The Photography Of Dennis Welsh: Lifestyle In Motion
So how does Dennis Welsh find talent? “If I’m looking for lifestyle models, we’ll typically work with agencies. If we’re specifically looking for athletes, we’ll turn to agencies specializing in that type of talent, or I’ll draw on people I know who can recommend the kind of talent we need.”
The client may suggest a theme or even a general locale, then leave it to Welsh to suggest a specific setting. Welsh will then hire a location scout who specializes in the area or the lifestyle the shoot focuses on.
For example, one client once asked him to shoot whitewater rafting—in the middle of winter. There was no place that would work in the continental United States. Considerable digging pointed Welsh toward Costa Rica. Location scouts and local rafting guides in that Central American paradise helped nail the location, and his whitewater photography experience brought him the rest of the way. The client justified the expense by adding two other shots of different subjects while there.
“If we’re trying to sell a certain setting to a consumer sitting comfortably at home but surrounded by dreary weather, we need everything about this setting we’re showing him to be perfect,” Welsh emphasizes.
“If it doesn’t look right, it’s not going to be right for the shot, the client, the consumer.”
Dennis Welsh didn’t start out to be a photographer. While attending a slide presentation at St. Lawrence University in upstate New York, he became enamored of the work presented by photographer John Kelly. “I picked up my first camera when I was a kid, but really got into photography as a result of that experience. For me, a camera is a tool. I’ve had a lot of cameras over the years, but I’ve had no issues with letting them go when they can no longer produce the results I need. For me, if a camera is not making money, it’s almost not worth having.”
When he graduated, he moved to Portland, Maine, currently his primary base of operations, although he also spends time in Chicago.
“The first job that fell in my lap was a photo assistant to studio photographer Peter Macomber. I learned so much from him. He had major catalog clients, but, after three years, I realized I didn’t want to be a studio photographer. So I took my Nikon SLR and, at 25, hung a shingle on my own. I started with three lenses: a 50, 180, and 300 f/2.8.” Welsh then turned his attention to sports and outdoor adventure themes, and was soon contributing to national sports and outdoor publications.
How did he get these assignments? “I just picked up the phone and cold-called. I created a portfolio with images that were shot in my style, but which reflected what these publications were doing. And I was tenacious and kept checking in with people. There’s a lot of pounding the pavement.”
Gear Of Choice
“The 35mm format was always in my repertoire,” Welsh declares, adding, “but I also shot on a Contax 645, Pentax 67, and Linhof 4x5.” En route to digital, Welsh eventually made the move to the Canon EOS-1. “And when I went digital, I switched to the 1Ds and 1D Mark II—one was my slow camera, the other my fast camera (in terms of continuous shooting frame rates). Now I own a couple of 1D X bodies.” He favors fixed focal length fast optics (f/1.2 and f/1.4, as applicable) in 35mm, 50mm, and 85mm lenses, plus the 15mm fisheye and 14mm f/2.8.
He rarely turns to his 300mm, noting, “I tend to get physically closer to my subjects these days.” He does own several f/2.8 zooms: 16-35mm, 24-70mm, and 70-200mm IS (but rarely uses the IS feature). Welsh also owns a Phase One IQ140. “I use it when I can shoot a little slower. And where AF is not that critical.” His medium format lenses range from 45mm to 150mm.
Welsh typically shoots handheld with the Canon, and about half the time with the Phase One. Where needed a Gitzo tripod with Foba head come to his aid. He adds: “When I’m moving fast, I shoot to card and hand the card off to my digital tech, or drop it in my card wallet. When I shoot catalog, I shoot tethered.”
On the rare occasions when he shoots in the studio, he turns to Profoto for his lighting. But outdoors, “the look that I go for is as naturally lit as possible.” Toward that end, he may add an edge light with a Profoto Pro-7b battery-powered head when the weather is working against him. Or, more than likely, he’ll simply bounce light off a California Sunbounce or Westcott Scrim Jim reflector.
Welsh not only shoots stills that convey a sense of motion, but video as well. For the latter he turns to a RED Scarlet camera.
To see more of Dennis Welsh’s work, visit www.denniswelsh.com.
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