silent film physicality. Alfred Schnittke’s “Faust Cantata” blasted as loud as my 1970’s speakers could go.
It's no hyperbole to say that Nick and Greg are fearless. They both went farther physically and emotionally than I could have hoped-- by a factor of 10. Their movements, simultaneously animal-- and precise. If I'd planned for a week-- I’d never gotten the composition of any of these images this comfortable. Human and shadow where they want to be, rather than where I forced them to go.
Mackenzie, the Marketing Director-- has told me she's extremely happy. And-- the theater will be using more images than they'd planned for all materials.
This series won Second Place | Series of Images | Best of ASMP 2018 Photo Contest.