Left, one of Rubin’s favorite shots from Color Photography at Haverford College. Right, Rubin’s favorite models in his apartment senior year. “I made them believe I was already an established photographer,” he said. “So that’s a good trick.” As he started doing his own shoots, Rubin said his photographs began to lean towards “the fashion side of things.” It was never what he intended. Rubin, who is more interested in photojournalism, sort of fell into fashion photography. He knew that in order to get his foot in the door, he first needed to create a strong portfolio. Fashion photography was the answer. The first shoot was a little bewildering for Rubin, who was used to taking shots of scenery or candids of his friends. He struggled with keeping his photographs natural even though he knew the whole scene was orchestrated. With each click of the shutter, he learned more and more. But even if his photographs turned out great, he realized he needed to step up his subject matter. “He would get girls that were 5’2” and chubby,” Reid said. “The photos were incredible but the models weren’t it.” So Rubin built up his portfolio and in February, he contacted local modeling agencies, asking if they needed any photographers to do test shoots. Click Model Management responded. They were struck by his unique post-processing style. Rubin uses brightly colored paint pens to add contours over his photos, producing a whimsical, urban pop-art feel. Royce Mitchell, a hairstylist who frequently works with Rubin, said that out of all the photographers he considered working with, Rubin was the one he remembered because of that distinctive quality of his work. “I told him that could be his ticket,” Mitchell said. “I’ve never seen that, I thought it was amazing.” Rubin knew he needed to find a way to set himself apart from the many aspiring photographers in Los Angeles. “So I just started doodling on my photos,” he said. “I’ve always been a doodler.” After the call from Click Model Management, everything else followed. “It was a big break for me,” he said. Suddenly Rubin
didn’t need to trick anyone into working with him. He was able to choose what stylist, makeup artist and hairstylist he wanted to work with on location. Reid recalls the swift progression of Rubin’s work, which occurred almost overnight. “I’d come home and there were models in my kitchen,” Reid said. “I was like, ‘O.K., this is getting legit.’” Reid watched as his kitchen transformed into a studio and dressing room all at once. Rubin’s behind-thescenes team was impressed with his work ethic and professionalism but also his ability to always keep things fun. Mitchell said that a lot of photographers have attitude, but there was no hint of drama with Rubin. “It makes the environment more creative,” Mitchell said.
“At first I was like, ‘I have to get a paid job.’ But then I realized I could treat photography like an art.” Kaitlin Painter, 20, Rubin’s regular makeup artist for shoots, said if she had the choice, she would always choose to work with Rubin because she knows she’d get quality photos. Vana White, 25, a stylist who has worked on Rubin’s set multiple times, remarked on his accuracy. “Out of 100 frames, 90 are excellent,” she said. “A lot of photographers just start clicking away. Looking through his photos, it’s hard because I have to choose. And I like all of them.” All the work Rubin had been doing, though educational, was unpaid. He admits it was hard financially; he kept a waiting job at a restaurant to pay the bills. “Most people get discouraged doing free work,” Reid said, “but it’s all his portfolio to him.”