Rangefinder Magazine
August 2005

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For white-hot photographic art, you could travel less than 50 miles outside of steamy Hotlanta, Georgia, to the quieter town of Cumming. Here, Whitelake Studio owner and portrait artist Bryan White will tell you, “I have lived in the South all my life for many reasons. The number one reason is family. The climate is generally warm and has a nice change of seasons. I think one’s surroundings influence one’s work to a certain extent, especially when you do a lot of outdoor, lifestyle work. My studio is about a mile from my home. We have an outdoor portrait garden complete with stream, landscaping and nature trails.” This lifestyle and location have become integral to Bryan’s philosophy. Bryan has not allowed himself to sacrifice family and home life in order to pursue his artistic vision. “I can’t tell you how many photographers have told me they cannot remember a Saturday they spent with their kids. This saddens me greatly.”

If life can be perceived as a pyramid, then the base of Bryan’s pyramid is his family. “My family has always been very supportive of my photographic endeavors. After college, there was a time in my life when I was not involved in photography at all. Just a few years after we were married my wife, Blayne, was instrumental in getting me involved again in photography. She was the driving force behind the birth of Whitelake Studio and is integral to its continuing success today. I owe so much to her. In fact, three years ago, Blayne and I decided to retire from weddings so we could enjoy our family time that much more. It was probably one of the best decisions we ever made. Our lifestyle and family time at home could not be better, and our children and family business has continued to flourish. I’ve labeled myself an engagement and bridal portrait specialist to keep connected.”

“Standing Out in the Crowd”—breaking from the norm, becoming an individual within the monotony of the many.	“Iguana”—A visual study of the similarities in texture and treatment of color between a raku-fired platter and an iguana.

He continues, “I’ve always considered myself a painter that uses a camera. My devotion to drawing and painting led to an interest in photography.” In 9th grade, when he and his dad purchased a camera together, Bryan bought his destiny. “I have a bachelor’s degree in painting and photography, and I’ve learned from Curtis Chapman, John Lawrence, Dean Collins and Tim and Beverly Walden, to name a few.”

Since he is quickly becoming a sought-after teacher and mentor in his own right, it is only logical that he is quick to share the tools of his trade. With the charm of a Southern gentleman, he explains, “My workhorse is my Hasselblad 501C. I use various other cameras such as Canon 1D, Minolta XG-1 and even a Holga. Lighting in the studio consists of Visatec strobes with umbrellas and softboxes. Lighting outdoors is my trusty Sunpak and Westcott reflector.”

The real tools Bryan uses cannot be packed in a camera bag. The keys to his edgy artistic style are abstract and can only be packed in the heart. He has said the characteristics of a good portrait “have very little to do with technical aptitude.” To find these “White”-hot keys, visit www.culturestock.biz, an online gallery where Bryan displays his work alongside that of another new face on the art scene, painter Alyx White, who happens to be Bryan’s nine-year-old daughter. Bryan explains, “Last year, we started a web-based gallery. My daughter and I use it as a creative outlet.” If you visit, you must visit Alyx’s refreshingly unique visions before you click on Bryan’s name. They will refresh your spirit and undoubtedly make you smile.

“Disney ABC 123”—Self-assignment from our many travels to Disney World: Find the alaphabet and numbers while pushing a two-year-old in a stroller.	“Dream of the Dance”—visual record of a young girl’s dream of becoming a dancer.

The first White-hot key is, using Bryan’s word, “Impact. If you don’t grab the viewer’s attention right away, then the battle is already lost.” On one of the pages of his online gallery, Bryan states, “Do not be confused by the need to conform to visual standards.” His second White-hot key is creativity. Creativity is the skill to unlock our inhibitions and think outside the box. Like a quixotic Zen master, Bryan also says, “Life does not match the couch.” It’s hard to get out of the box and be creative if we are bogged down in the comfort of our couch. Thirdly, he states, “A good portrait must include emotion.” I like to put these White-hot keys into a mnemonic device that I call, “White-hot I.C.E.” I is for “Impact.” C is for “Creativity,” and E is for Emotions.

Bryan’s works include dreams, experiences, and most importantly, feelings. The painful emotional content of his work “The Scream” might jar you or even make you feel uncomfortable, but you won’t forget its power. Even strong masculine types can get in touch with their maternal side when they view the emotion of “Broken Angel.” When he explains these images, he simply says, “I choose to see, to love, to celebrate. I choose to remember.”

Bryan “sees” in many layers and in a diversity of colors, forms and flavors. Perhaps his gift of unique sight came from his art background. His education exposed him to the genius of the art world that photographers might miss if they study only photography. He shares, “Most of my inspiration comes from painters and sculptors such as Schiele, Duchamp, Rodin, Van Gogh, Degas, Parrish, Michelangelo and so many others.” There are many art lessons in this one sentence, many paths into the complexities of a White-hot image, such as the lesser known Egon Schiele. The influence of this Austrian Expressionist can be seen in Bryan’s dreamy and often mythological imagery. His images often represent the spiritual struggle to “break the bonds and achieve inner peace.” Bryan requires of himself that his images have impact, have something to say, and express emotion creatively.

“Extreme Dance”—Visual poetry of modern interpretive dance: Raw emotions explode in this dance from the heart.

Many of Bryan’s images we see through transparent layers in a collage of varied small vignettes melded together through subtle veils of shifting color or tone.

“Never Forget” (page 34) brings us heartbreak but also a strength and sense of pride in the eyes of the weary fireman. Aside from the emotional impact, this image teaches us the classic lessons of foreground, mid-ground and background. Demanding the most attention in the foreground, we see the expressive, realistic portrayal of the fireman. Throughout the mid-ground, Bryan has woven our ultimate symbol, the American flag, not only draped in folds, but also unnaturally stretched and twisted. It conjures stripes of blood and stars of courage. In the background loom two major representations of New York to the world: the Gothic arches of the Brooklyn Bridge and the misty persona of the Statue of Liberty.

“Never Forget, September 11: Fallen Brothers”—We will never forget the sacrifice.

Once you understand who Bryan’s art heroes are, it is fascinating to identify the heart of his inspiration. For example, in such works as Bryan’s “Dream of the Dance” (page 38) we see the influences of Pablo Picasso and Georges Braque’s cubism. The young girl in the image dreams about ballet, but don’t allow that fact to lull you into believing that the image is all Degas.

In contrast to the naturalism and delicate line work of “Dream of the Dance,” in the image, “New York: Standing Out In the Crowd” (page 38) we see a rough Fauvism with a 21st century edge. This piece shows us broad strokes; we can see a far less delicate, less realistic style than we see in “Dream of the Dance.” The red car, red fish, burgundy building and red face co-exist in a rough monochrome world.

Car, fish and face stand out in a scarlet color that is primitive enough for that famous Fauvist, Paul Gauguin. Try a view of Pierre Albert Marquet’s work, like the painting “Beach of Fecamp,” and then look at “Standing Out In the Crowd.” Marquet’s painting and Bryan’s image are comparable lessons in color and design. Many of these works can be seen in Bryan’s online gallery, culturestock.biz/.

“Mr. Wendel’s Shoes”—Mr. Wendel lived a rich life filled with inner peace and comfort.

Family Portraiture
The secret of the family moments, so popular with the clientele at Whitelake Studio, is bestowed upon us with Bryan’s confident Southern charm and with the born enthusiasm of a teacher who has found a lesson that works for his students. He teaches us a new “core value that 95 percent of portrait photographers do not implement, do not understand, or do not care to embrace: Treat children differently! Become a child yourself and relinquish control. Every session at Whitelake Studio is dictated by the child, not me. If your goal is to show the real character and personality of the child, then give up control, close your mouth, and allow the child to be comfortable and dictate the pace to you. You will be so happy you did. As an artist you will be challenged to a higher level and your profit margin will increase.” I tried the White method in my own studio, in a Victorian tea setting, and I obtained some of the best images of two toddlers, teddy bears and teacups, I ever photographed. They played. I shot. Grandma bought and bought. Bryan’s lesson is only simple on the surface, and the session requires more time than my usual dictatorship style, but the tender results and natural poses are worth the effort and the extra minutes.

A visit to www.whitelakestudio.com will yield many examples of portraits and everyday moments transformed into works of subtle art. These images might not have the Dadaist or Surrealistic influences of some of his more aesthetic fine art pieces, but Bryan still imbues them with visual appeal to the subconscious. He accomplishes this in the way he lights, poses and composes even the simplest portraits.

“Shadows of the Past”—Visual narrative: You are never too old to turn away from the past.

Whitelake Studio subsists on a special niche. Bryan winks as he says, “We like being small. We have had opportunities to open other Whitelake Studio locations, but we have declined so we can concentrate on what we do best: one-of-a-kind, passionate images of a niche clientele that appreciates art.”

Whether you find a White fine art piece at culturestock.biz or a delicate child’s portrait at whitelakestudio.com, you will always find his White-hot I.C.E., the keys of Impact, Creativity and Emotion.

Bryan has plans for the future: “In the next five years, I hope to further expand and prioritize Culturestock, while refining my daily work at Whitelake Studio to an even smaller niche. I also want to continue speaking and helping other photographers think outside the box and break out of their creativity doldrums. Years from now, I hope to be moving toward semi-retirement while traveling even more.”

Find one of my favorite White-hot fine art pieces, “Divine Inspiration,” in the gallery at culturestock.biz/. It tells the story of the lost da Vinci painting of Leda, and it is a collage. Bryan tells the story in layers of images. We see Leonardo in thought, in prayer and in the midst of a session with his beautiful model. It shows the artist placing the graceful angle of Leda’s wrist and hand. Another layer shows her close up with her hand brushing the trademark coils and tendrils of her renaissance hairstyle.

We see Leonardo in deep concentration, and in earnest prayer, and we see Leda poised in elegant dance pose. We have all seen the famous sketches, but Bryan brings us the moments behind the sketches of a painting that was lost. We can’t all be da Vinci, but we can experience an artist’s kinship through this image. Discuss this and other images with Bryan at bryan@whitelakestudio.com/. Be sure to ask him about his upcoming four-part DVD series, which will feature his techniques in action, in real-life situations.

CharMaine R. Beleele is a photographic artist—angelkissedphotography.com; speech communications professor—University of Arkansas; and writer—Rangefinder magazine, WPPI Photography Monthly and Arkansas Catholic Newspaper.