Portraits, editorial work, etc.

EXPERIMENTS WITH SURREALIST PORTRAITURE

Recent edits of photo session with Emily Jean Nance (Toronto, February 2025)

These images explore surrealist portraiture with techniques reminiscent of those pioneered by Man Ray, Lee Miller and their contemporaries. I intend to capture an ethereal ambiguity, a hallmark of surrealist photographic practice, using long exposures and tonal manipulations, especially solarization, a method Man Ray famously employed to invert reality and unsettle perception.

I exhibit my subject as both present and ephemeral, to create ghostly, uncertain figures that recall the mysterious quality of Man Ray's rayographs. Long exposures create temporal layering and generate distortions of the human form (intentional blurring, visual duplication, etc.) ... leading to a sense of spatial and existential ambiguity.

EXPERIMENTS IN “CONSTRUCTIVIST” PORTRAITURE

I’m a long-time admirer of the formal and visual elements of Constructivist photography and cinematography. The portraits below are experimental exercises in this style, built as a nod to the original movement that treated art as an engineered construction rather than personal expression.

Inspired by Alexander Rodchenko’s hard contrasts and framing, I composed the subjects using stark geometry. Projected shapes, mirrors, and layered reflections fracture their figures, echoing early photomontage and cinematic experiments with double-exposures and oblique angles.

However, I don’t follow Constructivism's traditionally austere detachment. By introducing a nostalgic colour palette, heightened stylization, and capturing my subject’s shifting emotional auras, these images intentionally emphasize style and sentiment over pure mechanics.

Statement on Portraiture

Portrait photography is often described as an attempt to capture a subject’s essential character, or even their spirit. I find that aspiration beautiful, but too absolute. For me, a portrait is most powerful when it provokes curiosity—when it invites the viewer to look longer, and to wonder.

A compelling portrait does not place the subject fully under a clear, declarative light. It leaves something unresolved. Some part of the person remains withheld, obscured, or translated through abstraction, so that the image continues to open itself to interpretation.

My background in philosophy shapes this approach. I am drawn to images with a lyrical, contemplative quality—portraits that operate emotionally, but also intellectually. I often work with reflective surfaces, motion blur, diffusion, unusual lighting, shadow, and sometimes subtle surreal elements. I also use colour grading to create an atmosphere that feels specific to the subject, rather than merely decorative.

I am less interested in making a subject immediately legible than in creating a sense of intimacy, dignity, and intrigue. In posing, I often look for moments of quiet strength, thoughtfulness, or inwardness.

Ultimately, I believe an interesting portrait can be more lasting than a conventionally beautiful one. The best portraits do not answer every question; they deepen the desire to ask.

I'm available for commissions and am able to serve both private individuals, as well as commercial/institutional clients. 

Black and white portrait of a woman with long hair, looking to the right, with a calm expression.