Wild Standards

Featuring Parker Woods Words by Nastasia Khmelnitski

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Abstract forms, still life, which installs ordinary objects for us to reconsider their usage, and truthful realism are themes Parker Woods, an American photographer from L.A. brings to our attention. The leitmotif of his work is honesty and perfectionism. Parker refers to himself as a late bloomer. Each image is a result of a careful thought process, attention to the personality in the frame, and technical preparation towards the unfolding narrative.

An elusive glow predominates, capturing attention to the smoothed lines erasing the boundary between the object or a character and their surrounding. The emotions are powerful and stiff, a feeling that emerges both in portraits and still life expressing the chosen motifs.

We speak with Parker about his childhood in Colorado and the way California changed his interests, eventually leading to the field of photography. Parker practices an exceptional approach to people he photographs, through genuine relationship and communication is an imperative part of the process. We discuss one of his favorite images from Momo Tokyo taken from the bird’s view on the soccer field. And we close with reflections on finding the right balance between commercial and personal projects.

‘I always think I have all of these wild standards that I try to uphold and that I’m too particular until I speak to an art director or stylist or photographer I admire and realize my standards aren’t nearly as high as I now believe they should be.’

Hometown

Tell about your hometown and childhood. What did you enjoy the most as a child and as an adolescent? 

This one was hard because I’m only now realizing how little my childhood and hometown influence my work. When I think of growing up in Colorado, I remember how much time I spent outside, how being an artist never seemed like an option, and the realization, once I moved, was that I had been living in a bubble. 

All of my real-world experiences began in California, and the 12 years I spent in Colorado feel like someone else's life. It took a long time, but photography has become what makes me feel the most at home. It’s my whole world, which is a privilege in and of itself to be able to say that. Again, photography has been and continues to be a slow burn. 

What stayed with you to this day? 

There’s no doubt I operate at my own speed; I think that’s why I love stories of artists who were “late bloomers.” There’s something to be said for people who continue to make work on their own accord when nobody’s looking. I feel like I might be the perpetually emerging artist, but I’m okay with that. I always want to keep pushing forward, never letting myself get complacent, or my work become gimmicky. 

That’s why I’m really fascinated by the values and personalities of contemporary artists I keep up with. I always think I have all of these wild standards that I try to uphold and that I’m too particular until I speak to an art director or stylist or photographer I admire and realize my standards aren’t nearly as high as I now believe they should be. That’s fun for me though having something seemingly impossible to work towards. That’s why I wanted to become an artist in the first place.

‘I prefer individuality that extends beyond looking like the poster child for current western standards of beauty.’

Themes

Fashion and portraiture photography induce a sense of individuality in common, the specific type of models who are bringing an added value, their voice to the story. What is your main focus when choosing the model for the shoot? 

I think more than anything now when I cast I'm looking for subjects who translate as sincere and are genuine people themselves. People who own themselves entirely. To me, these are people who are able to make a strong impression based on their presence alone. 

Overwhelming beauty feels so contrived, especially now that true individuality is beginning to be championed. That’s to say, I prefer individuality that extends beyond looking like the poster child for current western standards of beauty.

What are the dynamics on set (how do you direct the model or immerse the person to the story you create)? 

Fashion is about people, the same as art, and I always want to feel like I'm shooting a real person. On set, no matter who it is, I always want to hear about your thoughts and how you're feeling. Is it a good day, did you have a nice morning? Can I ask you to bear through one more style? To lay down in the wet grass and dirt? 

Your attitude, willingness, and perspective, as a subject, determines how my day is. I never understand how “the person” is removed from the equation. I think it’s impossible.

‘The moments of connection and understanding and support from another artist, someone who truly gets it, have been impeccably timed and vitally important.’

Photography

Looking back at all your work how do you feel it changed with time? 

This can be a hard question because I'm consistently my toughest critic, feeling that I'm stuck spinning my wheels, unable to make any progress while making work that disappoints me. It's only when I go back through the archives that I see how really terrible my photos used to be and how they're not quite as terrible now. For me it's important to recognize that as I continue to make small steps in my work, old goals and expectations for myself are replaced by new ones before I’ve even thought to celebrate the accomplishment.

What did you learn about photography, the scene of creatives, or yourself through the prism of your work? 

I think my work up until now has been a vehicle for me to connect with artists I admire. Even limited interactions with artists I respect have helped shape my values and, in turn, my work. This is also why I tend to get tunnel vision for contemporaries shooting fashion — not to stay on trend or look for images to emulate but to keep up with artists I actually admire. The moments of connection and understanding and support from another artist, someone who truly gets it, have been impeccably timed and vitally important.

‘I’m usually a very big rule follower, which is what I kept repeating to myself as I climbed up and over this fence as fast as I could so I could scream directions down to Tomo on the field during a windy day.’

Momo Tokyo

Everyone speaks about the striking difference between Western and Eastern cultures and backgrounds. Tokyo is a very cinematic city, beautiful visually in every way of looking at it. What was the most memorable moment for you during this trip? 

Making that book was some of the most fun I've ever had. The entire project was shot over the course of two weeks in a city that I fantasized running off to long before I ever picked up a camera. My friend and fellow photographer, also named Parker, made the entire thing possible and introduced me to my now good friend Tomo who turned out to be a killer producer. 

One of my favorite images and memories from the experience is the aerial view of the backdrop on the field. I had to work for that shot. The whole soccer field felt like a fortress and had this cement wall that was about a hundred feet tall surrounding it. You could take an elevator to the top where there was a well-maintained garden and a tall chain-link fence keeping people from getting too close to the edge. I’m usually a very big rule follower, which is what I kept repeating to myself as I climbed up and over this fence as fast as I could so I could scream directions down to Tomo on the field during a windy day. Nothing quite like being on that ledge to make you feel all-powerful and utterly insignificant at the same time.

Which would be the next country for you to visit past the COVID-19? 

This year will be the first that I won’t be in Tokyo so I’m looking forward to getting back once traveling is a bit safer. Also spending more time in Paris and London as soon as humanly possible.

Magazine Covers

On a shoot, a photographer leads in several spheres and manages creative processes. What is the toughest part of any photoshoot for a magazine cover? 

If I'm totally honest, I'm still finding my footing with cover shoots. All of my favorite photos have come from running around, shooting from the hip with a team that trusts me and is down to get scrappy. Cover stories have just enough freedom where I feel like something cool is possible but enough caveats where I often find myself thinking of what the magazine wants more than myself and my team. I know how to roll with the punches; I can maneuver limited prep time and last-minute changes to fundamental aspects of the shoot. I’m able to adapt. But as the sole representative of my work, I’m still learning to trust myself.

Commercial vs Personal

What is important for you to incorporate in commercial projects to make sure you’re adding your signature technically or to the atmosphere of the shoot? 

‘I always have this mental image of a Venn diagram where one side is creative fulfillment and the other is paying rent. The fulfilling side, for me, looks like editorials and personal work while the other side is a good rate for pressing a button. If the sides intersect, that’s a dream job.’

How to dictate the visual trend and be on top of the mind as a photographer without sacrificing the artistic mindset? 

When I’m working on a commercial shoot, that’s more about the fee, the easiest way to feel like I have some tangible contribution is to shoot film in tandem with digital. My workflow continues to keep me happy and adds an extra layer of control over the final product. Composition in camera and working in the darkroom afterward is where I add my fingerprint to an image. Nine times out of ten, the fulfilling work is why I get hired for commercial work. So if a commercial job is mindless but funds a future project that gets me closer to the middle of the Venn diagram, that’s still a win.

Upcoming Projects

What are your plans for this year? What are you working on right now? 

I feel a bit selfish that I’m still reconciling with the idea of losing so much time this year, during such a busy time, but rather than fixate, I’m choosing to be grateful for the health and safety of my friends and family. A few magazines are still commissioning, so planning editorials out for late summer has been a nice break from the world. Otherwise, I’m taking the time I have now to focus on the people I care for the most.