Paul Jamnicky: photography that is sensual, beautiful, sexy and a little dangerous

By DREW Rowsome
20 Mar 2019

The first time I was ever in awe of another photographer was seeing Robert Mapplethorpe’s work," says photographer Paul Jamnicky. "I’d never seen anything like it. Everything he shot was so sensual and beautiful, sexy and a little dangerous. I always loved photography. I got my first Polaroid camera at the age of 11 and then a fully manual SLR in university. I set up a darkroom and developed my own black and whites back in the day. It was pre-internet so I remember getting books from the library to try to learn various photographic techniques. But to be honest my photos were pretty boring and I never really got the hang of it technically at the time. I couldn’t seem to make what I saw in my head happen in a photo so I put it away for 20 years."

In those 20 years, Jamnicky explored other careers and art forms. He worked the bar at Buddies, his band The Jameson Project had a cult hit with the song "Baby Aspirin," and he established a career in real estate. "Moving into photography professionally was a process and was by no means intentional in the beginning," says Jamnicky. "Like anything in life, you open a door and other doors start opening. And some close as well. I made a decision with photography to not be afraid and to just do. I wanted to be fearless this time around and not listen to those horrible doubting voices in my head that say 'You can’t' or 'You're not good enough.' I shout those voices down. For the record, I still do real estate and it helps to fund my photography obsession and keeps me afloat."

Jamnicky credits his time at Buddies with bolstering his nerve. "It was hard as hell working there but the creative energy was everywhere," he says. "We were all so young and had boundless energy so it was incredibly inspiring. Nothing was off the table at Buddies. It just really opened me up. I bought a new digital camera and decided this time I was going to master the beast. I stumbled across Scott Kelby's The Digital Photography Book. It changed everything."

A voracious learner, Jamnicky also studied Kelby online. "He’s a genius and does these courses where you can learn with some of the best photographers in their field. You are basically on set with them and they show you exactly what they do with lighting and various techniques. It’s honestly what I was missing back in the early days. They're very good teachers. Because of the internet you really can learn from the best. It’s a game changer."

The first photographs that Jamnicky produced were posted on social media accompanied by a self-deprecating commentary that belied his emerging vision. "I still doubt myself all the time and I’m still surprised when people like my work," he says. "It’s that doubting voice I was talking about earlier. In the early days I was really just hoping the exposure would be right and the photos weren’t blurry. Technically I’ve gotten much better and have a better grasp on how light works as well as the editing process, so I’m better at predicting what the end result will be. That helps. When I started getting published next to photographers I admired, that help build my confidence level as well. It started to legitimize the work I guess. I know there are always going to be photographers that are better than me, but that keeps me humble and striving to always challenge and better myself. I just try to make photos that I like and then I hope everyone else will like them too."

Not only did people like Jamnicky's work but he started getting booked for fashion editorial, for portraiture and by fitness models. Whether a landscape, beads draped on a slyph-like neck, or, more frequently, rippling muscles in motion or repose, there is a consistent sensuality of line and shadow in Jamnicky's work. Sensual and beautiful, sexy and a little dangerous. "I’m honestly just trying to create a striking image," he says. "We are so bombarded by imagery that I’m just hoping that people will stop on my photos for more than a second before swiping to the next."

With a model the sensuality is not just because of the physical form. "The easy answer is the expression," says Jamnicky. "I’m usually barking out commands to the model like 'Abs, abs, abs . . . quads!' calling out what’s not flexed so it’s not particularly erotic when I’m shooting the photo but then we look at the computer and say, 'Okay, we got the body down, now lets work on the expression.' I guess there is also the pose too now that I think about it. A little 'peek-a-boo hip' I call it can generate quite a bit of fire. Interestingly if you look at traditional physique photos, they aren’t particularly erotic because the expression is not there. It’s usually a blank look or a put on smile with the dude stress flexing. I just try to press for an interesting expression coupled with an interesting shape or pose. I honestly think the really good models are like really good actors. They can get into a role. Sometimes it comes naturally to the model, sometimes we work hard at it."

Not all models are created equal. "It can be anywhere from very collaborative to not collaborative at all. I think when the model gets involved it’s much better obviously. I love when we share photos and ideas back and forth for inspiration. I love when the model is excited about a shoot and is open and wants to challenge themselves. That positive energy really fills a room and comes across nicely in the photos. When the model just shows up the shots are usually not that interesting."

But it always takes time and work. "I keep shooting them until they finally give it up. Honestly though, in the studio I shoot tethered to the computer so we can look at the images as we shoot. The model can see how they look right away and then we make small tweaks on what seems to be working to hopefully improve an already good shot. I find that tool very helpful. The model can see that very small variations can make all the difference in the photo. I've found that it really is about the details."

Despite his initial self-doubt, Jamnicky now has no trouble finding models. "In the early days I used Model Mayhem and slowly grew up from there," he says. "I would say most models as well as brands all come through Instagram these days. We seem to find each other. There is also a handful of photographers in the city and we all seem to follow each other and see who’s shooting who. The models do the same so there is this little community building around photographers and models. A model can DM me on Instagram and inquire about a shoot. I’ve also been contacted by clothing companies for product shoots in the same way. Instagram has really become the new business card and portfolio for everyone to connect."

Perhaps the most eye-catching element of Jamnicky's oeuvre is his way of capturing and glorifying male musculature. His latest works amplify that into realms of the mythological. "I’ve always loved that shit," he says laughing. "And it was always something I wanted to create but until now did not have the technical skill. I love fantasy, mythology, scifi, surrealism. It’s something I would like to continue to explore and develop. I felt like the guys I was photographing were larger than life, the one percent of the population, so why not just make them superhuman? It seemed like a natural fit."

No matter how god-like, there is one element that is crucial. "It’s usually after, when I start editing the photos, that helps to heighten that eroticism," says Jamnicky. "I go hunting for that one photo where it all seemed to come together: the pose, the expression, the lighting, the angle . . . It all has to be there to make it work. Fitness photography is really only about capturing the musculature a certain way. You know that Muscle & Fitness magazine style. Always brightly lit with not much expression. Portrait is more about the expression and capturing something about the person and not just a photo of the person is the way I would describe it."

Jamnicky is comfortable whether working in the studio or on location. "I enjoy them both but hate the weather in Toronto," he says. "It really only allows for a very short shooting season outdoors and I hate the cold. So by September I’m already shooting inside." That ties in well with his ultimate fantasy shoot which is, "All year round on a beautiful beach with a beautiful and expressive model," he says before adding. "Or an old abandoned factory. I love shooting in those. Detroit is like heaven to me."

Besides trips to Detroit, Jamnicky is continuing to follow his creative muse. "I hope to just keep progressing and getting better at my craft. I’m a terrible business man so I think I need someone to handle the business end for me. I’m too content just creating photos and editing them and not thinking too much about how to market them. At this point I’m just taking it one step and one opportunity at a time. I’m of the belief that if you are good and persistent the money will come eventually. Hopefully."