User:Theonegrayname/Gray Scott

Film Credits: Vacuus Numb : Fly Magazine Lucifers Milkmaid : Fly Magazine Hypnogogic Ports 1961 spring 2010

March 3rd 2007 Studiolighting.net does interview with Director/ photographer  Gray Scott.

F-Stop Beyond Episode 81 with Director / photographer Gray Scott.

“At some point you have to ask yourself, ‘why am I doing this?’…If you’re not familiar with your own subconscious, when it does arrive, it will scare the s#*! out of you.” ~ Gray Scott

I first “discovered” Gray Scott at liveBooks Photographers in Focus video series. His work has a brooding, almost eerie sensibility about it. After watching the short video, I knew that he’d be a terrific guest for the show. His sense as an artist, his talent, and his passion for his work are right up our alley. What’s even more amazing is that he’s gained a great deal of success in the commercial and fashion world after only picking up a camera five years ago. His artistic career started with oil painting as a kid. But somewhere down the line he got into make-up of all things. But, whether it was a desire to be the guy “in charge” (as opposed to just the support staff), or his need to “say something” with his work, he dove into professional photography full time (he was shooting his first editorial only after 3 months). In this very inspiring and vulnerable interview, Gray shares with us about his career growth, his view as an artist, the pain in his past that has such a profound influence on his work, and how his work has evolved over the years. You get a sense that he’s a man on a quest. For those of you who are passionate artists, Gray’s words will be like honey to your ears. This is quintessential F-Stop Beyond.

Picture Magazine interview with Director/ photographer Gray Scott.

Interview by Sujene Kong. Sujene is a freelance writer and fashion designer in New York City. sujene@gmail.com GRAY SCOTT'S CANVAS From a blank canvas to a brilliant masterpiece, this rising photographer transforms images to works of art with one press of a button.

Gray Scott, whom many of you have probably heard of by now, is certainly making a name for himself. After only being in the industry for a little over a year, Gray has already shot a major beauty campaign; fashion covers, editorials, as well as produced his own short films. Praised for his keen eye and attention to detail, it is no wonder why this makeup artist turned photographer is such a success.

THE FORMATIVE YEARS

Q: WHEN DID YOU FIRST BECOME INTERESTED IN ART? A: My mother had me in private art classes since I was probably 10 or 11, painting. That's really where this all began - painting. From the beginning I think I knew I wanted to be an artist is some aspect.

Q: HOW DID YOU FIRST BECOME INTERESTED IN PHOTOGRAPHY? A: Throughout my career as a makeup artist, because I was such a visual person and because I was so structured as a storyteller in my painting, there were lots of times when photographers throughout the year would say to me "wow, you should be a photographer," "wow, you should be an art director." I think that planted the seed that it was possible for me to sort of make that leap because I had the eye. It was in my background to be a photographer or a painter.

THE DEVELOPMENTAL STAGES

Q: HOW DID YOU GET STARTED? A: How this really started was I had a friend who was a model, and I was on a shoot with her. I had purchased some photo equipment, and I said to her, "Listen, I think I'm wanting to be a photographer." I created a beautiful series of four pictures that had narrative to it and had a story behind it. And from that moment on it has been out of control. I showed her agency the pictures, and they sent me seven girls. Of those seven, one of those girls got me a job for a major beauty campaign. I was getting jobs with eight pictures in my book, and every picture was so strong that people realized I could shoot. After that first initial test about a year and two months ago, I barely had time to breathe. I think I realized too that I'm not as new as I thought I was.

Q: WHAT WAS IT LIKE STARTING OUT? A: I was very nervous about being technically capable. It is a very technical business, but you can't get wrapped up into that because that will rob you of your creative essence and your images will look flat and stale.

Q: WHAT WAS ONE OF THE BIGGEST MISTAKES YOU HAD MADE AS A BEGINNER? A: Hiring the wrong people to be on your shoots is the worst mistake you could make, because the energy that they bring can ruin your entire shoot.

Q: WHAT DO YOU DO TO PREVENT THAT? A: I rarely will book someone without meeting them first. Because I have to know that they're going to support this project whatever it may be.

Q: DO YOU HAVE ANY ADVICE FOR NEW PHOTOGRAPHERS? A: My only advice, because I'm still learning as well, is don't listen to every technical person that comes along on your path, because it's not about technique, and that will develop, but that takes awhile to develop. It really is about how your audience is going to view your pictures, and you have to be able to access your personal emotions to get that.

Q: WHAT DO YOU SHOOT WITH? A: I go between the Hasselblad H1 and I have a Canon Mark II. So I go between those two-16 megapixels. It took me a couple of months to really operate the camera to all its degrees.

Q: HAS DIGITAL CHANGED YOUR PROCESS? A: I never shot film, and I don't shoot film. I'm a supporter of digital. There is nothing you cannot do with digital. Commercially, it's everywhere. I learned from the ground up everything about digital- how to process. And because I do my own retouching, I know from the moment I sit down on that set, I know how this is going to look because I have a sense of what my parameters are and what I can and can't do with digital. It gives you more of a creative freedom. It's instant gratification.

Q: DID YOU HAVE ANY CHALLENGES WITH THE CONCEPT OF DIGITAL IN THE BEGINNING? A: It brings it back to being a painter for me. For those photographers who do their own retouching, it is like being a painter. You shoot the image, and then you bring it home and you paint. When I first started shooting digital, I heard a lot of people say it's great for commercial. It's great for well lit bright pictures, but you can't do dark editorials. Well, I think I've proven that to be wrong.

Q: WHO HAVE YOU SHOT THAT YOU ADMIRE? A: I recently shot Chloe Sevigny. I have such a respect for her as an artist, and that was very important to me, and that was what made it such a joy for me. When she got on set, she said to me, "I want you to direct me." And it was such a pleasure and such an honor for her to say that to me because it meant that she trusted me to take her through the shoot.

Q: WHAT DO YOU LIKE THE MOST ABOUT YOUR JOB? A: What I really like is getting this group of people together: from the models, the hair and the makeup, and the styling, getting those people together and giving them an idea and letting them create, and then being a part of directing their creation.

Q: WHAT DO YOU LIKE LEAST ABOUT YOUR JOB? A: The part that I like the least is some of the interference I get through the industry. Whether that be having to explain things to a stylist, or a hair and makeup artist. I think the industry is starting to trust me, and I don't like having to win over this trust.

Q: DO YOU HAVE A FAVORITE PHOTOGRAPHER? A: It's obvious Steven Meisel is a genius, but I really adore the narratives he puts together. He is able to have subtext in his pictures. My all time favorite photographer is Gregory Crewdson. He's just genius.

Q: WHAT ARE YOUR ARTISTIC INFLUENCES? A: Psychology is my number one influence. You can see that in my work. Also, music is a huge influence. If I get an assignment, and I know what the basic principles are for the assignment, I will go and sit down and listen to my favorite music. Also, life experiences. And finally, painters. I'm a huge fan of Mark Ryden. I try not to get too close to any one of [these four influences]; I sort of let them influence my feelings.

Q: WHAT ARE YOU WORKING ON NOW? A: I finished an editorial that I'm very excited about. Sort of a follow up to the "Flowers." The theme is a lot more sexual, a lot darker and a lot more subversive. Also, in the next couple of months, i'm about to do another short film for FLY Magazine.