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[October 23rd, 2007 ]
Conceived in a canvas tent on the Serengeti, Walter Lockwood was thrust into a journey that began by traveling the world as a child and continues now with the prolific creation of images. Walter's brand of commercial and editorial photography draws heavily from his multi cultural experiences as well as from his education and love for the arts. Communicating ideas, stories, and concepts that are character driven give focus to Walter's portraits and concept based imagery.
Why photography?
I remember asking my parents when I was a kid if I could be an astronaut or a fireman when I grew up. Their answer was: You can be anything you want to be. Well, I believed that literally. So I proceeded to go out and fail many times at being "anything I want". Except for one. And when I think about it, I realize that all my previous pursuits really inform my photography.
What other pursuits inform your photography?
Well, mainly my involvement with the television and film industry. I studied drama at NYU, did a lot of theatre, TV commercials, and short films. I modeled, had an agent, etc. But I realized early into it that the images themselves were what truly got me going. Not being in front of the camera. And, thank God, I am a far better shooter than I ever was an actor!
What first comes to mind when you think of a challenging, but fun photo shoot?
I did a shoot centered around the theme of "Circus Freaks" this year. We were trying to recreate Coney Island vaudeville/side show type acts. This was a fun project... and a real challenge!
It seems that you would need to be very organized to produce a shoot of this kind. What were the first steps that you took?
First I had to find the location and authentic props. My research led me to Wini who had a career as an amazing trapeze artist. She literally ran away, joined the circus, and performed for huge audiences worldwide her whole life. She and her husband Chester (Chester was a master foot juggler) now run a company that collects circus memorabilia and puts up big top tents all over the world. They did a lot of the tents, vehicles and styling for the HBO series Carnivale. I just LOVE finding people like this!
How did you get the circus performers and all of the props?
Wini introduced me to Mighty Mike the midget, George the giant, Henry the dog faced boy, Ted Shred the ringmaster/fire breather/snake charmer, a gaggle of burlesque dancers and a contortionist. I couldn't wait to start shooting. Wini owns all the tents, props and wardrobe, so the only hard part about putting together the set was going through everything with the stylist and art director and choosing what to shoot. That was hard only because there was so much amazing stuff!
In the end what props did you finally decide to use?
We settled on the clown canon, throwing star wheel, model T Ford circus car, lion cage, and a bunch of backdrops, tents pedestals, etc. Shooting was a breeze because we were prepared. I had my shot list, the sets were already built, we had incredible wardrobe for the cast, I had great assistants, and I knew how I was going to light everything to get the effect we wanted.
Was there anything during the photo shoot that became challenging?
The only thing that got in the way was when I shot the performers breathing fire. The oil that they light and blow out of their mouths gets on everything, such as my camera and lens! So we rigged a curtain out duvateen to protect the camera (and the photographer) from wayward flaming oil spittle! It was just a blast! Most of the final images were single shots done in camera but we also did a few composites in order to save time on the shoot and maximize out options.
What kind of equipment do you usually shoot with?
I really miss my 4x5. I sold it a few years ago and I really miss it. I think I am going to buy a new one. But to answer your question I shoot either with my RZ 67 Pro II or my Canon DSLR. If I am shooting for a large ad placement and digital is necessary then I use a Hasselblad HD3. My lighting is usually Elinchrom.
Any other interesting projects coming up?
I was just invited into the Los Angeles Artists Association. They have regular gallery openings organized by curators from established museums and other art associations. I have my first show starting this weekend. So I am really looking forward to the opening.
So this your first foray into fine art?
Yep.
How did you approach the Gallery? Do you have a body of work that is specifically fine art?
Actually, a friend of mine that I work with and who knows my commercial work pushed me to submit for the Gallery. Glad I listened! I do have pieces that I consider to be fine art. But as I said before, I approach all my work with the same focus: Get the shot that tells the story/concept for the given subject or project. That goes for fine art, advertising, and editorial, even a snapshot.
Where do you see yourself and your images in the world right now?
Are you kidding? I think it would take months to answer that question and then it would change... but I will try. I approach my image making the same way be it for an advertisement, editorial piece, or personal work. That is, I go after the image that says something about my subject. For example, a portrait can be simple but it must be telling of the person. A concept or story is only interesting or convincing if it is somehow rooted in the subject. So I blend elements that are artificial or real or humorous, etc. to create a telling image based on the projects needs.
Who or what are you greatest inspirations?
Sometimes it is a cup of very strong coffee. I haven't gone without one first thing in the morning for at least five years. I am incredibly lucky to have extremely supportive family and friends. My friends come from so many very different walks of life. So diverse in fact that many of them would never get along. But I find that very inspiring as well.
Anything else you would like to add?
Well remembering to have fun is very important when it comes to a photo shoot. It is so easy to get caught up in the pressures of getting the perfect shot. Some of the images I am most proud of came from just letting go during a shoot. I think you really have to balance structuring, planning, and executing with enjoying the process and knowing when to laugh and have just have a good time. After all, why the hell else would anyone pick up a camera?
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