013: Portraits in 2025: More intimate Storytelling

Portraits in 2025: More intimate Storytelling

For a while now, I’ve been locked into a rhythm, documenting the streets, chasing moments, and letting my Leica M5 and Kodak Tri-X do what they do best. But one thing about me? I refuse to be boxed in. This year, I’m stepping back into portraiture, not just as an addition to my work but as a necessary evolution.

Returning to Portraits with Intention

Portraiture has always been part of my photography DNA. Whether it’s commercial assignments, editorial work, or personal projects, the ability to craft an image, not just capture one, is something I’ve always valued. But somewhere along the way, I got so deep into the streets that I stepped away from controlled light, from directing subjects, from the kind of work that allows me to slow down and build an image from scratch.

That changes now.

2025 is the year I fully lean back into portraits, not just for myself but for brands, creatives, and anyone who wants a portrait that actually says something. The kind of portrait that feels like a conversation, where the light tells its own story, where depth and shadow aren’t just aesthetic choices but essential parts of the narrative.

Studio & Environmental Portraits

This time around, I’m making portraits wherever they need to happen, in the studio, in people’s homes, outdoors, or anywhere that adds to the story of the image. A controlled studio setup allows me to sculpt light exactly how I want it, while an environmental portrait adds layers of context, history, and mood. The location is just as important as the person in front of the camera, and I want to use both to create something real.

The Mamiya RZ67 & A Film-First Approach

I’m taking a film-first approach to portrait work, primarily using the Mamiya RZ67 with Kodak Tri-X 400 for its depth, detail, and timeless feel. Medium format film changes the way I work, it forces me to slow down, to compose with intention, to make every frame count.

I’ll be mixing in some color as well, choosing film stocks that match the subject, the environment, and the overall mood of each session. But black and white? That’s the foundation. That’s where the soul of my portrait work lives.

Mastering Light—Starting with Myself

To step back into portrait work the right way, I’ve been pushing myself in the best way I know how: self-portraits.

If I can light myself in a way that’s dynamic, intentional, and fresh, then I know I can apply that same energy to my clients. I’ve been experimenting with different setups, mixing continuous light with strobes, testing soft modifiers against harder light, figuring out how light plays differently on film than digital. The goal? To walk into any portrait session knowing I can deliver something fresh, no matter the setting.

Booking Portrait Sessions Now

So if you need a portrait that’s more than just a headshot, if you want something that feels cinematic, layered, and deeply considered, now is the time. Whether in the studio, in your home, or out in a space that reflects who you are, I’m here to create something intentional.

Check out my portrait work here: Stan Johnson Portraits

And if you're ready to make something great together, let’s talk.

012: Between the Covers: Figments from the Real World by Garry Winogrand

Between the Covers: Figments from the Real World by Garry Winogrand

There’s something about Garry Winogrand’s photography that hits different. It’s raw, it’s chaotic, and it’s just real. Figments from the Real World isn’t just another photography book—it’s like stepping into his brain, seeing life through his lens. Winogrand didn’t just document the world; he dissected it, made you pause, and asked you to really look.

He wasn’t out here taking “pretty” pictures, and that’s what makes his work resonate. Winogrand photographed like life was an unscripted movie, every frame was messy, loud, and full of characters. Whether it was a random moment in New York or a quiet scene at the zoo, he wasn’t trying to clean it up or make it perfect. He let the imperfection shine, and somehow, that made it perfect.

It reminds me of why I’m drawn to street photography. It’s not about the most polished image; it’s about the feeling, the way it pulls you into a moment, even if you don’t know what’s happening.

Winogrand taught me to trust my instincts. Flipping through this book, you can see how he leaned into the unpredictable. His timing was wild, like he knew exactly when to press the shutter without overthinking it.

But here’s the thing: his work also makes you question. He doesn’t hand you the answers. There’s a sense of “figure it out for yourself” in his images that keeps you coming back to them.

For me, this book isn’t just inspiration, it’s permission. Permission to embrace the chaos, to stop obsessing over the perfect shot, and to let the streets tell their own stories.

If you’re about that street photography life or just love visuals that make you feel something, you need Figments from the Real World. Winogrand’s work is a reminder to stay curious, stay present, and trust the process.

Want to see how I’ve embraced street photography? Check out my gallery here