Just a head's up. Lots of changes on the horizon at The Photo Asylum. Most notably, the whole kit-and-kaboodle is now being hosted by Squarespace. But more on that soon.
A major part of the reorganization of my web sites is the migration of this blog to the new location! It will soon become 'The Padded Cell', but have all the same news and advice as before, only with much much more!
Watch for the new blog in the coming weeks. Days if I can muster the energy to get the work done!
See you there...
Tuesday, November 25, 2014
Monday, October 13, 2014
Wow! The Lady In Red! You're Perfect! Or...Are You?
"Oh, Cordelia Brown, what make your head so red?" ~ Harry Belafonte
Like many photographers, my heart sometimes skips a beat when I see an attractive ginger. Man or woman, a handsome, pretty or even interesting-looking person sporting a shock of red hair is fairly unique, at least when it comes to our portfolios.
It's tempting to approach someone right off the bat when we see the hair. If you have any skill at all as a shooter, you figure it's a can't miss. A styling element that will automatically make your image jump off the page.
And maybe you'll be right.
Still, even those of us who are experienced at critically looking at people of every conceivable color, shape, and size (to the point of being our own casting agents) can be fooled by a single strong visual or wardrobe element, and it's often hard to separate the feature that may wow you in person from the way someone will actually appear modeling in a photo.
I know because it's happened. And when it does, and that special someone you swore was perfect when you met them just doesn't look right on your monitor screen, you can only shake your head and wonder what went wrong...
It's a question of learning to really look at a person critically and differentiating between street attractiveness, which many people have (regardless of how photogenic they are), and strong visual features that will come across in a wonderful way when you throw some light on them and the shutter clicks.
 |
Ad photo for kromamakeup.com. Model: Katie. Makeup by Lee Tillett.
Red hair and beautiful face provided by nature. |
Knowing that a person's hair frames their face, it also becomes clear that beautiful hair or a great cut, or in this case hair color can mask subtle or sometimes even major flaws in that face. So, just as casting agents and photographers often want to see potential models with little or no makeup and their hair pulled back away from their face (something that's not at all very practical when you meet someone on the street), I always try to imagine what someone I'm considering casting would look like with a different color hair.
Now, maybe this sounds obvious. Maybe it sounds odd. No matter. It works for me, and by works, I mean it helps me sift through folks that might have really nice or cool or red hair, but otherwise are nothing special when it comes to sticking them in front of the camera. And in my case, one nice feature is usually not enough for me to get involved with them as potential models.
Obviously, you're free to try to style and pose and shoot whomever you want for whatever reason you want. My point is, women with red hair or more importantly, those who change their hair color or appearance to get noticed sometimes get your attention using a bit of smoke and mirrors and for the wrong reasons.
In my experience, it always pays to take a moment and try to imagine someone without the feature that attracted you to them in the first place, and figure out if all the other stuff is strong as well.
You'd be surprised how often it's not...
Wednesday, July 2, 2014
Kareen Rashelle's Fairy Tale Photo Shoot BTS Video Teaser From 'Photo Asylum Moving Pictures'
Well, the toothpaste is out of the tube...
Or, perhaps a more fairy tale analogy would be the Genie is out of the bottle. Yeah, I like that better, because what I've launched and the direction it appears to be taking me makes me feel as if there is magic in the air. And for a creative artist, that's one of the best feelings you can have.
I'm pleased to announce that the teaser for my upcoming behind-the-scenes video of Kareen Rashelle's Fairy Tale Photo Shoot is finally in the can. And no, that's doesn't refer to the toilet, but rather an old movie expression from way back when referring to finished films being placed in metal canisters and shipped to theaters to be shown to audiences.
In this case, the video, the first non-animation project I've directed and released through Photo Asylum Moving Pictures, will flow throughout the internet to reach its viewers, but the dynamic is the same.
Photo Asylum Moving Pictures Teaser
Kareen Rashelle's Fairy Tale Photo Shoot BTS Video
The ninety seconds that lauds me finally hanging out my video shingle, this miniscule World Premiere that announces my new company and an accompanying slew of new services for creating photographic and fashion motion content, contains only one shot of actual moving footage, a handful of stylized (degraded black & white) still frames, and a couple of visual and audio fx to playfully create an atmosphere that (hopefully) makes you anticipate and want to see the full bts video when it is finally released later this summer.
And that is exactly what a teaser is supposed to do.
The feature-length film equivalent is the trailer: a short "mini movie" that ranges from the length of a television commercial to something up to several minutes and serves as a preview or coming attraction in a movie theater or on a dvd.
On the surface, it may seem like a bit of smoke and mirrors in the sense that it maintains a level of viewer interest in a motion project (for marketing purposes) without me really having to do much heavy-duty visual or audio editing.
In that respect, it buys me time.
But don't be fooled by this false simplicity. The significance here is that the workflow, from start to finish, of a short teaser compared to a fully completed video, is exactly the same. And in this case, the learning curve and software choices to be made organizing and editing all the bits that go into what you eventually see here are also identical.
And so to me it is a big deal. I didn't just arbitrarily yank one take of a scene out of a pile of motion footage. I didn't just throw a dart at a board to help me decide how to create the audio soundtrack to put with the visuals. And I certainly didn't just string a bunch of random words together to pass along the particulars of what this film is about and when it will be available.
Like most art, and certainly most videos, much thought went into it, and there was a great deal of trial and error. Seeing (and hearing) what works and what doesn't. Altering the looks and lengths of scenes and sounds, and figuring out if they go together or not. Creating a pace and emotion to the entire piece that fits the time limitations, yet still gets across what both I and Kareen need to register with the viewer.
Speaking of Kareen, I want to be sure to get my credits, props, and thank yous in. One important aspect of the teaser is to give a glimpse at the variety of costume looks and locations she planned and used with model Lisa Fuhr to complete her Fairy Tale Series. That will suffice for now. Interviews and explanations of the nuts and bolts of the shoot come later. As do the obligatory humorous bloopers. Kareen was great in pausing her own work to allow me to get all the shots and multiple takes needed to complete mine.
A tip of the cap also to Lisa, who thankfully, knows how to play to my camera in both a deadpan as well as a comedic fashion, something I can assure you, a director does not take for granted.
And let's not forget Dennis Panzik, a pleasant last-minute surprise addition to the crew who not only was a big help with styling and makeup, but ended up serving as an assistant to both me and Kareen. Oh, and he can juggle as well, which many of you will find out soon enough.
Future motion projects will be featured on my Vimeo page, my YouTube page, and of course the video page on my website www.stevenpaulhlavac.com.
And as I've said before, and will undoubtedly say again, feel free to subscribe and follow me on my video sites, and please leave comments or ask any questions that come to mind...
Or, perhaps a more fairy tale analogy would be the Genie is out of the bottle. Yeah, I like that better, because what I've launched and the direction it appears to be taking me makes me feel as if there is magic in the air. And for a creative artist, that's one of the best feelings you can have.
I'm pleased to announce that the teaser for my upcoming behind-the-scenes video of Kareen Rashelle's Fairy Tale Photo Shoot is finally in the can. And no, that's doesn't refer to the toilet, but rather an old movie expression from way back when referring to finished films being placed in metal canisters and shipped to theaters to be shown to audiences.
In this case, the video, the first non-animation project I've directed and released through Photo Asylum Moving Pictures, will flow throughout the internet to reach its viewers, but the dynamic is the same.
Photo Asylum Moving Pictures Teaser
Kareen Rashelle's Fairy Tale Photo Shoot BTS Video
The ninety seconds that lauds me finally hanging out my video shingle, this miniscule World Premiere that announces my new company and an accompanying slew of new services for creating photographic and fashion motion content, contains only one shot of actual moving footage, a handful of stylized (degraded black & white) still frames, and a couple of visual and audio fx to playfully create an atmosphere that (hopefully) makes you anticipate and want to see the full bts video when it is finally released later this summer.
And that is exactly what a teaser is supposed to do.
The feature-length film equivalent is the trailer: a short "mini movie" that ranges from the length of a television commercial to something up to several minutes and serves as a preview or coming attraction in a movie theater or on a dvd.
On the surface, it may seem like a bit of smoke and mirrors in the sense that it maintains a level of viewer interest in a motion project (for marketing purposes) without me really having to do much heavy-duty visual or audio editing.
In that respect, it buys me time.
But don't be fooled by this false simplicity. The significance here is that the workflow, from start to finish, of a short teaser compared to a fully completed video, is exactly the same. And in this case, the learning curve and software choices to be made organizing and editing all the bits that go into what you eventually see here are also identical.
And so to me it is a big deal. I didn't just arbitrarily yank one take of a scene out of a pile of motion footage. I didn't just throw a dart at a board to help me decide how to create the audio soundtrack to put with the visuals. And I certainly didn't just string a bunch of random words together to pass along the particulars of what this film is about and when it will be available.
Like most art, and certainly most videos, much thought went into it, and there was a great deal of trial and error. Seeing (and hearing) what works and what doesn't. Altering the looks and lengths of scenes and sounds, and figuring out if they go together or not. Creating a pace and emotion to the entire piece that fits the time limitations, yet still gets across what both I and Kareen need to register with the viewer.
Speaking of Kareen, I want to be sure to get my credits, props, and thank yous in. One important aspect of the teaser is to give a glimpse at the variety of costume looks and locations she planned and used with model Lisa Fuhr to complete her Fairy Tale Series. That will suffice for now. Interviews and explanations of the nuts and bolts of the shoot come later. As do the obligatory humorous bloopers. Kareen was great in pausing her own work to allow me to get all the shots and multiple takes needed to complete mine.
A tip of the cap also to Lisa, who thankfully, knows how to play to my camera in both a deadpan as well as a comedic fashion, something I can assure you, a director does not take for granted.
And let's not forget Dennis Panzik, a pleasant last-minute surprise addition to the crew who not only was a big help with styling and makeup, but ended up serving as an assistant to both me and Kareen. Oh, and he can juggle as well, which many of you will find out soon enough.
Future motion projects will be featured on my Vimeo page, my YouTube page, and of course the video page on my website www.stevenpaulhlavac.com.
And as I've said before, and will undoubtedly say again, feel free to subscribe and follow me on my video sites, and please leave comments or ask any questions that come to mind...
Wednesday, June 18, 2014
'Photo Asylum Moving Pictures' - Audio Track Promo
As I prepare to publish the teaser this Friday for my current motion project (a behind-the-scenes video of photo artist Kareen Rashelle's Fairy Tale Series Photo Shoot), I wanted to take a moment to address a crucial aspect of filmmaking that often gets overlooked: the audio element.
Below is a video I currently have on my Vimeo page. It's the teaser mentioned above, but the actual footage is intentionally missing and replaced with narrative text to allow the viewer (listener?) to actively concentrate on the audio soundtrack, and better understand it role in the process.
Photo Asylum Moving Pictures Audio Promo
Kareen Rashelle's Fairy Tale Photo Shoot BTS Video
In this instance, I used SONY Acid Music software and some wonderful loop collection music clips to build a melodic, yet haunting aural picture that emphasizes the emotion and tension of the teaser footage, and hopefully makes you anticipate and want to watch the actual video when it comes out.
I'll go into much more detail in an upcoming blog post of how I choose, create, and edit not only the music, but also the dialogue (there will be interviews in the behind-the-scenes video), as well as ambient sound and additional noises and efx I choose to include.
The reasoning, both of this promo as well as future posts dealing with the subject, is to make clear my skills with audio, and showcase my ability to include that as a valuable service provided by 'Photo Asylum Moving Pictures'.
In an interesting twist, I think of this audio promo as a sort of teaser to the teaser that will follow in a few days.
BTW, the idea of revealing a project piecemeal (the full video coming this summer) is one that is currently used on nearly all levels of commercial art, be it movies, videos, music, or books. It is all part of marketing my creative work to the public, social media, and hopefully clients and potential clients.
As always, I invite you to subscribe and follow me on my video sites, and feel free to make comments or ask any questions that come to mind...
Below is a video I currently have on my Vimeo page. It's the teaser mentioned above, but the actual footage is intentionally missing and replaced with narrative text to allow the viewer (listener?) to actively concentrate on the audio soundtrack, and better understand it role in the process.
Photo Asylum Moving Pictures Audio Promo
Kareen Rashelle's Fairy Tale Photo Shoot BTS Video
In this instance, I used SONY Acid Music software and some wonderful loop collection music clips to build a melodic, yet haunting aural picture that emphasizes the emotion and tension of the teaser footage, and hopefully makes you anticipate and want to watch the actual video when it comes out.
I'll go into much more detail in an upcoming blog post of how I choose, create, and edit not only the music, but also the dialogue (there will be interviews in the behind-the-scenes video), as well as ambient sound and additional noises and efx I choose to include.
The reasoning, both of this promo as well as future posts dealing with the subject, is to make clear my skills with audio, and showcase my ability to include that as a valuable service provided by 'Photo Asylum Moving Pictures'.
In an interesting twist, I think of this audio promo as a sort of teaser to the teaser that will follow in a few days.
BTW, the idea of revealing a project piecemeal (the full video coming this summer) is one that is currently used on nearly all levels of commercial art, be it movies, videos, music, or books. It is all part of marketing my creative work to the public, social media, and hopefully clients and potential clients.
As always, I invite you to subscribe and follow me on my video sites, and feel free to make comments or ask any questions that come to mind...
Saturday, June 7, 2014
'Photo Asylum Moving Pictures' - An Idea Whose Time Has Finally Come (Part 1).
It's been roughly five years since the first DSLRs featuring video recording capability appeared on the consumer market. At that watershed moment, high quality motion imaging finally became not only affordable, but conveniently contained within the same camera package that photographers were already familiar and comfortable with.
Since then, many, if not most, still shooters have had to ponder and often struggle with the decision to begin acquiring and learning about video gear and software, film planning, production and post-production, and most importantly, packaging and marketing a finished quality product in order to offer these new services on the professional level.
I can tell you firsthand, it is not always a painless and intuitive process. Even many years of experience using traditional still cameras and lighting gear does not always immediately translate into the ability to shoot and produce great videos.
Then consider that the market is already saturated with established video production companies and freelance filmmakers that have spent a lifetime honing their craft, not to mention an army of amateurs with their camcorders and iPhones who think they can make a great video of anything they point these devices at.
You can quickly see that the very notion of joining this workforce in a competitive way can be...shall we say...daunting, if not downright overwhelming and intimidating.
And so, my coming into the fold and finally including myself in the big, bad world of motion pictures was not an easy decision to make.
Not easy at all...
My personal transition to including motion in my photographic repertoire was fueled by three major developments.
The first was the cost of equipment, and how the price of what is needed to create quality film footage has dropped dramatically in a very short time. And while I quickly learned that video production is indeed a money pit if you insist on having every little piece of professional gear that's available to help you, most of the basics to get you started are but a fraction of the price they used to be only five or more years ago. The biggest savings, of course, is the simple fact that you can use all of your existing DSLR lenses and bodies to shoot.
Secondly, post-production and video editing software was created that works wonderfully on an average PC or Mac system, and much of it was incorporated into existing programs that most still photographers already owned or had access to.
Adobe has led the way by not only adding video editing capabilities into some of its Photoshop titles, but fine-tuned Premiere Pro to give it a very similar interface to PS, adding powerful, but simple-to-use features to make it a breeze to create a professional-looking product. As my Creative Cloud membership already gave me access to all of these amazing tools, it was a no-brainer to finally start using them.
Finally, as much as I try to shun negativity in this business, I couldn't help but notice that there is a sea of mediocrity out there when it comes to video and filmmaking. My years of competitive creativity and strong visual storytelling made it obvious to me that there is a lot of bad work out there, and at some point I knew I could do better, and had to start trying.
So that's it in a nutshell. A new and exciting chapter in my artistic life and the evolution of The Photo Asylum. Be a witness as I (hopefully) take on more and more challenging and edgy motion projects through my Vimeo page, my YouTube page, and of course the video page on my website www.stevenpaulhlavac.com.
There's much more to the story of my start in professional filmmaking, but I think this is enough for now. Look for many more details in a follow-up post.
Since then, many, if not most, still shooters have had to ponder and often struggle with the decision to begin acquiring and learning about video gear and software, film planning, production and post-production, and most importantly, packaging and marketing a finished quality product in order to offer these new services on the professional level.
I can tell you firsthand, it is not always a painless and intuitive process. Even many years of experience using traditional still cameras and lighting gear does not always immediately translate into the ability to shoot and produce great videos.
Then consider that the market is already saturated with established video production companies and freelance filmmakers that have spent a lifetime honing their craft, not to mention an army of amateurs with their camcorders and iPhones who think they can make a great video of anything they point these devices at.
You can quickly see that the very notion of joining this workforce in a competitive way can be...shall we say...daunting, if not downright overwhelming and intimidating.
And so, my coming into the fold and finally including myself in the big, bad world of motion pictures was not an easy decision to make.
Not easy at all...
This is the new "signature logo" for Photo Asylum Moving
Pictures. It appears at the beginning of each video to identify
my company, sometimes with sound, sometimes without.
More on the striking imagery in a future blog post.
The first was the cost of equipment, and how the price of what is needed to create quality film footage has dropped dramatically in a very short time. And while I quickly learned that video production is indeed a money pit if you insist on having every little piece of professional gear that's available to help you, most of the basics to get you started are but a fraction of the price they used to be only five or more years ago. The biggest savings, of course, is the simple fact that you can use all of your existing DSLR lenses and bodies to shoot.
Secondly, post-production and video editing software was created that works wonderfully on an average PC or Mac system, and much of it was incorporated into existing programs that most still photographers already owned or had access to.
Adobe has led the way by not only adding video editing capabilities into some of its Photoshop titles, but fine-tuned Premiere Pro to give it a very similar interface to PS, adding powerful, but simple-to-use features to make it a breeze to create a professional-looking product. As my Creative Cloud membership already gave me access to all of these amazing tools, it was a no-brainer to finally start using them.
Finally, as much as I try to shun negativity in this business, I couldn't help but notice that there is a sea of mediocrity out there when it comes to video and filmmaking. My years of competitive creativity and strong visual storytelling made it obvious to me that there is a lot of bad work out there, and at some point I knew I could do better, and had to start trying.
So that's it in a nutshell. A new and exciting chapter in my artistic life and the evolution of The Photo Asylum. Be a witness as I (hopefully) take on more and more challenging and edgy motion projects through my Vimeo page, my YouTube page, and of course the video page on my website www.stevenpaulhlavac.com.
There's much more to the story of my start in professional filmmaking, but I think this is enough for now. Look for many more details in a follow-up post.
Thursday, February 6, 2014
TBT - Fashion Photographer Patrick Demachelier 1993
"Throwback Thursday" (or TBT as the cool cats call it) seems to have caught on in a pretty good way on most social media. Each Thursday, you post an image from the past, hopefully one that holds meaning to you or your audience. The idea appears harmless enough, and considering how many older images I have that I think are interesting or at least fun, I've decided to incorporate it into my blog posts when I can.
The reasons should be obvious. Lord knows I need to start spending more time here sharing topics and items that are photo-related, and it seems to me these certainly qualify. Also, I'll most always have a good story to go with the pic, usually something describing the odd series of events or happenstance that led to the photo.
Today's will be brief, however, as this is my first one, and I am quickly running out of Thursday daylight!
You may or may not know it (I've certainly said it enough times), but for me, shooting celebs and club life on South Beach back in the 1990's was no big deal. Nothing artistic, simply being in a certain place at a certain time with a camera that had a dependable flash. In fact, a monkey with a camera could...oh all right, all right, I digress...
Yes, it was (and still is) fun meeting well-known people from various walks of life, especially the entertainment business, but I rarely get excited about the idea of rubbing elbows with famous folks. Especially if I can only take grab shots, and not a real creative portrait of them.
Still, there are exceptions. Which brings me to a particular run-in back in 1993 with arguably the number one fashion photographer in the world at the time, Patrick Demarchelier.
It was early evening, and I was mulling about outside of the Sinatra Bar on South Beach. I cannot for the life of me remember anything about the place, other than I had to photograph someone there. I suppose you can dig on Google if you'd like to discover the history of the joint, but I'm pretty sure it was brief.
Out of the blue, walking up the street comes Monsieur Demarchelier. Oddly enough, he was alone, although I've learned from experience that's not really unusual for people famous in their profession, but outside of the pop culture mainstream. Now this was someone whose work and career I not only admired, but aspired to myself as a fashion shooter.
You better believe I was excited...
As he strolled up to where I was standing, I was caught off-guard by how unassuming and humble he was. He almost seemed clueless about what was going on nearby and if he should even check it out. As if he was out for a walk and had nothing better to do.
Our conversation was brief, and no, did not involve me acting like a fan or much about photography at all, for that matter. I greeted him (by name, of course) and wouldn't you know it, he seemed genuinely surprised I even knew who he was. Perfect. A true gentleman.
We talked about how nice the evening was, maybe a bit about how great the Miami light can be that time of year, this and that, and eventually how lame the club seemed. If I recall, he even decided not to go in. I can't say I had the same luxury. Anyway, a quick snap of him looking debonaire, and we both went our separate ways.
And so, this photo will always remind me of my quick brush with true greatness in the very field I had chosen for myself.
BTW, Patrick's amazing work is available online: www.demarchelier.net
The reasons should be obvious. Lord knows I need to start spending more time here sharing topics and items that are photo-related, and it seems to me these certainly qualify. Also, I'll most always have a good story to go with the pic, usually something describing the odd series of events or happenstance that led to the photo.
Today's will be brief, however, as this is my first one, and I am quickly running out of Thursday daylight!
You may or may not know it (I've certainly said it enough times), but for me, shooting celebs and club life on South Beach back in the 1990's was no big deal. Nothing artistic, simply being in a certain place at a certain time with a camera that had a dependable flash. In fact, a monkey with a camera could...oh all right, all right, I digress...
Yes, it was (and still is) fun meeting well-known people from various walks of life, especially the entertainment business, but I rarely get excited about the idea of rubbing elbows with famous folks. Especially if I can only take grab shots, and not a real creative portrait of them.
Still, there are exceptions. Which brings me to a particular run-in back in 1993 with arguably the number one fashion photographer in the world at the time, Patrick Demarchelier.
 |
| Fashion photographer extraordinaire Patrick Demarchelier. Sinatra Bar, Miami Beach, 1993. |
Out of the blue, walking up the street comes Monsieur Demarchelier. Oddly enough, he was alone, although I've learned from experience that's not really unusual for people famous in their profession, but outside of the pop culture mainstream. Now this was someone whose work and career I not only admired, but aspired to myself as a fashion shooter.
You better believe I was excited...
As he strolled up to where I was standing, I was caught off-guard by how unassuming and humble he was. He almost seemed clueless about what was going on nearby and if he should even check it out. As if he was out for a walk and had nothing better to do.
Our conversation was brief, and no, did not involve me acting like a fan or much about photography at all, for that matter. I greeted him (by name, of course) and wouldn't you know it, he seemed genuinely surprised I even knew who he was. Perfect. A true gentleman.
We talked about how nice the evening was, maybe a bit about how great the Miami light can be that time of year, this and that, and eventually how lame the club seemed. If I recall, he even decided not to go in. I can't say I had the same luxury. Anyway, a quick snap of him looking debonaire, and we both went our separate ways.
And so, this photo will always remind me of my quick brush with true greatness in the very field I had chosen for myself.
BTW, Patrick's amazing work is available online: www.demarchelier.net
Monday, September 23, 2013
Photo Asylum 101: Five Types Of Weather. If You Don't Like The Shooting Conditions In Florida, Just Wait A Few Minutes...
"If you don't like the weather in New England, just wait a few minutes..."
~Mark Twain
Obviously, my post title today playfully paraphrases the famous humorist, as I believe his quote most definitely applies to the Sunshine State as well.
I have never believed that there is a single perfect type of weather for outdoor photography. That's a myth that tends to be passed around more by beginners and hobbyists than professionals. I love all kinds of weather, have shot in all kinds of weather, and have learned that all kinds of weather have their advantages and challenges, and all can be "perfect" for what I shoot most: fashion and portrait.
From an artistic standpoint, I break down the weather for my outdoor shoots into five basic types:
full sun - partly cloudy - partly sunny - overcast - rain
Yeah, I know, it doesn't take a genius to figure this out. In fact, I seriously doubt I'm telling you anything you do not already know. Still, sometimes one needs to explain useful things by first being a master of the obvious. I like starting points that everyone can relate to.
My real message is this: to better your craft, you need to try to understand how photographic elements such as light, shadows, contrast, brightness range, color, tonality, and detail are determined and affected by the various types of weather.
As far as I'm concerned, there are two major factors when dealing with the weather. One is in the previsualization, or planning stage of a shoot. I have many different photo ideas that are particularly suited to specific types of weather and outdoor lighting. Even when I use a flash on location, I still consider the general scene illumination from the sun and sky when I figure out how to set up a shot.
The second factor, and this is probably a much more needed skill for a shooter, is to understand how to change set ups and technique at the drop of a hat when weather conditions are different or change quickly from what you had originally planned. You shouldn't just have a Plan B, but also a C, D, and E, depending on what you encounter and how it evolves.
Not only can you learn to use this to your advantage when you plan the looks and style of your shots, often pairing image ideas to the existing weather conditions on location, but more importantly, you eventually realize you can adapt to weather that is volatile and quickly changing without having a nervous breakdown on the set. Those of you (like me) who shoot outside in Florida know exactly what I mean.
This confidence of handling whatever big momma nature throws at you becomes much more important if your goal is to shoot commercial work, where budget or time constraints often mean scheduling a reshoot is not an option.
Don't be fooled by those who only define professional based on the style or quality of someone's work. Sometimes, especially in the eyes of a client, the only factor that makes someone "professional" is that they come through with the goods: they deliver a promised product on time without making excuses.
My mantra has always been this: the more bad habits and mistakes you can remove from your shooting, the higher the quality of your work will be. Knowing how to recognize and work in various types of weather almost automatically improves your shooting. It will certainly make you more professional and reliable.
What follows is a mix of images, some of which I planned and waited for a specific type of sky and light, some of which I simply looked at what I was getting at the time, and set up and shot accordingly.
full sun
I actually don't encounter this too often in my neck of the woods. I'm a cloud guy at heart, and very thankful that Florida usually offers a dazzling array of fluffy white in all shapes, sizes, and colors, especially in the summer. Still, from time to time, whoops...there it is. Nothing but clear blue sky. So, I use it, and by that I mean I try to darken my skies a bit to give them a decent level of color saturation. This may mean underexposing a tad, or shooting multiple exposures to do an HDR effect, or burning the image in post. For me, plain blue skies are bad enough, but plain white skies are far worse.
Unless you live in an area with a lot of air pollution, you will always get bright directional light with stark shadows. This graphic style can be used to great effect, with shadow play pretty much determined by the time of day and the angle of the sun.
 |
| Plain, cloudless skies may seem boring, but sometimes they add to a scene. In this shot, I intentionally centered the horizon against conventional wisdom to create an almost mirror effect between the sky and the water. The SeaRey aircraft breaks up the symmetry nicely. it also hints at the stunning view a pilot must get flying around on a clear day. Photo for Lake & Sumter Style Magazine. |
Partly cloudy is what most of us will get a lot of the time, depending of course, on the time of year and the time of day. In Florida, I can often do a 360° and find different cloud coverage in different parts of the sky. It's usually not too hard to find a patch of blue that is mostly sunny. Partly cloudy skies have a normal or average feel to them for obvious reasons: not as empty as cloudless, not nearly as exciting as dramatic storm clouds.
I like partly cloudy skies when I'm shooting lifestyle or traditional environmental/outdoor portraits where I don't want the sky to distract too much from the subject in the shot. As you can see from these examples, sometimes pleasant is just right.
 |
| Sometimes it's good to be lucky, especially if reshooting is a pain. For this story on Central Florida cowboys, I spent most of the afternoon riding around on a jeep with no real game plan, just taking spontaneous shots of life on a working ranch. Both I and magazine Creative Director Steve Codraro were thrilled that at the end of the day, I captured this "Marlboro Man" portrait of cowboy Coy Mueller that ended up as a cover. Nearly any kind of sky would have sufficed, but I really preferred a late afternoon sun with just a hint of clouds in the background. For once, nature cooperated. Location: Oxford, Florida. |
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Another good example of the photo gods smiling on me. This cover shot for Lake & Sumter Style Magazine was done far enough ahead of my deadline that I could have reshot if needed. I treated it as a full-blown fashion shoot and I had the luxury of including a rain date if the weather/lighting wasn't right. Fortunately, it was. Everything was exactly as I had visualized it when I first planned the shot. A few small wisps of colorful clouds was all I wanted to break up the lazy sky. A ton of large, highly dramatic, ginormous storm clouds in the background would have distracted visually from our beautiful model. Model: Gloriann Brogden. Hair: Ryan Bogard. MUA: Kristin Moulton. Creative Director: Steve Codraro. Location: Mount Dora, Florida.
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Partly sunny, or mostly cloudy (if you like to play with semantics) is also very typical in Florida in the summer. In my book, that doesn't mean there is no direct sunlight or brightness in the sky, it simply means there are a lot of clouds out there. And depending on the wind, they might be moving all over the place, including covering all or part of the sun, just not for very long. So a lot of times this becomes a game. I meter often, and prepare to change my camera settings to match the light. I'm speaking, of course, about shooting on manual, which I almost always do. If you use a priority mode, your life may be a bit easier.
Still, quickness has its virtues (as does patience) to get the shot to look the way you want or planned. I tend to be stubborn that way. If I picture specular light in my mind, I want direct illumination. If I'm thinking diffused, I'll wait for the light to get softer. Hopefully, we all find a way of working that suits our style and partly sunny skies has a little something for everyone.
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| Partly sunny mean a lot of clouds, which are often unpredictable. As the sun peeks in and out, your exposure changes, and that can be a challenge. Frequent metering is a must. Here I simply go with the flow, shooting model Robert Pate in business attire using the emerging sun as a giant key light. I take advantage of the multiple clouds and add them as elements in the window reflection. Fashion test. Location: downtown Orlando. |
overcast
Overcast can mean a lot of things. Again, semantics. What I mean are flat gray cloudy skies that remove the blue sky and direct sunlight from the equation. This is not the same as a white sky caused by overexposing the scene on a bright, sunny day. On overcast days, your subjects will be bathed in a beautiful soft light, contrast will also be soft, colors can actually be vivid, and most importantly, image details will be at a maximum, as the brightness range will be compressed.
Where I live, you cannot depend on this type of sky. Some days it is just there. With that in mind, I always have a plan or idea to setup and shoot when I know there will be no hard shadows. Often it doesn't matter, but there are times when that style is much more emotional, melancholy, or even romantic. I may use very weather-specific wardrobe or props to take advantage of the low contrast and increase in image detail.
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| Completely overcast skies make it a whole new ball game. Think of the sky as a huge soft box overhead adding a massive diffused light to your scene. That can be amazing if it's what you want. Now, I was going to shoot this idea no matter what the weather, as it was our only chance to work with a monstrous Chinese dragon, but when I realized there would be no direct sun, I decided on a colder and more moody vibe to the photo. The low shooting angle gave it scale, and the soft shadows meant the composition and muted colors would dominate the image. Fashion test. Model: Lindsey Palmer, Elite Atlanta. Hair: Lori Jurgensen. MUA: Sophie Loock. Location: Splendid China, Florida. |
rain
I'm going to lump rain and heavy dramatic clouds together as they are often both there at the same time. As many of you have discovered, it only takes the blink of an eye to go from a majestic backdrop for your scene to a torrential downpour that threatens to ruin everything, including expensive equipment.
I won't address actually shooting in heavy rain, as up to this point in my career, I can't really remember ever doing that. For anything that involves a lot of time and work on styling, hair, and makeup, when the rains come, I call timeout and we wait. Or move indoors to shoot. Or reschedule.
Don't get me wrong. I love the rain. As a person. Love rainy days, especially when I lived by the ocean. Love being out in the rain. It just doesn't seem to mix with my photography, though. Maybe as I get further into filmmaking, I'll decide to shoot rain scenes, you know, for the drama and emotion. Until then...
Still, a few drops never killed anyone, and many times (again depending on the wind) a light sprinkle will come and go as you shoot. And come and go. And...well, you get the idea.
If you find yourself in these kinds of conditions and situations, you should really develop a sort of fire drill that gets your crew (and model and wardrobe) in and out of the moisture as quickly as possible. You also should have a game plan if you decide you want to work in a light rain, making sure everyone knows how to keep the gear and talent as dry as possible. Time is money, and wasted time is a photographer's enemy. A little forethought and talking to those working with you on a shoot ahead of time goes a long way. It may make the difference between a complete washout (pun intended) where nothing is accomplished, or ultimately being productive.
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| Don't be fooled by the glint of sunshine sneaking through in this behind-the-scenes photo. This late afternoon in Central Florida was almost completely cloudy. So, not only were we running out of daylight, but guess what? It started raining as we tried to work! A photographer's nightmare. Harpist Nici Haerter was not only extremely professional, but actually refused to take her expensive, beautifully carved wooden instrument out of the light rain because she knew we needed to get the shot! As you can see, she decided to cover it with a towel until I was ready to shoot. Photo for Pulse Magazine. Hair: Ryan Bogard. Location: Eustis, Florida. |
So, you see what I did? I started off with a handful of mundane comments you all figured you knew all about. Then, as I added details and situations and all kinds of good stuff you need to consider to create really strong photos, hopefully I made you realize things are often not as simply as they seem, and circumstances can change in an instant. You need to learn to be ready, and adapt.
Trust me, all it takes is screwing up even one commercial or personal shoot because of a weather condition you didn't even consider, and you'll find you'll start taking something the average person takes for granted much more seriously. I hope I helped...
Saturday, September 21, 2013
Look Ma! No photos! What the???
As I take a quick look back at some of my blog posts, I can't help but notice that a whole slew of them are simply written themes or ideas without any accompanying images. Obviously, this was not planned, and I know a photographer's blog should be very visual, but there are several good reasons for this.
The main one is time. Some of the ideas I've had for posts were just short thoughts or announcements that I wanted to post immediately due to their time-sensitive nature. Not only did they not especially need photos to go with them, but (at least for me) editing images to add to a post is time-consuming.
Because of this, it seems I've been putting off many of my more extensive and interesting ideas and tutorials because I haven't taken the time to arrange and edit the many photo examples I need to illustrate what I'm trying to say or get across.
So, I guess what I'm trying to say is I will make it a priority to start posting ideas and topics that include a variety of pretty cool images to clearly show what I'm saying.
After all, isn't that really whatchu whatchu whatchu want???
The main one is time. Some of the ideas I've had for posts were just short thoughts or announcements that I wanted to post immediately due to their time-sensitive nature. Not only did they not especially need photos to go with them, but (at least for me) editing images to add to a post is time-consuming.
Because of this, it seems I've been putting off many of my more extensive and interesting ideas and tutorials because I haven't taken the time to arrange and edit the many photo examples I need to illustrate what I'm trying to say or get across.
So, I guess what I'm trying to say is I will make it a priority to start posting ideas and topics that include a variety of pretty cool images to clearly show what I'm saying.
After all, isn't that really whatchu whatchu whatchu want???
Tuesday, August 13, 2013
Then One Day The Smithsonian Called: Why You Should Always Save And Archive Your Work!
Well, it took a while, but one of my photos is finally in the Smithsonian.
It's true. I tell you no lie...
Now, it is not in the permanent collection and on display in a museum in Washington, DC for all the world to see. I wish. Rather, it's a portrait I shot of painter Carlos Alfonzo in December, 1990, originally appearing in the publication Miami New Times Newspaper. And it will be used as part of a printed catalog to coincide with the exhibit:
Our America: The Latino Presence in American Art.
Now, I am not the most organized guy in the world, and when it comes to my photography, I have a whole mish-mash of storage systems. Most of my digital work is, of course, logically filed on hard drives and on discs. Oh, and for the most part, key worded. Finding things in the computer age is not usually a problem.
It's my film originals that I probably need to work on a bit. Fortunately, many of my older negatives are neatly stored in chronological order in binders with their labeled proof sheets, and yes, the bulk of my color film slides are in boxes or pages, generally safe, in one searchable place.
Good thing, too.
Because one fine day, I was minding my own business, when out-of-the-blue came an email from an Emma Stratton, Permissions Coordinator, Smithsonian American Art Museum. Now when Ms. Stratton comes a calling on behalf of the Smithsonian, you pay attention.
And so, I paid attention...
And what she asked me oh-so-politely was if she could use my image of Alfonso for the upcoming Smithsonian exhibition catalog. Luckily, she had seen it used before in another catalog for another exhibition at the Miami Art Museum in 1997.
Obviously, I said yes. That was the easy part...
So, after agreeing to the deal, and excitedly shouting to anyone within earshot, I actually had to get down to business. I needed to track down the original negative, make a quality scan, create a digital file in photoshop, edit and retouch that file, then output it in a size and format that met their specifications for the printed catalog. Oh, and get it to them.
All on deadline...
In the end, it was not all that difficult, but without finding that original negative fairly quickly, I most likely would have been screwed.
Which brings me to my point: you need to develop a system of organizing and cataloging your images as you go along. Something that makes sense when you're trying to find an individual photo many many years after it's been shot.
Now, I had no way of knowing that Carlos Alfonso would sadly die not long after he sat for my camera. Nor could I ever imagine what his place and fame would be in the context of Hispanic and American art, or what the demand would be for a picture of him many years later.
But, because I was disciplined enough over the years to keep most of the rolls of film I shot together in pages with their proof sheets in books chronologically in a protected cabinet, I immediately and confidently told Emma Stratton I could send her artwork. I knew it would not take me long to find the negatives from our 1990 portrait session, even in the year 2013, and it didn't.
In this digital age, it is very tempting to simply live for the moment, shoot what we want when we want, and assume the computer will keep it all organized. In a perfect world, maybe, but if you value your work, you really owe it to yourself to pay much more attention to organizing and archiving your images in a way that makes sense.
After all, you never know when someone from the Smithsonian will come knocking on your door...
It's true. I tell you no lie...
Now, it is not in the permanent collection and on display in a museum in Washington, DC for all the world to see. I wish. Rather, it's a portrait I shot of painter Carlos Alfonzo in December, 1990, originally appearing in the publication Miami New Times Newspaper. And it will be used as part of a printed catalog to coincide with the exhibit:
Our America: The Latino Presence in American Art.
 |
| My photo of artist Carlos Alfonso (Cuban, 1950-1991) in his Miami studio, 1990. |
It's my film originals that I probably need to work on a bit. Fortunately, many of my older negatives are neatly stored in chronological order in binders with their labeled proof sheets, and yes, the bulk of my color film slides are in boxes or pages, generally safe, in one searchable place.
Good thing, too.
Because one fine day, I was minding my own business, when out-of-the-blue came an email from an Emma Stratton, Permissions Coordinator, Smithsonian American Art Museum. Now when Ms. Stratton comes a calling on behalf of the Smithsonian, you pay attention.
And so, I paid attention...
And what she asked me oh-so-politely was if she could use my image of Alfonso for the upcoming Smithsonian exhibition catalog. Luckily, she had seen it used before in another catalog for another exhibition at the Miami Art Museum in 1997.
Obviously, I said yes. That was the easy part...
So, after agreeing to the deal, and excitedly shouting to anyone within earshot, I actually had to get down to business. I needed to track down the original negative, make a quality scan, create a digital file in photoshop, edit and retouch that file, then output it in a size and format that met their specifications for the printed catalog. Oh, and get it to them.
All on deadline...
In the end, it was not all that difficult, but without finding that original negative fairly quickly, I most likely would have been screwed.
Which brings me to my point: you need to develop a system of organizing and cataloging your images as you go along. Something that makes sense when you're trying to find an individual photo many many years after it's been shot.
Now, I had no way of knowing that Carlos Alfonso would sadly die not long after he sat for my camera. Nor could I ever imagine what his place and fame would be in the context of Hispanic and American art, or what the demand would be for a picture of him many years later.
But, because I was disciplined enough over the years to keep most of the rolls of film I shot together in pages with their proof sheets in books chronologically in a protected cabinet, I immediately and confidently told Emma Stratton I could send her artwork. I knew it would not take me long to find the negatives from our 1990 portrait session, even in the year 2013, and it didn't.
In this digital age, it is very tempting to simply live for the moment, shoot what we want when we want, and assume the computer will keep it all organized. In a perfect world, maybe, but if you value your work, you really owe it to yourself to pay much more attention to organizing and archiving your images in a way that makes sense.
After all, you never know when someone from the Smithsonian will come knocking on your door...
Tuesday, July 16, 2013
Lead, Follow...Or Just Try To Keep Up!
You know, sometimes I feel like I'm taking two steps forward and four steps back! But then I think:
"I guess being at the back of the pack has its advantages when you're all going into battle..."
That's true, as long as they don't attack from the rear!
Ok, carry on. As you were...
"I guess being at the back of the pack has its advantages when you're all going into battle..."
That's true, as long as they don't attack from the rear!
Ok, carry on. As you were...
Friday, July 5, 2013
Happy New Half Year! And So, I Begin Anew...
Ok, I'm not the kind of guy to make a lot of resolutions on New Year's Eve. Yeah, I try to clean up my act, good intentions and all that, but I purposely keep those kinds of promises to myself fairly vague, so I don't feel so bad when I blow them off.
I do however, believe in the power of the calendar when it comes to planning the goals in my life. I'm not really astrological in the spiritual sense, you know - the whole fate and destiny kind of thing based on the alignment of various heavenly bodies and all that, but I do (like a lot of people) think that the beginning of a day, or a week, or a month, or a year makes a logical starting point for my various life activities, especially if I plan on making changes to them.
In this case we are talking about the start of July: the beginning of the second half of the year 2013, and I know and feel this moment has a great significance. It will mark the first time in over a decade that I can devote my time and energy and resources full-time to my career as a photographic artist.
And so, without giving a boring history lesson on hopes and dreams in the past that I was unable to accomplish for a multitude of reasons, let me just say most all of my shackles have been removed, my career and business begins anew, and we are all finally going to find out what I am capable of.
By the way, not to brag, but working only part-time with a great many constrictions placed on me by my family responsibilities and inability to travel, I was still able to snag a handful of photo award hardware in the time I've been up here in Central Florida, including one Editorial Magazine Cover of the Year in 2006 in a national competition.
I also managed to keep my gallery resume going with an assortment of group and one-person exhibitions at various venues and times throughout the area since I've lived up here.
Not bad for a guy with one hand tied behind his back...
Now, I don't know about you, but personally, I cannot wait for all the good things that lie ahead! Wish me luck!
I do however, believe in the power of the calendar when it comes to planning the goals in my life. I'm not really astrological in the spiritual sense, you know - the whole fate and destiny kind of thing based on the alignment of various heavenly bodies and all that, but I do (like a lot of people) think that the beginning of a day, or a week, or a month, or a year makes a logical starting point for my various life activities, especially if I plan on making changes to them.
In this case we are talking about the start of July: the beginning of the second half of the year 2013, and I know and feel this moment has a great significance. It will mark the first time in over a decade that I can devote my time and energy and resources full-time to my career as a photographic artist.
And so, without giving a boring history lesson on hopes and dreams in the past that I was unable to accomplish for a multitude of reasons, let me just say most all of my shackles have been removed, my career and business begins anew, and we are all finally going to find out what I am capable of.
By the way, not to brag, but working only part-time with a great many constrictions placed on me by my family responsibilities and inability to travel, I was still able to snag a handful of photo award hardware in the time I've been up here in Central Florida, including one Editorial Magazine Cover of the Year in 2006 in a national competition.
I also managed to keep my gallery resume going with an assortment of group and one-person exhibitions at various venues and times throughout the area since I've lived up here.
Not bad for a guy with one hand tied behind his back...
Now, I don't know about you, but personally, I cannot wait for all the good things that lie ahead! Wish me luck!
Monday, July 1, 2013
Now, Where Was I Before I Was So Rudely Interrupted?
"From life's school of war: what does not kill me makes me stronger" ~Friedrich Nietzsche
Well, I have to tell you, I really thought my spring would be more productive. And while I did indeed have the best of intentions of getting a lot of things done, life -in its inimitable way- threw up (and yes, if you want to take that literally as gastronomical, feel free) a few unexpected road blocks that I had to go around. Or maybe they were hurdles I had to jump over?
Ah, "hurdles" might actually be more accurate, as I certainly do not jump any where near as well as I used to!
Regardless of semantics, it's involved challenges galore, and they were (and are) obstacles that made me not only rethink the way I worked and organized my career, but had me questioning my very life as well.
The major event, on February 10th (a date that will live in infamy!) happened only a few days after my last blog post. Without going to great lengths to explain the details, suffice to say it was a major medical event, and had me laid up in the local hospital for over a week.
Now, those of you who follow me on Facebook have probably already read a lot about this ordeal, as I've made quite a few posts on both my personal page as well as my photography fan page.
The good news is I seem to be basically fine, and well on the road to recovery. Hmmm, come to think of it, if I'm going to use that analogy, maybe these are roadblocks after all. The bad news is my balance and equilibrium are still a bit hinkey, and continual physical rehab seems to be the order of the day. So, while running and catching a thrown frisbee is probably a no go for me, I am back to driving, and working out, and most importantly...shooting a camera! Believe me, there were times during the last five months I wasn't even sure I would ever do these things again.
Thankfully, my LIFE INTERRUPTED, however briefly, is moving forward again!
Speaking of thanks, again I cannot thank my friends, family, clients, and acquaintances enough for all the support and well wishes I've received recently. The positive vibrations and white light aimed in my direction has had a profound effect on my progress and motivation!
So, let me end this post the way I began it:
Where was I before I was so rudely interrupted?
Yes! That's right! Now I remember! More to follow...
Wednesday, February 6, 2013
My Return To A Full-Time Career In Photography: The Teaser...
I tend to see both sides of most issues. I weigh the good and the bad when I make decisions. I look at strengths and weaknesses when I evaluate people and situations.
And so, when it comes to the idea of (hopefully) having a full-time career as a photographer again, I cannot help but think of two things.
The BAD news is: it looks like I will have to start over almost completely from scratch.
The GOOD news is: it looks like I will finally get the chance to start over almost completely from scratch.
Well, there you have it. In those two sentences you get a glimpse at both my excitement as well as my anxiety about the big changes to my life and career that will most likely begin this coming spring.
Wish me luck...
And so, when it comes to the idea of (hopefully) having a full-time career as a photographer again, I cannot help but think of two things.
The BAD news is: it looks like I will have to start over almost completely from scratch.
The GOOD news is: it looks like I will finally get the chance to start over almost completely from scratch.
Well, there you have it. In those two sentences you get a glimpse at both my excitement as well as my anxiety about the big changes to my life and career that will most likely begin this coming spring.
Wish me luck...
Monday, February 4, 2013
Back To The Blog, Part Deux!
To quote from my last blog entry, "Oh my. Has it really been that long?!?" Only now, it's even more embarrassing, as an even longer length of time has passed since I made that promise last June to start posting with greater regularity. All I can say is - Oy!
So, let's just get this out of the way and be done with it: I hereby freely admit that I am posting this entry just to have SOME new content and to get the ball rolling on a more regular posting schedule. Dipping my toe in the pool before I take the plunge, so to speak...
While I'm at it, I may as well get my Season's Greetings in after-the-fact, and hope everyone had a safe, enjoyable holiday. I will also be adding a "2012 in Review" post soon, to catch you up on some of the studio projects, magazine assignments, and other client and personal work I've been busy with the past year. Better late than never I suppose, right?
Now, without the benefit of having a crystal ball, I have to say 2013 looks like it's shaping up to be an exciting and intensively creative year for me. Many big changes in store, including a family event that might possibly have a significant impact on my career. In a good way. But more details on that when I think the time is right.
Not to use this as an excuse for not posting here more often, but just a reminder that my Facebook Page (link to the right) has short but timely updates on my day-to-day activities and photo work. You are welcome to join if you haven't already done so.
And so, let me get to work on planning my next entry here. I promise it will not be another six months before I get to it!
So, let's just get this out of the way and be done with it: I hereby freely admit that I am posting this entry just to have SOME new content and to get the ball rolling on a more regular posting schedule. Dipping my toe in the pool before I take the plunge, so to speak...
While I'm at it, I may as well get my Season's Greetings in after-the-fact, and hope everyone had a safe, enjoyable holiday. I will also be adding a "2012 in Review" post soon, to catch you up on some of the studio projects, magazine assignments, and other client and personal work I've been busy with the past year. Better late than never I suppose, right?
Now, without the benefit of having a crystal ball, I have to say 2013 looks like it's shaping up to be an exciting and intensively creative year for me. Many big changes in store, including a family event that might possibly have a significant impact on my career. In a good way. But more details on that when I think the time is right.
Not to use this as an excuse for not posting here more often, but just a reminder that my Facebook Page (link to the right) has short but timely updates on my day-to-day activities and photo work. You are welcome to join if you haven't already done so.
And so, let me get to work on planning my next entry here. I promise it will not be another six months before I get to it!
Saturday, June 2, 2012
Back to The Blog!
Oh my. Has it really been that long?!? It's hard to believe. Impossible to believe. And yet, in the back of my mind, I know I've been putting off, and putting off, and putting off posting here, and the excuse...er, I mean the reason is pretty simple...
It's not that I have nothing to talk or write about. Heaven's no! I could talk all day. It's just that I post so many updates on my Facebook Page (link to the right, if you wanna join) on my shoots, my published work, my artwork, and just about everything else photographic, that I guess I've been rationalizing that that pretty much covers things.
But it doesn't. Yeah, I'm well aware that blogs in general are losing viewership, mostly because the majority of them weren't that interesting to begin with, and (as I can attest to) it takes a certain amount of consistent effort to post to them regularly.
But I think in the end they serve different audiences. At least a traditional blog like mine. It's a venue where I can address projects and issues and go into a lot more detail. Not just the "quick fix" that Facebook provides...
Maybe I'm wrong, but I'd like to think the viewer that makes the effort to come here and see what I have to say has a slightly longer attention span, and doesn't freak out at the likelihood of multiple paragraphs strung together to flesh out a theme or make a point.
And so, let me use this post to recommit to getting back to blogging and keeping things timely. And frequent!
See you soon!
It's not that I have nothing to talk or write about. Heaven's no! I could talk all day. It's just that I post so many updates on my Facebook Page (link to the right, if you wanna join) on my shoots, my published work, my artwork, and just about everything else photographic, that I guess I've been rationalizing that that pretty much covers things.
But it doesn't. Yeah, I'm well aware that blogs in general are losing viewership, mostly because the majority of them weren't that interesting to begin with, and (as I can attest to) it takes a certain amount of consistent effort to post to them regularly.
But I think in the end they serve different audiences. At least a traditional blog like mine. It's a venue where I can address projects and issues and go into a lot more detail. Not just the "quick fix" that Facebook provides...
Maybe I'm wrong, but I'd like to think the viewer that makes the effort to come here and see what I have to say has a slightly longer attention span, and doesn't freak out at the likelihood of multiple paragraphs strung together to flesh out a theme or make a point.
And so, let me use this post to recommit to getting back to blogging and keeping things timely. And frequent!
See you soon!
Saturday, July 30, 2011
Photo Asylum 101: Get That Model Release: In The Photo!
Hopefully, if you're a commercial shooter, or publish your work in any way, shape, or form, you know full well the importance and advantages of having a signed model release from your subject. I'm not going to get into all that today. There are plenty of online resources to help you with releases, including this basic primer from ASMP.
What I would like to do instead, is suggest a good habit to get into when you shoot: snapping a frame or two of your model actually holding the signed release.
Now, every photographer will eventually figure out the way they like to work, but I almost always prefer to have my models sign their releases before we begin shooting. I'm easy-going, my sets are generally relaxed and fun, and most importantly, I have a laptop set up at some point to proof images. My point is there is a fairly high level of trust throughout the whole process, and the majority of models agree to sign without actually knowing precisely how they will be photographed.
One day it occurred to me that photographing the model actually holding the signed release would make a nice, convenient insurance policy, if you will. I have no idea of the legality of the photo should the original document become lost, but having the image right in the same folder as the rest of the shoot does a lot to alleviate any confusion or misunderstandings down the road. It also makes a very good reference file to send along to clients or publications that require documented releases of your models.
Model Robert Pate wouldn't dare deny signing his release as long as I have this!
As you can see, it takes very little effort to find a small piece of foamcore or cardboard (heck, even a small reflector) and attach the release. I like to combine it with my Macbeth Color Checker reference grid, and get both of these mundane tasks out of the way as quickly as possible, so I can focus my energy on the actual shoot.
On the rare occasion there is some hesitation from a model to sign off ahead of time, I simply do all of this at the end of the shoot.
So that's it. Sure, another step to remember to add to a seemingly endless list of steps, but a habit that, once you get into it, will help you be more organized and appear more professional in the long run.
All photos ©Steven Paul Hlavac.
What I would like to do instead, is suggest a good habit to get into when you shoot: snapping a frame or two of your model actually holding the signed release.
Now, every photographer will eventually figure out the way they like to work, but I almost always prefer to have my models sign their releases before we begin shooting. I'm easy-going, my sets are generally relaxed and fun, and most importantly, I have a laptop set up at some point to proof images. My point is there is a fairly high level of trust throughout the whole process, and the majority of models agree to sign without actually knowing precisely how they will be photographed.
One day it occurred to me that photographing the model actually holding the signed release would make a nice, convenient insurance policy, if you will. I have no idea of the legality of the photo should the original document become lost, but having the image right in the same folder as the rest of the shoot does a lot to alleviate any confusion or misunderstandings down the road. It also makes a very good reference file to send along to clients or publications that require documented releases of your models.
Model Robert Pate wouldn't dare deny signing his release as long as I have this!
As you can see, it takes very little effort to find a small piece of foamcore or cardboard (heck, even a small reflector) and attach the release. I like to combine it with my Macbeth Color Checker reference grid, and get both of these mundane tasks out of the way as quickly as possible, so I can focus my energy on the actual shoot.
On the rare occasion there is some hesitation from a model to sign off ahead of time, I simply do all of this at the end of the shoot.
So that's it. Sure, another step to remember to add to a seemingly endless list of steps, but a habit that, once you get into it, will help you be more organized and appear more professional in the long run.
All photos ©Steven Paul Hlavac.
Sunday, July 17, 2011
Photo Asylum 101: Symmetry Is Not A Four Letter Word.
Photographic composition can be a rather intimidating subject, at least when you're trying to learn to separate right from wrong, so you can get better at your craft. It's possible to find an almost unlimited amount of advice and opinions on what the rules of composing your pictures should be. And then when you consider that on any given occasion, most of those rules can be interpreted, stretched, broken, or simply ignored, the whole process can overwhelm the inexperienced photographer in a hurry.
What gets me are those that are rigid in their "rules". They try to make you think you need to conform to some sort of ancient code of honor carved in stone, and if you dare stray from it, your work will suffer immeasurably.
I, on the other hand, to quote Pirates Of The Caribbean --figured they were more actual guidelines-- and have always felt a bit of flexibility is in order. My shooting technique is relatively traditional, but definitely allows room for some "departures" from the norm in the name of style. I have always taught or given advice on photo composition with that philosophy in mind...
A perfect example of this is the idea of symmetry in a photo, which for the sake of this post, will loosely refer to centering a subject in the scene, or having nearly identical visual elements on opposing sides of a scene positioned horizontally in a mirror-like manner. Still with me?
Centering your subject, or having too much symmetry in a scene is often looked down upon by photo purists, as it is in direct violation of the magical Rule of Thirds or Golden Ratio. I'll let you do your own research on those two scared cows.
But I say nonsense! There is no good reason for you to place such arbitrary restrictions on your creativity.
Let's be clear: like many, I strive for an asymmetrical balance in the majority of my work, and if you're familiar with my shooting style, you know I love having visual elements receding into the frame or extending through it at all sorts of interesting angles to create a sense of depth and movement.
People especially are rarely placed in the exact center of my photos...
But IMO centering and shooting symmetrically is not evil, despite what many experts say. It should be considered a welcome change of pace for any photographer. You simply have to have a sense of what you're trying to express with this type of composition, frame your shots thoughtfully and carefully, and try not to be too repetitive.
Let me illustrate what I mean by showing some shots from a fashion test with Chicago model Adrianne Michelle (hair/mu: Stacey Lynn). We found a great location at the Illinois Institute of Technology in Chicago where the outside light was filtered through these heavily tinted orange windows (the color you see is redder, and was enhanced in post).
A symmetrical composition.
Because it was so easy to set up a symmetrical scene by placing the chair between two window frame sections, I decided to start out by posing her in symmetrical poses as well.
And that's one of the best reasons to center your subject and shoot symmetrically: to accentuate that visual effect and make it clear that was your intent. BTW, this is neither here nor there, but if you were observant enough, you may have noticed that's also Adrienne up top in my blog banner. Same shoot. But I digress...
One cool thing you can do with a symmetrical scene is easily create a bit of visual tension and interest by positioning one or more elements or subjects in an asymmetrical position within that scene.
A mixture of symmetrical and asymmetrical elements.
Above is Adrienne demonstrating exactly that. Same basic camera angle and scene position, which means that most of the shot will still be symmetrical. But she changes her pose, and that makes a huge difference.
BTW, I often go through this routine in many of my shoots. I have a sort of fascination with human symmetry, even if it doesn't make its way into my final images, and many times I'll start the model out in a symmetrical pose, then move on to other things. It's a good visual and posing "warm-up". FWIW, if you're a model, a valuable exercise is to practice moving slowly in a strict symmetrical fashion. It's more challenging than it looks, and may help you out during your shoots.
Now, maybe you don't shoot fashion, or maybe you don't especially want the symmetry of a shot to jump out at the viewer as a style element.
Never fear. Symmetrical compositions work fine in portrait work as well, and they don't have to be rigid. In fact your shots will probably more effective if you soften the rules just a bit.
The portraits below illustrates an important guideline for centering your subject: try to use the environment or man-made structures, or even other people in the shot to frame the person.
Symmetry can work nicely in portraits as well.
In both of these magazine portraits, neither the pose of the subject nor the background areas are perfectly symmetrical, so the effect is a bit more subtle. I also added a slight horizon tilt on the left that was part of my shooting style at the time. Not everyone's cup of tea, so shoot that sort of thing as you see fit. Oh, and if you're thinking the sky on the right looks a little washed-out, keep in mind the publication placed type there for the cover.
So, never let anyone make you feel guilty about centering your subject, or using a symmetrical composition. Just be sure to do it carefully, and with a sense of purpose, and you'll be fine...
All photos ©Steven Paul Hlavac.
What gets me are those that are rigid in their "rules". They try to make you think you need to conform to some sort of ancient code of honor carved in stone, and if you dare stray from it, your work will suffer immeasurably.
I, on the other hand, to quote Pirates Of The Caribbean --figured they were more actual guidelines-- and have always felt a bit of flexibility is in order. My shooting technique is relatively traditional, but definitely allows room for some "departures" from the norm in the name of style. I have always taught or given advice on photo composition with that philosophy in mind...
A perfect example of this is the idea of symmetry in a photo, which for the sake of this post, will loosely refer to centering a subject in the scene, or having nearly identical visual elements on opposing sides of a scene positioned horizontally in a mirror-like manner. Still with me?
Centering your subject, or having too much symmetry in a scene is often looked down upon by photo purists, as it is in direct violation of the magical Rule of Thirds or Golden Ratio. I'll let you do your own research on those two scared cows.
But I say nonsense! There is no good reason for you to place such arbitrary restrictions on your creativity.
Let's be clear: like many, I strive for an asymmetrical balance in the majority of my work, and if you're familiar with my shooting style, you know I love having visual elements receding into the frame or extending through it at all sorts of interesting angles to create a sense of depth and movement.
People especially are rarely placed in the exact center of my photos...
But IMO centering and shooting symmetrically is not evil, despite what many experts say. It should be considered a welcome change of pace for any photographer. You simply have to have a sense of what you're trying to express with this type of composition, frame your shots thoughtfully and carefully, and try not to be too repetitive.
Let me illustrate what I mean by showing some shots from a fashion test with Chicago model Adrianne Michelle (hair/mu: Stacey Lynn). We found a great location at the Illinois Institute of Technology in Chicago where the outside light was filtered through these heavily tinted orange windows (the color you see is redder, and was enhanced in post).
A symmetrical composition.
Because it was so easy to set up a symmetrical scene by placing the chair between two window frame sections, I decided to start out by posing her in symmetrical poses as well.
And that's one of the best reasons to center your subject and shoot symmetrically: to accentuate that visual effect and make it clear that was your intent. BTW, this is neither here nor there, but if you were observant enough, you may have noticed that's also Adrienne up top in my blog banner. Same shoot. But I digress...
One cool thing you can do with a symmetrical scene is easily create a bit of visual tension and interest by positioning one or more elements or subjects in an asymmetrical position within that scene.
A mixture of symmetrical and asymmetrical elements.
Above is Adrienne demonstrating exactly that. Same basic camera angle and scene position, which means that most of the shot will still be symmetrical. But she changes her pose, and that makes a huge difference.
BTW, I often go through this routine in many of my shoots. I have a sort of fascination with human symmetry, even if it doesn't make its way into my final images, and many times I'll start the model out in a symmetrical pose, then move on to other things. It's a good visual and posing "warm-up". FWIW, if you're a model, a valuable exercise is to practice moving slowly in a strict symmetrical fashion. It's more challenging than it looks, and may help you out during your shoots.
Now, maybe you don't shoot fashion, or maybe you don't especially want the symmetry of a shot to jump out at the viewer as a style element.
Never fear. Symmetrical compositions work fine in portrait work as well, and they don't have to be rigid. In fact your shots will probably more effective if you soften the rules just a bit.
The portraits below illustrates an important guideline for centering your subject: try to use the environment or man-made structures, or even other people in the shot to frame the person.
In both of these magazine portraits, neither the pose of the subject nor the background areas are perfectly symmetrical, so the effect is a bit more subtle. I also added a slight horizon tilt on the left that was part of my shooting style at the time. Not everyone's cup of tea, so shoot that sort of thing as you see fit. Oh, and if you're thinking the sky on the right looks a little washed-out, keep in mind the publication placed type there for the cover.
So, never let anyone make you feel guilty about centering your subject, or using a symmetrical composition. Just be sure to do it carefully, and with a sense of purpose, and you'll be fine...
All photos ©Steven Paul Hlavac.
Wednesday, July 13, 2011
Summer 2011 Issue Of PULSE MAGAZINE Now Out!
The new issue of PULSE MAGAZINE is now on the street. Pulse, of course, being a nice little glossy covering art, music, writing, dining, and other assorted cultural diversions in the Lake County cities of Mount Dora, Eustis, and Tavares.
As it so happens, I do have ulterior motives for touting the new issue. Inside, my full-page shot accompanies a fun feature by writer Tony Marzano on local legend Dr. Edgar James Banks, a turn-of-the-century archeological adventurer and college lecturer often credited as the inspiration for the Indiana Jones character of Hollywood movie fame.
It was shot at the nearby Eustis Historical Museum, which has an entire room dedicated to Dr. Banks, a re-creation of one of his bedrooms with some assorted personal items and other props from that period.
So, look around, and pick up a copy when you get the chance. For those of you outside the Central Florida distribution area, check out the PULSE MAGAZINE web site.
It was shot at the nearby Eustis Historical Museum, which has an entire room dedicated to Dr. Banks, a re-creation of one of his bedrooms with some assorted personal items and other props from that period.
So, look around, and pick up a copy when you get the chance. For those of you outside the Central Florida distribution area, check out the PULSE MAGAZINE web site.
Monday, July 11, 2011
Photo Asylum 101: Holy Crop! Photographers PLEASE Keep Those Model's Hands And Feet inside the frame!
As I look at much of the fashion photography being posted online by younger shooters (and this is mostly self-publishing, not actual magazines), I'm a bit stunned by the number you that don't seem to have a firm grasp on the fine (and I have to assume elusive) art of cropping an image.
As a photographer, you have three opportunities to crop a photo. Once when you compose in the camera. Again when you crop making the print in either a wet darkroom or on a computer. And finally when you present a printed photo by trimming and/or window matting it.
Now, in a sense, composing and cropping an image go hand in hand, as they are essentially the same thing. By cropping, you are altering the composition of your shot. Obviously, the nice thing about cropping is you can do it after the fact, often correcting mistakes or making the composition of a pic stronger after you've had time to look at and think about it.
And much like the art of composition, the full art of cropping is way too encompassing to get into here. So I'll simply deal with one small aspect. One tiny, yet incredibly annoying aspect of cropping fashion photos that I spot with disturbing regularity: cutting off your model's hands at the wrists or feet at the ankles.
Now, let me be clear: you have the right to pose your model, then compose your frame and eventually crop your shot in any way, shape, or form that you see fit. Far be it from me to tell you how to create your own art.
But I see things through the eyes of someone who's shot editorial and advertising work for a lot of publications, and worked with many Editors and Art Directors over the years. To have your work accepted and respected in a larger and much more critical world, you can't just have a free-for-all going on in your photo.
Random doesn't usually work. The way you crop is critical to whether the image is successful or not, and in the commercial world, other people's opinions do count.
Think of it like this: you can drive your car like a madman in your own back yard to your heart's content, but at some point, if you decide to venture out onto the street in the real world, you need to know the "rules of the road", because they do exist.
So, with that in mind, let me start by saying arms and legs at the edge of a frame with either the hands cut off at the wrists or feet cut off at the ankles tends to look really bad.
Really. Bad. Whether you realize it or not...
So, assuming you do not want a full-length shot, where do you crop? Easy. You crop much further up the arms or legs. When you do that, it appears to the eye that those body parts are simply out of the frame. Nothing unusual.
On the other hand, when hands and feet are cropped at the wrists or ankles, it actually appears that those parts are missing, and makes the overall composition look very awkward, or even freakish.
To our left here is a perfect example. Our beautiful model Lucy Marchany (agency: Wihelmina New York) has graciously volunteered to let me slice and dice her lower extremities at various spots in the interest of advancing cropping knowledge for all humanity. What a sport. In return, I promised to buy her new boots. I'm sure you can see the irony...
Now, the shot on the left is properly cropped. A symmetrical composition cut off just above the knees. It looks perfectly natural, what we would call a three-quarter length shot. There is enough of her legs out of the frame that our eyes don't even think about it. They instead concentrate on the part of her that we can see.
The pic on the left is poorly cropped. Lucy's legs lead the viewer's eyes all the way down to where her feet should be. And because of that, you expect to see her feet. When you can't, it seems as though they've been removed. Taken away. Missing. It looks unsettling.
Here is an example of the wrong and right way to crop a model's hands in a shot. Poor Chevonne in the first pic looks like she was involved in some horrible industrial accident that lopped off her left hand. And she's married no less. You can imagine her anguish. Russian beauty Svetlana on the right has her left arm flow smoothly out of the frame, the crop done much higher up the arm and at an angle.
Now, as much as I try to refrain from pointing fingers at any specific individuals with these "lessons", I feel I have to mention a photographer whose online book I viewed recently. Not by name, of course...
They had many shots of extremely attractive models in some very good poses, but almost all of the pics have the poor girls' feet cut off. Yep, you guessed it: at the ankles. It was so odd because it was done so consistently throughout their portfolio. As I've been saying, it would have been much better to either show the models' feet entirely, or crop much higher up on the legs.
What's even worse is many of the shots gave credit to a Wardrobe Stylist, making it quite bizarre, as this stylist was either too lazy or didn't have the resources to pull shoes for these shoots (shoes obviously being one of the most important styling elements of any fashion shoot). Either that, or they simply didn't care that their hard work was eventually cropped out of the photos.
My point is even talented shooters can show they are completely clueless about certain things, and this obvious and easily fixed issue, IMO completely ruined their portfolio. Much like my initial reaction, an Art Director or Photo Editor would cringe viewing the work.
So class, pay careful attention to your in-camera composing, and especially your post-process cropping. Let's either keep those hands and feet safely inside the frame, or crop them out the correct way...
All photos ©Steven Paul Hlavac.
As a photographer, you have three opportunities to crop a photo. Once when you compose in the camera. Again when you crop making the print in either a wet darkroom or on a computer. And finally when you present a printed photo by trimming and/or window matting it.
Now, in a sense, composing and cropping an image go hand in hand, as they are essentially the same thing. By cropping, you are altering the composition of your shot. Obviously, the nice thing about cropping is you can do it after the fact, often correcting mistakes or making the composition of a pic stronger after you've had time to look at and think about it.
And much like the art of composition, the full art of cropping is way too encompassing to get into here. So I'll simply deal with one small aspect. One tiny, yet incredibly annoying aspect of cropping fashion photos that I spot with disturbing regularity: cutting off your model's hands at the wrists or feet at the ankles.
Now, let me be clear: you have the right to pose your model, then compose your frame and eventually crop your shot in any way, shape, or form that you see fit. Far be it from me to tell you how to create your own art.
But I see things through the eyes of someone who's shot editorial and advertising work for a lot of publications, and worked with many Editors and Art Directors over the years. To have your work accepted and respected in a larger and much more critical world, you can't just have a free-for-all going on in your photo.
Random doesn't usually work. The way you crop is critical to whether the image is successful or not, and in the commercial world, other people's opinions do count.
Think of it like this: you can drive your car like a madman in your own back yard to your heart's content, but at some point, if you decide to venture out onto the street in the real world, you need to know the "rules of the road", because they do exist.
So, with that in mind, let me start by saying arms and legs at the edge of a frame with either the hands cut off at the wrists or feet cut off at the ankles tends to look really bad.
Really. Bad. Whether you realize it or not...
So, assuming you do not want a full-length shot, where do you crop? Easy. You crop much further up the arms or legs. When you do that, it appears to the eye that those body parts are simply out of the frame. Nothing unusual.
On the other hand, when hands and feet are cropped at the wrists or ankles, it actually appears that those parts are missing, and makes the overall composition look very awkward, or even freakish.
Now, the shot on the left is properly cropped. A symmetrical composition cut off just above the knees. It looks perfectly natural, what we would call a three-quarter length shot. There is enough of her legs out of the frame that our eyes don't even think about it. They instead concentrate on the part of her that we can see.
The pic on the left is poorly cropped. Lucy's legs lead the viewer's eyes all the way down to where her feet should be. And because of that, you expect to see her feet. When you can't, it seems as though they've been removed. Taken away. Missing. It looks unsettling.
Now, as much as I try to refrain from pointing fingers at any specific individuals with these "lessons", I feel I have to mention a photographer whose online book I viewed recently. Not by name, of course...
They had many shots of extremely attractive models in some very good poses, but almost all of the pics have the poor girls' feet cut off. Yep, you guessed it: at the ankles. It was so odd because it was done so consistently throughout their portfolio. As I've been saying, it would have been much better to either show the models' feet entirely, or crop much higher up on the legs.
What's even worse is many of the shots gave credit to a Wardrobe Stylist, making it quite bizarre, as this stylist was either too lazy or didn't have the resources to pull shoes for these shoots (shoes obviously being one of the most important styling elements of any fashion shoot). Either that, or they simply didn't care that their hard work was eventually cropped out of the photos.
My point is even talented shooters can show they are completely clueless about certain things, and this obvious and easily fixed issue, IMO completely ruined their portfolio. Much like my initial reaction, an Art Director or Photo Editor would cringe viewing the work.
So class, pay careful attention to your in-camera composing, and especially your post-process cropping. Let's either keep those hands and feet safely inside the frame, or crop them out the correct way...
All photos ©Steven Paul Hlavac.
Monday, July 4, 2011
Get Ready For PHOTO ASYLUM 101...
Now, I know for many of you, school is out for the summer, but here at The Photo Asylum, the learning process never stops. Never...
And so, I'll soon be starting a series of blog posts under the common heading of Photo Asylum 101.
The subject matter of these posts will vary widely. Any and all things relating to photography including lighting, shooting, pre and post-production, composition, studio and location gear, presentation, you name it.
Also, various aspects of the fashion business, specifically as they relate to organizing and producing fashion shoots. Styling, casting, location scouting, video, etc.
Sometimes these posts will start with a particular criticism. Something I see being done wrong or poorly. The emphasis will never be on the negativity of the mistakes or the bad habits, but rather my suggestions for perhaps ways of doing things a bit better. Persuade rather than admonish.
Other times these will just be straight-forward, short tutorials, simply explaining a rule, technique, or way I've learned to do something that I want to pass along. Again, a suggestion. Just something for you to consider.
My intention will always be to improve your way of working, and as with most things in life, you are free to embrace or ignore my advice.
So, get ready. There will be a test at the end of the semester...
And so, I'll soon be starting a series of blog posts under the common heading of Photo Asylum 101.
The subject matter of these posts will vary widely. Any and all things relating to photography including lighting, shooting, pre and post-production, composition, studio and location gear, presentation, you name it.
Also, various aspects of the fashion business, specifically as they relate to organizing and producing fashion shoots. Styling, casting, location scouting, video, etc.
Sometimes these posts will start with a particular criticism. Something I see being done wrong or poorly. The emphasis will never be on the negativity of the mistakes or the bad habits, but rather my suggestions for perhaps ways of doing things a bit better. Persuade rather than admonish.
Other times these will just be straight-forward, short tutorials, simply explaining a rule, technique, or way I've learned to do something that I want to pass along. Again, a suggestion. Just something for you to consider.
My intention will always be to improve your way of working, and as with most things in life, you are free to embrace or ignore my advice.
So, get ready. There will be a test at the end of the semester...
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