For the month of May, I welcome Brian DeMint of Eyeworks Photography in Joplin, Missouri. Brian is a fashion photographer while his wife, Dena, is the makeup and hairstyling specialist. Their unique style of fashion photography has landed their work on fashion magazine covers, in editorials as well as in advertising campaigns for clothing stores and salons. Brian and Dena combine the latest graphic technologies with “Elements of Design” to provide professional imaging with an artistic flair.

What type of Camera do you use? What’s your favorite Lens? What’s in your camera bag?

I’m going to group those questions together here as my philosophy differs from most technically-minded photographers on this subject.

Many years ago when I was studying oil painting, our class took a field trip to a successful painter’s studio. On the ride over the Instructor said, “If any of you ask what brand of brushes or paint he uses, I will personally stab you.” The idea was that the instrumentation is not nearly important as the inspiration. From pinhole cameras to daguerreotypes to Godzilla-megapixel cameras, artists have created beautiful imagery. I believe that the knowledge of the Elements of Design and inspiration are much more important artistic components than the equipment you buy.

However, to actually answer the question: 90% of everything I’ve shot has been with a Canon Digital Rebel. I use the factory lens, I’m not sure of the length. My camera bag has a polarizing filter, some Chuck E. Cheese tokens, and a chewed piece of gum from a model, which I keep forgetting to throw away.

What is your favorite subject to photograph?

My only interest lies in creative fashion photography. That is the only form of work I do currently. Well, if you call wrapping someone in plastic with duct tape and then painting them “fashion.” A lot of the time I work with absolutely no direction and just let the sub-conscious take over. Meaning I just drape and throw things onto the model until it looks like something cool to shoot.

What is your studio setup like?

For lighting I use $6 reflector lights from Home Depot with 100-watt household bulbs; for backgrounds, I use textile prints or solids from Jo-Ann Fabrics or quite often I paint my own on paper - 4 x 8 sheets of thin plywood painted/textured myself. I also have a stereo because shooting with no music in the background is just creepy. Also, lots of paint, duct tape, plastic, fake flowers, etc…

Does Dena do your hair and makeup?

No. But she does the models. Like myself, she is completely self-taught but does just an outstanding job at giving me whatever look I ask for, no matter how natural or bizarre. Her talent allows me to broaden the range of work I am able to conceive and shoot.

What sets you apart from other photographers?

I think it’s the diversity and look of the work because I approach photography from a purely non-technical aspect. I come from a painter’s background and my influences are art movements such as the Futurists, The “Fauves”, Abstract Expressionism, the Pre-Raphaelites, Pop Surrealism, etc…. I think it also is the fact that I am not looking for the essence, personality or soul of my subject. I am looking for them to play whatever role I envision for them. Modeling for me is acting.

What is the hardest thing about doing a photo shoot?

Stopping. I love creating on the fly and I never run out of ideas.

May 3rd you will be speaking up here in Delafield, Wisc. on behalf of SWEPPA. What will you be talking about?

My wife and I will be giving a live demonstration on the way we work by doing a photo set from beginning to end. The set will include discussions on hair/makeup, model coaching and posing, lighting, shooting, and digital retouching to achieve a final image. Throughout the demonstration I will be stressing making choices using the Elements of Design. The demonstration will be informal and questions are encouraged at any time. I sincerely want everyone to walk away from this session inspired to push their creativity to new levels.

You said one of your future goals is to create more abstract and emotionally evoking work. Are you currently working on any special projects?

I think I used the term “emotionally evoking” because I had just viewed a museum painting of the Madonna by El Greco, which was so beautiful it moved me to tears. What more could you ask of a visual image? I would also like to move more abstract so the works can be more subjective and less objective so the viewer can wrap whatever story they would like to around the work instead of vice-versa. I am working currently on book #2, which at this point will concentrate on the phenomenon of dreams… so I plan to create images that range from hopefully aesthetically breathtakingly gorgeous to nonsensical and bizarre…

You've talked about self-critique and how it can be vital to becoming a successful photographer. What specifically does a photographer have to come to terms with when doing a self-critique?

This is a tough one because most photographers think the opposite and have others critique their work. I feel that is the first step to losing your vision. If you modify your work to the viewpoint of other artists then you will limit your parameters to their vision. I would never ask anyone to critique my work. The work is what it is, whether it be adored or hated.

However, having said that, I believe that every artist should educate themselves on the fundamentals of what makes the brain register visual artwork as attractive or disgusting and then you can make your own decisions on the direction of your work.

Anything else you would like to add?

I would like to add a very sincere “thank you” to The Lab for taking an interest in my work and for the sponsorship of the SWEPPA lecture. It is both flattering and inspirational for me to be teamed with such a professional level print house. I also appreciate the kindness of your employees who have shown a genuine excitement about the imagery. Finally, a huge thanks to Shelly Leverenz for inviting us to speak! Dena and I are looking very forward to the SWEPPA lecture.