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Rangefinder
Magazine Clay Blackmore: Infrared Enchantment by Charmaine Beleele
Such images, the most recent work of Clay Blackmore, are simple and direct, and yet they make powerful statements about their subjects. The portraits feature no computer enhancement. Part of their magic is in the fact they are handmade. In contrast to today’s fast-paced world of digital photography, Clay finds it “therapeutic” to put a negative in the enlarger and create a one-of-a-kind image for [his] client. “To own one is to own an original,” Clay says.
However, the making of an art piece does not begin in the darkroom. Clay’s creative process began with inspiration and education. The foundation for these images is Clay’s classical sense of lighting and posing, a background that he attributes to his mentor, Monte Zucker. In 1994 he validated Monte’s faith in him by becoming the youngest member of CameraCraftsmen of America. His growth as an artist continued when the photojournalistic approach of Denis Reggie motivated him. Then, a few years ago he saw Laurie Klein’s hand-tinted infrared black and whites in Rangefinder, and it was then that he became inspired to steer his work in artistic directions. He says, “Most recently, Joe Buissink’s portfolio of award-winning images has inspired me to strive to create that once-in-a-lifetime portrait for my clients.”
Although they are carefully printed on fiber-base paper, the fine art quality of these portraits means much more than presentation. It means that these chiaroscuro images penetrate the realm of physical likeness and break into the inner selves of his subjects. Just as his subjects reveal their vulnerability, these portraits also reveal a glimpse of the photographer’s character. Reflecting on the relationship between photographer and subject during a session, Clay remarks, “A great photograph directly reveals the amount of love you have for the people on the other side of the lens.” It was Yousuf Karsh who said, “I try to photograph people’s spirits and thoughts.” These images do just that, and that is part of the reason they are art. The other part of the reason is Clay’s technique with the unpredictable medium, 35mm black-and-white infrared film from Kodak. It is the infrared film that creates the glowing scenery in the environmental portraits and the porcelain-like skin tones of his subjects. Infrared also accounts for the grain that gives velvety texture and luminosity to the image. Clay remarks, “When used correctly, this technique can create some of the most beautiful skin tones available in black and white. The results often resemble a pencil drawing.” Although these images are film-based,
Clay says, “In the future,
I believe digital technology will replace this film, but for now, this
is strictly organic black and white.” Clay creates these art pieces
with a 25-year-old Nikon FE-2, which he keeps loaded with infrared film
in the studio. Clay says, “Most of the infrared shooters choose
an older mechanical SLR like the FE-2. Some of the newer auto-everything
SLRs have electronic components that can actually damage IR film.” Once
you have decided to experiment with this film, Clay advises, “You
must be careful because it can be
He adds, “In open shade, I’ll shoot at 1/60 and open up a little, to f/11 or f/8.” Clay prefers working at smaller apertures with infrared, primarily because he no longer uses the infrared focusing mark, relying instead on depth of field to cover any focusing discrepancies. He used to use the IR focusing index religiously until Joe Buissink, another avid infrared shooter, told Clay he never uses it. By using wider lenses and smaller apertures, it frees Clay to concentrate on the subject of the portrait instead of constantly readjusting focus. With any type
of film shooting, Clay, like Tony Corbell, feels strongly that a good
negative is a little on the thin side. Not only with infrared
but with any film, Clay recommends, “Don’t overexpose just
to be on the safe side. You’ll lose print quality.” In the studio Clay shoots with Photogenic strobes, using a five-light setup. The main light is set to f/11 and the fill light is usually set to f/5.6. He exposes for the main light, so he is usually shooting at 1/60 at f/11. On exceptional images, he will bracket in 1/2-stop increments because of the unpredictable nature of infrared. Ultimately, experimentation is the key to successfully shooting infrared. He says, “Experience is the best teacher, and the more you shoot infrared, the better you’ll understand it. Studying photography is like studying music. First you learn the scales, and then you have the most fun improvising.”
The idea of “owning an original” is planted in the minds of clients in the reception area of Clay’s studio when they see hand-printed art pieces, bound in an elegant 11x14 portfolio. Clay says, “Every client is a candidate for this type of image. I know from the beginning of a session that I am going to create a few. I always make them at the end of the session and sometimes one role of infrared will last two or three different sessions.” He adds, “I start with the familiar, using traditional Canon digital SLRs and usually find myself at the end of the session, stretching to create an image that has never been done before.”
Clay Blackmore, along with Calvin Hayes, will be presenting a program at WPPI 2004 at BALLY’s Las Vegas on Wednesday, Feb. 25. The title of the program is “Exclusive Wedding Coverage.” CharMaine Beleele, with an MA in Communication, owns Angel Kissed Photography Studio in Arkansas. She teaches Communication at the University of Arkansas in Fort Smith. She is also a regular correspondent for the Arkansas Catholic newspaper. Contact her by email at LBeleele@aol.com or visit her new web site: www.angelkissedphotography.com. |
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Diane Arbus once said, “A photograph is a secret
about a secret. The more it tells, the less you know.” As you view
the images accompanying this article you cannot help but wonder about
the mysteries of the people Clay Blackmore has portrayed. What secret
dreams are concealed in the eyes of the woman gazing at her reflection?
What is the story hidden in the tranquil expression? 
To create the art piece,
Clay develops the film, views the images and selects his favorite. In
his darkroom, he will then tone and print the
image several different ways. The final image will be printed on fiber-based
paper in the size he deems appropriate. He says, “About three years
ago, I bought a darkroom and recently found another one. As digital takes
over the industry, darkroom equipment is easy to find at good prices.”
very unpredictable. It must be loaded
and unloaded in absolute darkness.” Clay utilizes yellow or orange
filters for their softening effects. But for very striking, dramatic
works, he employs the #25A Wratten red filter. Mood dictates choice. 
Outdoors, Clay, who always shoots handheld, advises
beginners to use, “the
Sunny Sixteen Rule,” rating the film at ISO 125 and shooting at
1/125 at f/16. “Outside, it works best if you choose a sunny day.
On cloudy or overcast days the effects are less desirable, although use
of a yellow or orange filter and larger apertures can achieve the desired
look.” 
In his posing, Clay gently prompts those “look
away” moments,
those delicate profiles and downcast eyes. These moments evoke tenderness
and mystery suitable to the medium of infrared. And from a technical
standpoint, he “avoids shots with direct eye contact with the camera.
This is the secret to evading the hard, marbleized appearance that happens
when eyes are photographed with infrared film.” 
During
the session Clay appears effortless as he communicates with his subjects.
One hint about his “psychology of the lens” is
that he uses his client’s name. Clay’s energetic personality
and passion for his art draws his subject into the creative process.
As he shoots, the client relaxes. A mood develops. Clay, recently named
a Canon Explorer of Light, believes each client is more than a subject.
He sees each client as an individual, and it is that powerful statement
of individuality he desires to grasp in a Blackmore original. He says, “Technique
will only take you so far.… It is rapport with the people that
will take you to the next level.” To see more, visit Clay’s
web site at www.clayblackmore.com. 