“The Photograph then becomes a bizarre medium, a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest shared hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.”
― Roland Barthes, Camera Lucida: Reflections on Photography
Drew Haran’s camera lens is best described as an extension of his anatomical sight. Each of his subjects reflect much of Haran himself in their gaze towards his camera lens - he captures this intimacy. His photographs are cinematic in that they strive to convey a meaning; a narrative and the passing of time.
Haran was twelve years old when he first shot with a Kodak disposable camera, falling in love with the medium upon flipping through his 4x6 prints that very first time. But it wasn’t until he got his hands on a Canon 30d a decade later that photography became more than just an aspiration. An autodidact, Haran just started shooting without any pretext. With the help of Kleen media, he was able to garner experiences that afforded a then-novice, the opportunities to hone his craft.
Photography has quickly become Haran’s primary mode of expression. Spending time with Haran is like seeing the world anew as he stealthily snaps shots of minutiae, rendering them most charming. He packs a Canon EOS 5D Mark II on most days, with a wide range of lenses including a Canon 85L II 1.2 lens. A nostalgic outlook perhaps, Haran also readily shoots on film using his token Kodak disposable and noir lighting.
Where some photographers rely heavily on editing in the post stages, Haran eschews modern manipulations of the image by channelling his predecessors for inspiration. The great artists to which Haran aspires such as Richard Avadon, Helmut Newton, Phillipe Halsman and Ansel Adams are his reasons for leaving photographs untouched whenever possible. He does, however, deftly manipulate colour correctives on occasion to convey a palpable mood in some of his photographs.
Haran has worked with a range of subjects all over the world, and in many different facets of photography and art industries. He has photographed portraits of musicians, filmmakers and models such as Drake, Michael Bay and Joanna Krupa. His editorial work is also extensive and has been featured in magazines such as NEED MAG NAMES HERE, and worked with commercial brands such as NEED BRAND NAMES HERE. A recent shot with notable androgynous model, Myles Sexton, appears in WAS IT PUBLISHED, IF SO WHERE?
Haran’s creative work is most impressive, revealing an artist on the threshold of his talent. His Sunset Walk in Sri Lanka and Midnight in Times Square are among the many works that evince just how far Haran will go to get the perfect photograph. Haran believes that a photographer should push the confines of their comfort zone, always eager to point his camera lens in the direction of new, and altogether foreign genres.
In the coming years, Haran hopes to open his own studio in Toronto, photograph for high-profile fashion and lifestyle magazines and to continue building his repertoire of portraits. His work is his world, and the world in which his photographs exist will surreptitiously, and spontaneously become yours in one glance.
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TORONTO, Ontario, Canada