Rangefinder Magazine
September 2001/Features

Finding the Artist Within You by William S. McIntosh, M.Photog., Cr. , F-ASP

It is hard to climb the mountain of photographic quality and takes even more effort to maintain that quality when you arrive, but unless you make the journey, you are confined to the valley of mediocrity all your life.

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I believe that every photographer, who puts forth the effort, can be innovative and produce portraits of a quality far above their normal output. Most of us start out with great ideas on making portraits that are different and exciting to look at. The problem is that making ends meet always gets in the way, and we end up taking the type of portraits that are easy to make and sell, over and over again. I have been in this trap a number of times. In fact, most of my first 10 years in photography was spent making formula-portraits for money.

Finally, I happened upon a solution that forced me to be innovative and stimulated whatever creative talents I might have. I committed myself to having an exhibition of new work in a large bank lobby that had a changing art exhibit every month. The bank’s art committee allowed me, as the only photographer, to exhibit for one month once a year, as long as my work did not look like the average portrait studio’s commercial portraits.

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With this new challenge, I scheduled one half-day a week to photograph a subject in a different way. I looked for subjects and backgrounds that were unusual and would tell a story about the subject. I spared no expense within my means making these portraits. For each image, I took all my lights and anything I needed to make the finest image I was capable of. If I did not have enough equipment, I borrowed or rented what I needed. The subjects cooperated because there was no charge and they would be in the exhibit.

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Eventually my exhibits grew to include portraits of the principal artists of the opera, the symphony, painters, sculptors, cultural and civic leaders, and leaders of government. My exhibits, over the years, led to exhibits in other locations—the Opera House, the Symphony Hall, and home shows and women’s shows. The exhibits have given me a lasting credibility in the community I never would have achieved without creating my self-imposed challenges. I do not know of a better way to promote your business, improve your work and have the confidence to charge more for your portraits.

All images here were taken with a Mamiya RZ 67 camera and lenses, Calumet Travelite 750 strobes, Lumedyne battery strobes, Fuji film and Kodak type L, tungsten-balanced film. Images were custom-printed by H&H Color Lab.

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This is my 52nd year as a portrait photographer. I began making one portrait a week for myself about 40 years ago. It took many years to obtain the credibility to get permission to hold exhibits in the best public spaces in my area. My photography of the symphony, opera, ballet, the cultural leaders, civic and government leaders, has given me an image as an artist in the area. This type of “institutional advertising” cannot be bought. It is never easy—it takes a lot of time and effort, but in the long run it is well worth it. I keep thinking, where would I be if I had not done it?

William S. McIntosh, M.Photog. Cr., F-ASP, photographs executives and their families all over the U.S. and travels to England frequently on special assignments. He has lectured all over the world. His popular book, Location Portraiture, The Story Behind the Art, is sold in hardcover and soft cover versions by TR Books & Videos.

Captions:

1. I photographed Tracey Yeager for a woman’s show. I wanted to feature women in different professions. Tracey is one the Navy’s outstanding helicopter pilots. Sunset lighting supplemented with a Lumedyne strobe with bare bulb. Exposure: 1ž15 at between f/8 and f/11, Fuji NPH 400 film, Mamiya RZ 67 and Mamiya-Sekor 65mm lens.

2. Irene Bass substituted for the Diva of the Opera Turandot. The Diva is standing on a banquet table in the first row of the opera house and so am I. This was necessary in order to get the entire stage set behind her in the portrait. One 31-inch umbrella strobe was high and just above her face and used straight in. Six strobes with red and blue gels were used to light the opera set behind her. Mamiya RZ 67, Mamiya-Sekor 65mm lens with Fuji NHG II 800 film.

3. Marjorie Neikrug established the second oldest gallery in New York City to sell photography as art. I met Marjorie some years ago and asked to photograph her. I loved the gallery background. Lighting: ambient light in room and one diffused tungsten light on Marjorie. Exposure: Kodak type L, tungsten-balanced film, 1ž2 second at between f/8–11, with 50mm Mamiya-Sekor wide-angle lens and the RZ 67.

4. Principal Viola. Every 10 years or so, I photograph the principal musicians of the Virginia Symphony. The portraits are on continuous display around the Norfolk, Virginia metropolitan area. The stainglass windows on most churches are about 15 feet off the floor. My subject is standing on two banquet tables, and so am I with mycamera. This is necessary to get almost even with the windows in the background. Exposure: 1ž30 at f/8 on Fuji NHG 800 film. Three strobes were used on the subject and two on the ceiling to register some detail.

5. have been photographing the principals of the Virginia Opera for three years. Each portrait hangs in the Harris Opera House and affords me a permanent showcase for my work. Mamiya RZ 67, 65mm Mamiya-Sekor lens, Fuji NPH 400 film. Six strobe units were used to make the photograph.

6. One stage spotlight was directed on the couple, while another—under my control—was focused on the dancers behind the couple. Using a Mamiya RZ 67 and 65mm lens, the exposure was 1ž15 at f/8 on Kodak type L tungsten film, ISO 100 film.