A lot has been said (and published) about new trends in photography. Much more, however, has been proven that classic imagery - whatever the medium - will continue to be the standard by which all art is judged. It's interesting to note that most of the successful contemporary artists of the past several decades have based their style on criteria that has been around for centuries. Even the most radical artists have continually stated that they developed their style from ideas that they have copied from the most successful artists of the past.

I, too, subscribe to the fact that a classic approach to one's creativity will transcend time and remain in style forever. To that end I continue to base my photography on simple guidelines that give me the flexibility and assurance to go in any direction with my photography and be successful on a regular basis. They give me the ability to work technically from inner knowledge and spend all my energies concentrating on my subject.

I don't have to take a lot of pictures to come up with the results that I'm looking for. I see each final image in my mind's eye before I snap the shutter. It's as simple for me as filling in the pieces of a child's cut out puzzle. It's simple because I understand the "rules" and apply them where applicable. I have a different name for the rules. I call them "guidelines." My guidelines were gleamed from some of my most esteemed contemporary photographers. I have only one "rule": If you like the way it looks, take the picture. That rule works well for me, because I've studied and learned what is good.

Joe Zeltsman was my biggest influence. I studied for ten years with him to learn the basics. With the information I learned from him I was able to then listen to others and weigh their techniques against my own. I could then determine when I should accept their ideas and integrate them into my own style.

My mind is always open. I like to experiment. I like to see how far I can go and not compromise my standards. That's why my life in photography is such an adventure.

-Creating high key portraits outdoors, for instance, was a challenge that I set for myself once I retired from business and no longer had a studio.

The technique is simple. Sunlight coming through a fold-out Westcott translucent panel is an easy way to get a clear, white background. The "floor" is another Westcott product - a black and white panel. For this picture I photographed the couple under cover of a porch. A silver reflector, tipped up to catch the light coming from above the translucent panel, opened up detail in their faces. Their clean, unobstructed profiles and the placement of their hands tell the story.

Creating low-key portraits is still another adventure when you want to minimalize your equipment and show a full range of tones in the portrait.

This window light portrait has an incredible full range of tones from highlights to shadows with details throughout the entire picture. It was created by first lighting one half of his face with daylight. Then, positioning the camera for a 2/3rd (classic) view of his face, the specular highlights on his cheek, forehead and nose just popped! I positioned another Westcott product, the Monte's Illuminator (a reflector - silver on one side/black on the other) where I would normally place my main light, turned it towards the light source and bounced light back onto the shadowed side of his face.

Another low-key portrait was created in a totally different environment. In a barn, to be exact. He came over with his bike all spit and polished. I brought him inside the barn and used the open doorways as my main light source. Only a reflector below his face him was used. The subject matter just screamed for it to be black and white.

A year later I went back into the same barn and photographed this hunter. His environment was to be camouflaged. What better location could I choose? We just brought in some dried up branches, propped them up all around him and shot with the barn doors wide open again. Having a tough time finding him in the picture? Good.

Talk about "classics!" - How many people have tried to emulate the Hollywood glamour shots of the 40's!

Simple, overhead lighting from a key light was one of tricks of the trade. Kicker highlights was still another. Costuming from these vintage movies was an integral part of this classic style. I did it all here with little effort. Wrapping a Rangefinder magazine around the flashtube of my Photogenic light created the spotlight on her face. The lighting pattern is the ONE lighting pattern that I use for almost all of my portraits.

Kicker lights on both sides of her face came from additional Photogenic light heads, all coming out of their 800ws Photomaster power-supply. The kicker lights came in parallel to the sides of her face. So, the highlight on the left side of her face was very high, while the highlights on the back of her head came in from a light placed very low. Exposure was for the main light. A fill light was 2 f/stops less than the main light, preventing the shadowed area from going completely black. I'm able to get my hair lights and kicker lights in place easily without worry about getting the light stands in the picture, because I keep two lights on Westcott boom arm stands. The lights can be positioned just about anywhere without the stands getting in the way.

The pearls were costume jewelry, sold by the yard. The gloves completed the classic look. The photograph was created in color and converted to black and white in Photoshop.

My approach to portraiture varies with the subject. Sometimes a simple, direct portrait is the best approach. I'm into faces. Faces and feelings. No gimmicks. I try to produce photographs that appeal to people of all ages. Photographs that will be as treasured in the years to come as they are now.

This photograph was made with the original Canon D30 digital camera. It was created with two windows at a 90° angle to one another. The window to her left was slightly behind her, creating the highlights on the left side of her face. A window behind me was the main source of light. All I added was my small silver reflector below her face to open up her eyes slightly.

I never seem to get tired of seeing people's faces. I enjoy posing people to look as if they weren't posed at all. This bridal party group is a good example.

All window light. A large bank of windows to my left was the only light source I used. Translucent panels softened the light. There was additional light coming in from behind the subjects, creating a nice feeling of depth. The photograph was prepared for WPPI competition last year by selecting a part of her wedding gown and stretching it across the entire 16/20 print as the background for the original image. I liked the effect so much I kept it as is for this presentation.

Oftentimes an opportunity comes by disguised as a problem - like when this dancer appeared in costume during a class in the Yucatan. Where the heck do you pose someone dressed like this? One of the photographers with me pointed out to me that there was a bandstand outside by the pool with a background that might work.

Everything was great, except the light was totally flat. I solved that problem by having someone hold my silver reflector out in a splash of sunlight. The light was bounced some 25' directly onto him for one of my favorite pictures of last year. Problem solved. Classic-Monte prevailed.

I used the same principal again with this young boy's portrait. I reflected light back into his helmet by holding my reflector to pick up some direct sunlight and bounce it back onto his face.

What's classic about this football portrait? Take a look at the placement of his eyes. They're one-third the way down from the top of the picture. So many photographers are still centering the eyes vertically in portraits, making it appear as if the subject is falling down through the bottom of the photograph. Look at the angle of his face - not straight up and down, but tipped to almost a 45° angle. All principles of classic composition.

Next, comes a big question: Is studio portraiture dead, or are there a lot of outdoor portraits being made because photographers are more comfortable outside than inside? I asked a teen aged couple that question when they came in to have their picture made together. Their response was that they felt pictures would be more "natural" in an outdoor environment. I asked if I might try a few indoor shots first.

After making just two shots of them, they replied, "Awesome!" when they saw this image projected on the screen in the studio. "Our friends are going to be jealous. No one has anything this good!"

Of course, it takes some adjustment on my part to photograph people wearing bright colors, short sleeves and things that I've always tried to avoid. But if I'm going to stay current and classic at the same time, I guess that it's an adjustment that I have to make. One thing for sure - I can always tone down the colors and the bare arms in Photoshop. What a saving grace that has become for me.

Other things that have saved me are my backgrounds and posing stools. With my backgrounds I'm able to set up anywhere in just a few moments. I never have to worry about time of the day, weather or windstorms. (Well, maybe, hurricanes since I now live in Florida!) With two or three posing stools (Monte Posing Stools) I can adjust people's heights to one another and compose groups that are flawless.

Take this portrait of Alice, for instance. I didn't have to look for a background. I had it with me. Alice is my new granddaughter, having married my grandson, Evan, this past September. The portrait was created by window light with the simple use of my ever-ready Monte's Illuminator (silver reflector). Classic, yet current. I can't think of a bride who wouldn't want to have a nice bridal portrait of herself for posterity. The pose might have come out of a history book on art. The lighting is as simple and effective as can be.

Outdoor bridal portrait is certainly in abundance everywhere today. But I fear that too little emphasis has been placed on simple, classic posing, lighting and composition.

Knowing to have the bodies at a 45ˆ angle to the camera for profiles is a classic example. My adventures in teaching this style of photography are showing how you can work effectively in bright sunshine, while also showing the details of good posing that make the photographs look unposed. The positioning of faces against a plain area of the background, for instance, is critical. The placement of the figures within the composition can make all the difference between a snapshot and a beautiful image. Keeping the subjects the center of attention within a beautiful scene is something that all must learn. It's so simple when you keep the subjects close to the camera and let the background be just that.

Another outside portrait profits from classic posing when this couple, dressed to kill, posed for a formal picture in their matching outfits. Finding a background to blend with the clothing was a key to the success of this picture. Use of backlighting was the perfect way to make them stand out from what could have been an incredibly busy background. How were the faces and upper body lit? You guessed it. My silver reflector again picked up a slice of direct sunshine and bounced it back to where it needed to be.

My adventures take me all over the world giving classes each year to photographers who realize the need to understand and learn the classic approach to portraiture. They want to learn how to do pictures like these. How do YOU feel about it?

Is this an image that couples would enjoy having for some of their wedding memories? It's nothing more than a silhouette of the two of them posed in front of a setting sun. A warm colored filter over the lens added the extra spark here. You don't even need a filter any more. The tint can even be done after the fact in Photoshop by applying an overlay to almost any scenic like this.

My final question to you is: Do you think a classic approach stimulates the imagination to be more creative, or does it hold you back?

I'd like to think that long after I'm gone my images would be looked upon as a continuation of the classics. Even the thought of that brings a smile to my face as I create each new picture.

All of these photographs were made with Canon digital cameras using Elkin compact flash cards. My flashes are by Quantum. I have all my portraits printed professionally by Buckeye Color Lab. I select my equipment carefully. If it serves me well and others well, too, I like to recommend it to others. The manufacturers of these items sometimes become my sponsors. My sponsors are the best!