Music and Portraits with Photographer Matt Grayson

Like an ice cold beer, smooth and refreshing was the answer I received when I asked LA based photographer Matt Grayson to describe his work.

Born in 1976 he grew up in Belleville, Illinois where his cool and refreshing photography was the last thing on his mind. He spent most of his youth skateboarding and riding flat land BMX and while at High School he received a 35mm Yashica, off a friend who had "partied too hard and lost all his money to wine and women." At junior college he signed up for photography classes and then went on to a two year course at the Southern Illinois University to help him nature his photography skills further.

"I didn't really get into photography till after high school. I was taking basic courses at the local community college and there was a grad student teaching as part of his masters program. I look back at those images now wondering what the hell he saw, but there was something and he pushed me to further my photographic career. It wasn't really until my senior year at SIU that I actually came into my style. My professor Dan Overturf, though he wasn't sure what I was doing, nor was I really, but he saw something and pushed me. And that's where I sort of found my groove that has turned my work into what you see in my images today," said Matt.

After spending some time in his home town working for commercial houses and becoming part of a three-person recruitment team Matt sold his belongings, packed-up his station wagon and headed for a new life in LA. His LA journey was a rough one at first but a tour that changed his life put him back on track and he hasn't looked back since.

Having an interest in everything, particularly the 70's these days (so much so he is currently building a 1976 Chevy Short Wheel cargo van) means his work isn't confined to one type of photography. Matt has photographed bands, worked for record companies, Black Velvet Canadian Whiskey and Macbeth footwear (just to name a few).

"Jobs keep me on the road a lot both locally and across state. You have to be ready to go where the job requires. So always have that passport ready."

Matt shoots his work in simple stages, the traditional way if you like. Light it, shoot, it , polish it done. "I like to go into Photoshop to grit it up a bit."

With the complexity of some of his work you may be inclined to think that a lot of work goes on in photoshop but the karate kicks and hair raising jumps are all captured at the moment, it isn't something that has gone under construction in photoshop later.

"I generally like to see if I can get it all off in one shot. Really capture that moment.  If the moment I want to create is dangerous, then there's always room for digital compositing, but if I can get it in one frame then that's how I like to get down."

Environments such as a simple room in a house, a yard or diner let the little smirks, unusual poses and body language take centre stage in the photographs, something which Matt says gives the viewer the ability to get into the image. "I want people to see the subject for who they are, invite them into the environment it was taken in."

His images tell a story and choosing the right environment and having time to plan a little all help Matt gain a understanding and create a flavour for what he and the client are after. He likes to turn visions into a reality and will do his best to turn a clients concept into that, even if they don't give him any ideas, just a place and time to turn up.

Matt's allergic to film processing products so turning digital in 2000 was a god send for him. He shoots on Canon 1d's both the Mark two and three and chooses a 16-35 and 24-70 as his favourite lenses. "They really give me that ability to make my subject large and in charge in the foreground yet give you enough background to see what was going on."

He's used an L-508 forever and both the auto and manual options get used when focusing: " If I'm shooting a large group or large environment, I'll just trust the overall auto focus and it does a fine job. Other times I'll flip the AF to M. It really varies from image to image. As does the metering. I like to create with the light on screen.  I Get my subject then see what my background is doing and start to build with the light. Little pop here, open that up a little there, build it as I go."

If Matt keeps his shutter speed above 60^th of a second then generally his images are sharp and steady but incase he gets a hankering to do a little ambient burning he locks his camera onto a stick.  Which to us Brits is better known as a tripod. "Locking it onto a stick will mean the shutter has time to get that burn I want and keep it still and not shaky."

His kit bag also includes a light meter, couple pocket wizard transceivers, Macbeth colour checker, and some bounce gear as well as a Pelican loaded with Dyna light and some other smaller strobes. "I like to have options," said Matt.

He found the Dyna light was great for when travelling around and it's a piece of kit which is also great value for money.

"I was on tour a couple of years ago with CKY and The Knives for about 2 months and I had a backpack with a 1000 watt Dyna pack and two 2040 heads, and it was great. Fast, easy, and powerful. And that's exactly what I used for thae portrait of CKY on my site. It was the end of the show in Pittsburg, PA, and I had all of 15 minutes to get the shot, and it came off with flying colours. So I'd say a little of both. It really just comes down to what kind of images you want to make, and your circumstances. Use what's going to help you get your shot to the best of your ability."

Matt also likes to use daylight but he uses it with a little strobe to control and mould it.  Sunlight can highlight a subject well but sometimes other sources are needed to fill the shadows. "Daylight is great and best of all it's cheap! Mix it up, use both types of light. They're both great sources."

So many great sources and places make it difficult to choose a favourite place, photograph or time. But Toronto comes high-up on Matt's list. While touring with the Knives he took a shot of them with the Toronto Skyline behind. He had five minutes before sound check and the overcast sky was just perfect for a photograph. A little flash for fill and a few tweaks in photoshop turned out a great image. "The studio is great, but you need to get out and see places," said Matt.

From looking at work and talking to the man himself, it's obvious that he really enjoys what he does.

"Hands down, 110%. One of the coolest feelings one can get starting out in this industry is the day someone wants to pay you to be creative. Though it can pressure you a little, it's great. I've done some real shit jobs. Hell, I changed oil in cars for a couple years after high school while in JR college. That was a terrible job. This job is great. Just make sure you're always shooting what you want to be shooting. We all have to take some of those jobs that we don't like, but always be going after those jobs you want. Those are what make it all worth while."

Before he returned to building his cargo van I asked if he had any advice for other photographers.

"Know what you want to shoot and shoot it. Keep pushing yourself professionally and try not to lose sight of why you got into this in the first place. O, and try to have some fun while you're at it."

You can view more of Matt's work and read his latest news here.