Those that feel this way understand that they do not belong to anyone and they act upon their own choices. Models like Ditta Von Teese and Kate Moss have embraced this label and have publicly stated that they are more than happy to be the source of someone’s inspiration. Some individuals welcome being called a muse, even by multiple creatives. There can even exist an exclusivity in what you both create being something that others don’t have access to, thus making the work more unique or valuable. The mantle of the muse should be given and taken when both parties openly and clearly understand this is the case. This over inflated image of themselves as the source of greatness is equally unhealthy. Rather than trust the person holding the camera, the photographer is only seen as a tool to capture their best side. This problem can also be reversed when the model or subject sees themselves as a co-creator of an image and claims ownership of the work. Though the photographer probably meant the label as a compliment, the idea of being a muse becomes more of a burden, causing the model to be more reluctant to work with these photographers. Often in more professional circles, the model does not feel they have the power to speak up in case they offend or gain a bad reputation among others in the industry. I have had various models share with me the discomfort they have felt when another photographer called them “my muse.” They don’t like the ideas of intimacy and exclusivity that the word evokes. Whether we like it or not, there is a possessive nature in the word muse. There is a strong sense that something good will always come from our collaborations, but I would still hesitate to call them my muse. Our repeated sessions together means every idea after can be more ambitious or experimental - which is not always possible with new subjects. I have worked with some models so often, barely any words need to be shared to create something fantastic. The goal of producing great work is the focus, and there is a wonderful expediency to the process because of the experience shared from their working history and familiarity with each other’s idiosyncrasies. Both parties value what the other brings, and both appreciate the uniqueness and quality of the work they produce.īetween these two, there is also a healthy distance where it is understood where this partnership begins and ends. The best examples of these artist-muse relationships are made possible if they are truly collaborative, where the model is just as much the artistic contributor as the photographer is. It is equally fortunate if this individual feels the same way and wants to continue this practice. It is natural for the photographer to be drawn to a continued working relationship with them. For many photographers, there is an excitement, and dare I say relief, when we shoot with a subject that personifies our creative vision and enriches our work.
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