Samuel Hart | Communication Arts

Salt Lake City–primarily based photographer Samuel Hart at all times begins his work on a shoot with weeks—and even months—of pre-production, ensuring that he will get the lighting excellent and that he can replicate it on set. “I always light for the subject, choosing the quality that best suits its material and texture,” he explains. “I consider myself both a photographer and cinematographer because lighting techniques apply equally to still and motion work, but in cinematography, you light for the place first and the subject second. My goal is to create clean, cinematic images.” Growing up, he would borrow his dad’s Nikon D7100 and go to the zoo to take footage of animals; on the finish of center faculty, he grew to become consumed with modifying in Photoshop; and in highschool, he started exploring self-portraiture, impressed by the work of photographers like Alex Currie and Alex Stoddard. “During that time, I had a portfolio review with Professor Jerry Garns, and he accepted me into Brigham Young University’s photo program,” Hart remembers. “Program director Robert Machoian encouraged students to explore motion work alongside still photography. Seeing my interest in video, he introduced me to BYU AdLab, where Professor Chris Cutri entrusted me with the opportunity to work as a cinematographer on nine student commercials in one semester.” Through this program, Hart started studying create emotionally impactful work by way of lighting and texture from professors like Paul Adams, George Daniels, and Garns and Machoian. From his multifaceted college experiences, he explored a number of jobs at in-house artistic companies whereas additionally freelancing; now, as a advertising and marketing director, he shoots portraits and movies documentaries of artists featured on the Salt Lake Art Museum. As a focus to clarify his artistic course of, Hart factors to one in all his favourite issues to {photograph}: sneakers. “Shoes come in a variety of textures, such as leather, rubber, mesh and suede,” he explains. “Each material requires different treatments of light. Through digital photography, you can manipulate light with relative ease through compositing. Shooting shoes, I frequently composite light sources and create impossible lighting scenarios by hiding the source. I aim to embrace the inherent nature of a subject’s character just as I do the medium I work in.”

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