by Pedro Stephan

Californian artist David Whitman belatedly discovered his talent for photography, and today dazzles with his distinctive, exquisite and sensual images of the male form.

Photographer David Whitman is living proof that to create great photos you need neither paraphernalia nor expensive, state-of-the-art technology. Using an SLR camera with regular 35mm film, without flash, without assistants, without professional models—the majority of them being common folks—without a studio, without make-up, Whitman creates photos that could easily appear on the cover of any chic and stylish magazine.

Whitman, who grew up in California, began photographing at age 36 when he came to Brazil on vacation. Since then he has had a brilliant career as an artistic photographer. With several exhibits in the U.S. and Brazil, Whitman’s talent soon was recognized internationally with a prize, from more than 20,000 competing entries, in the 1993 National Geographic Traveler photography competition—no small achievement.

Passionate about Brazil and the men here, perhaps the best of his photography work are his studies of Brazilian men. It is interesting to note in those photos uncluttered composition with minimal scenic elements, good contrast, and movement. Whitman conveys in his images a personal and local identity through expression, light, and color, with extreme charm and fluidity, always avoiding cheap exoticism. This gives his work an added dimension.

Interview with David Whitman

What is your goal when you photograph masculine beauty? What are you trying to record?

I try to show real life focused on the spirit—that is, emotions, desires, feelings—and not to treat the body as just an object. I don’t work in studios or with professional models, and I record just what interests me. My models are people whose paths have crossed mine and who have an intensity about them.

What is your concept of beauty? Of masculine beauty? What do you find beautiful in a man?

I search more for innocence and naturalness than for overt eroticism or so-called conventional beauty. It’s important that the model be comfortable with his body, and that he trusts me. I try to capture qualities of each individual, incorporating elements of mystery into my work; for example, photographing models from behind or in shadow.

How and where do you find your models? How do you make them appear so relaxed and spontaneous in the photos?

All of my models are people who did not know, when we met, that I’m a photographer. When I photograph them, there already exists a friendship and sense of trust that, I believe, can often be perceived in my work. In the end, for me the entire experience of the photo session and interacting with the model is what’s most important. It’s what endures and what fascinates me.

—Homens, March 2002