I like snow!

I had a chance to go visit the parents over the weekend, and took a snowthrower out for a quick shoot. Nothing too fancy, and it's a combo of a few pictures, but it works out and I'm happy with it. Next time I go home I'm taking a light though, since it's easier to light a product shot rather than take two and stitch them together.


I'm working for a few more of these product shots among other things for my small business resource site, and hopefully I'll be able to offer a comprehensive product range for local businesses. This would be in addition my main focus of fashion and commercial, but I don't see why I can't branch out and help with product and business photography when I can.

Let's take a look at headshots!

This all started from a question I got a while back. Someone asked me if I could shoot a headshot that could stand up in other markets, and what the differences in those markets are. I thought about it, scratched my head, called friends, and was puzzled as far as how to answer it because the differences aren't really there as far as what's a good shot here and what's a good shot out on the coasts - this posting is an expanded essay on my answer to them.

I'm going to break headshots down into 3 categories - Models, Actors, and Professionals. Granted I'm sure we can break those down more into commercial models, vs character models (normal people, older people, etc), TV actors vs theater vs whatever, and different kinds of professionals... But, for this posting 3 main categories work out just fine.

(I'm not going to go down the electronic music route and really break things down - http://techno.org/electronic-music-guide/ )

Now I do throw around words like "casual" and "anything goes" - this doesn't mean that the elements of design, or any lighting goes, just that anything well done to a professional standard goes. The whole post is more about style and retouching than anything technical as far as cropping and other deconstructions.


Model Headshots...

Type 1 - The new model.

This is just to get you in the door for open castings and agency visits. So this is a pretty boring shot that just shows yourself off, and they are usually accompanied by a front and side shot of you in a bikini or something - the general stuff you need.

I do suggest that if you want to model to first talk to legit agencies to test the water before throwing money at portfolios and headshots.

Type 2 - Working Models.

So let's take a look at some links...

http://rednyc.com/ - Red model Management
http://www.clickmodel.com - Click
http://www.elitemodel.com/ - Elite

Now, after looking though those sites - and they were just off the top of my head, what can we take from them as far as headshots? There are all kinds of styles represented across the board, we have art images, highly retouched beauty, no so retouched filmlesq, and everything in between.

So what we can take away, as far as fashion, is anything goes as long as it's well done and represents the model well. Some agencies may want a more toned down image, but generally those standards of "anything pretty much goes" holds up anywhere. Although commercial models may want something a little more toned down, but still if we look at local agencies here in Minneapolis...

http://www.wehmann.com/
http://www.meredithagency.com/index2.html
http://www.mooretalent.com/

We see a wide variety of shots - not as out there as the nyc agencies, but nothing to put a thumb on to say "this is what a model headshot is."


Actor Headshots...

http://www.freshfacesagency.com
www.blocnyc.com
http://www.fftmodels.com/adults.html
http://www.headshot-photography.com/portfolio.htm

Again, like models, just about anything goes here. There are studio shots, outdoor shots, retouched, not so retouched, and so on. What is common between them is that there is a little more emotion than model headshots, and it's a little less formal - more casual in the approach, retouching, and expression.

As I mentioned before, anything goes doesn't mean chuck cropping and elements of design out the window, but professional pictures with a range of styles that doesn't have one predominate feature about them in common other than they are of a model and cropped as a headshot.

Professional Headshots...

I'm not going to really post any examples here since we've seen so many of them. They are all around us, on billboards, commercials, in stores, on promotional material, etc. The one thing they have in common is their goal is "I want to sell you something" or "would you buy insurance from me." They are meant to show that someone is a professional, easy to work with, and open to answer questions. Or in the case of some lawyers, that they are serious about what they do and can get results.

What you have to consider with these, is that sometimes they can be a second thought - and they can look like a second thought. So if you're a professional please pay attention to your pictures and make sure you get one that fits your business, that's well done, and that doesn't get people thinking "I can take pictures for you" - because if the general public is thinking that then they aren't thinking about buying your services.


The "real" difference between a headshot shooter here in the midwest and someone in NYC or LA.

I'm mostly serious here, but after talking with a few friends in other larger markets we came to the conclusion that the main difference is, wait for it, overhead and the market.

Think about that for a minute. The demand and competition is more for everyone in larger markets, which means that some of the passable shots that can get a working model/actor by here in Minneapolis may not cut it out in NYC. That doesn't mean that someone here can't take a good shot - we can - that doesn't mean there is any huge style difference - there isn't - it just means that there is more of demand and the market is more critical out there than here.

The other difference is overhead and rates charged. Someone out in NYC can charge $700-1400 for headshots because the market there both can support that amount and the cost of living demands that amount. So again, there really isn't a big difference in quality between someone there and here in the Midwest, just the cost of doing business. Granted there will be celebrity photographers who have a following and charge large amounts due to it, but that happens in any industry.

The difference between headshot photographers.

There aren't as many technical tips and tricks as there were with film. Everyone has the same programs, everyone is online, everyone has the same equipment and access to the same equipment. It all comes down to the individual photographers style, their technical skill, and how well received their pictures are in the market - this goes for any art, and headshots aren't any different.


Since this could be a hot button issue here is a disclaimer...

If you're a new model, actor, working model, working actor, professional, or anyone who needs headshots then I suggest you do some research in your market and see who is doing what and who can provide you with images that showcase yourself and that can be beneficial to you. The reason for this post isn't to lower the bar, but to knock down some myths about headshots and show that the main difference between them is a little bit of style and the photographers vision. I also don't get any work by the links I posted, they are just examples.

Happy New Year! 2010!

So I was fortunate enough to be in the company of some good friends over new years, and take part in what has to be one of the highest parties in the country and maybe the world - the 50th floor of the IDS building! We had a great time, got some great pics, and it was a awesome way to bring in the new year!




I'd like to thank my friends Travis Scott, Kristin Kaiser, Dj Spur, Scot Moore, and the rest of you up there! I'm both looking forward to doing that again, and to this next year - it should be a great time!

Running around in the dark - Christmas blizzard of 2009

So, as with last year, we had a late December blizzard here in Minneapolis - and Minnesota for that matter - and as with last year it was pretty much the real deal. For about 3 days driving was a lot of fun, flights in and out were a mess, it was cold, snowed, rained, snowed, and now we have ice all over the place.

Also like last year I tried to get out with my camera and document it a bit, with a few different places and trying a few different things. All of this was done with my RB67, Delta 400 film, and it was pushed to around and over iso1600.

That first picture posted was of the Gutherie Theater and Mill City. It was really dark at the time, still snowing a bit, and the film looks grainy since it was really pushed up to and past 1600, with a lot of added contrast in post. I think the exposure was around a second, f4, and yeah, it was really dark and snow/foggy.


This is our view towards downtown from Loring park. I meant to, and will someday, bring a longer lens to shoot it with, but it's a really cute park and fun view. Kind of like NYC's view from Central park, but much, much, much smaller.


Another view from the river front area of town, just some old grain elevators that are either being torn down, or converted into something or another. I think, after going back there, that this needs to be flipped horizontally, but that's my dirty little secret. Again, it was pretty foggy, a little snow in the air, and I needed to really push the film to get this.



An Alleyway downtown that I always like to shoot for fun. Again, snowy, foggy, but not as cold as a year ago.


A hotel downtown, which was decked out a bit in Christmas stuff, it's cute.



But yeah, that's my trip around town this year! More to come this winter!

Shooting fast - General rules to follow!

So, my first experience with time limits was when I got into band photography a few years back - actual bands, and not just messing around at the local bar. Before this event I took my time, made sure to get every shot I could, and generally didn't work with a urgency. After this event I learned that clients can, may, and do request that I have "3 songs" and done, and in that time I need to get everything I can, because when they say done, they mean done.

That said, this is also talked about in an interview with David Platon where he said he had about 10-15 min with Russian President Putin to take a portrait (granted all the gear was setup). Which, would give some hobbyists heart attacks, both on the count of the person, but also the time frame.

So for bands, it really is about 2-3 songs and you're done. After that the bands get sweaty, lighting changes, and for the most part they don't want anyone up there in the way for their whole set. Now, don't worry too much, since a lot can be done in that 10 min span, and good shots can happen.

Also, you run into the CEO who only has about 20 min to sit for the headshot, which although more time than a person needs, it also means that nothing can go wrong and everything has to be planned for. Or, when you're shooting some figure skaters and you literally only have 15 min of ice time to setup lights and do the shoot.
RULES OF SHOOTING FAST!

Learn to get yourself in the best positions, and take advantage of them!


I had no idea Wayne was going to do that, in fact I wasn't even a big Flaming Lips fan before that concert - but - after dodging all these balls and stuff in the air - I kept myself around the center of the stage and on him, shooting at moments he and other band members were doing something interesting.

Never give up!


That shot was the last one I took of MIA when she was here a few years back. It was literally the last shot I took before the stage managers said the time was up. Now, the never give up part comes into play because it's hard to get a good shot of someone with dark skin, white hair, under green lights, when they move around a lot... So, if you have only 15 min of time, use all of that, or at least go until you're very sure you got what you need.

Have the equipment for the job, and have backups!

Planning for the shoot is a must! You never know when something is going to break, or even more common, when something is going to be needed. It's better to plan and bring too much than go do it and wish you had something. This also includes for on location work talking to the clients and/or even going there before hand to make sure things can be done how everyone wants them - and that everyone is happy with the choice.

For example this company job I did a few months back, we were doing a portrait of the CEO in her office, and it had some off color walls. You better believe that I was up front in an assertive way that the background wall color was something they would be happy with - and even then I made sure to bring paper and a backdrop stand just in case. I also packed and used my battery pack, so I didn't have to worry about an outlet or something that wasn't accessable.

For band photography, although I don't use it that often, I make sure to bring my 50 1.4, since you never know when 1/60th iso3200 f2.8 isn't going to be enough. Going back to the MIA shot again - if I didn't have the 50 there was no way I was going to stop motion and get a decent shot.

Practice, practice, and practice!

If you don't feel confident to do any shoot (just the shoot, not setup) in 15-20 min, then it may not be time to take on that kind of work. I'm serious here, since you never know when something is going to come up, when this lighting style you had in mind wouldn't work, and when you really need to pull on experence to get the job done.

I'm not saying hunker down in your basement and don't come out for 10 years, but having an understanding of lighting, what to do if someone has glasses, or if what you planned wasn't working out.

Build a rapport with the person.


This was a shot of someone who, although knew we were doing pictures that day at his work, wasn't a model, and who needed to be comfortable in front of the camera. Now, this is something I'm not great at describing, but making a connection with the subjects is a must!

personally I tend to take the "I'm a professional" approach, and assure them that I know what I'm doing, I'm not worried, and I'm not stressing out, and that this is fun for me - then just joke around a bit while taking the pictures. It's easy to get someone out of their shell, to smile, and to get a good shot, you just need to do that and be comfortable doing that fast.

I think we did about 18 people in 2.5 hours that day, which was faster than the full day of shooting that was planned out.

Know when you got what you need!

This may go against the "never give up", but keep in mind the goal of the shoot and know when you attained it. That way you know both when to call a wrap, but also when it's time to calm down a bit and be more creative - since you know you have what is needed. In that series I talked about above, where we did 18 people in 2.5 hours, I only took 4-5 pictures of each person max, and once I got a good few shots then I knew it was time to move on, get them back to work, and get the next person in.

If you're shooting bands... NO FLASH!

That's right, learn to use no flash for live shows - since that's the way they are done. Flash is annoying, it gets in the way, and almost all live performers don't like it. So you're faced with 3 songs, no flash, and once the time is up you're done (period).

This just went from something that sounds fun to a really stressful night in a hurry!

Expect to do the job fast.

Finally, just treat every job like it's urgent and like the persons time is valuable. I'm not saying you need to rush things, or that you need to be frantic, just to keep track of time, and don't drag things on if you don't have to. That way you're ready for the "you have 2 songs" or "they have a meeting and need the office in 30 min" or "our ice time is up in 10 min".


For example, in this series - http://www.andrewthomasevans.com/photo/redlight.htm

She told me, after being late due to traffic and weather, that she only had about 30 min to shoot. Which was kind of alarming in a way since I never did shots with a red light like that before, so it was new to me, and this was the first I had heard of it. Anyway, to make a long story short, I was able to get what I wanted, learn about that process, and get some successful shots within that deadline, and she was able to get to her meeting in time.

I don't think I could have done that, my business headshots, skating shots, or even some of my outdoor work if it wasn't for that first "you have 3 songs" job.

So I hope this was helpful in getting you ready for that first call where they say "you only have 3 songs" or "you have 15 min to shoot this."

Beauty Dish vs Whatever - Fight to the Death!

So, the question always comes up, and the desire always comes up in photography - I want a beauty dish - or I want a 8 foot octabox, or I want ____ modifier! It's asked by experienced photographers, people who are new and learning, and everyone in between, and it's really a hard question sometimes because at the surface we think all the modifiers are really different - when in truth the differences are mostly folklore and stories.

Now, the target audience are those who are looking for a bit of info on how different modifiers work for headshots. I don't take credit for knowing everything, and all of this is just my opinon.

So let's start out with umbrellas, they are what we all start out with, and work well for the most part. You can go though all kinds of fashion magazines and see them used, and I'm sure you can find them in a few advertisements. They are basic, cheap, and they work.

So here is a shot with umbrellas.


Now, granted I did shoot this a little flat, but the shot is still dynamic, the shadows are still soft, and all in all it's a decent shot for what it is.

So that's an umbrella, and again they work great. The only downside is they catch the wind a lot outside, and the catchlights may or may not be desirable, not to mention that the spill can be a little much if you need tight control.

Now lets move on to softboxes, and I guess I'll throw in octaboxes as well since they are the same thing. Everyone ends up getting one or two of these and they are the natural progression from umbrella. They work great, and project a nice "window" of light on the subject. Also, they can be gridded to control the light - which in my opinon is one of the main selling points to them.

I have a few shots done with them, so you can see the differences from the umbrella one - and again these are just headshots.



Again, as with the umbrella, and at reasonable distances, they give nice even light, even shadows, and as with my work at the time the shots are a little even and less dynamic than I do now. However, the differences between the two modifiers are minimal, and at this point I don't see a reason to go out and buy a softbox over umbrellas - unless you needed grids to help direct the light, or needed a little more spill control.

Ahhh yes, the Beauty Dish! So this seems to be one of the holy grails photographers search for, and the end all be all of beauty lighting. There pretty much the same as umbrellas when it comes to spill, other than they can hang out in the wind a lot better outdoors than umbrellas - and for that they are what I use outside almost all of the time. You can also grid them to get some tight control over their light, which helps inside if you need that kind of control.

Here are a few shots with beauty dishes, and keep in mind they were a clamshell setup, and had a light behind them for fill. Now, I never said this was a scientific test, just showing examples of real world shots.


and...


Now, granted they are a little more dynamic than the others, the shadows are a little deeper - but that's really about it. Also, that difference could be more to do with how I light the first few examples rather than anything specific with the beauty dish... So it's more like going on a drive and having many different roads, all pretty much the same distance, that will get you to where you're going.

RingLights! This is the other quest that people seem to be on, and it's one of the lights that I don't have at the studio. They can be great for fill, they can also be cliche very easily, as well as they can be boring after a while.

This wasn't shot with a ringlight, but the effect you would get is about the same as far as it being even light coming directly from the lens.


So finally, two more examples...

I shot my friend in natural light one day when it was overcast and got this...


It's pretty similar to the first few examples I posted of softboxes and umbrellas, where I was going for even light and less shadows. Which helped me form the opinon that almost any lights will work for almost anything, and that half of the style is in the retouching in post. (retouching is another topic)

The last example is this, which was shot with a 8 foot octabox at my friends place in NYC.


It looks pretty close to the beautydish shots, the shadows are deep, the light is pretty even, but it's done with a huge softbox rather than a beauty dish or something normally associated with this style of light. So again, anything can be done with any light, it's just a matter of how you use it.

Things to look for when you're looking at pictures! The catchlights give things away, pay attention to them when you're reading all those magazines and looking at all these advertisements we have around us. They tell you a lot about how the shot was lit, what modifer was used, and how far away it was.

I may come back to this topic, but again for headshots it really depends on your style and what you're comfortable using and less on what type of light it is. It also depends on how you retouch, since that plays a vital role in your style and image.

Happy Birthday to me!

So last night was my bday happy hour, party, or whatever you want to call it. Kept things pretty low key, hitting up the Local downtown and meeting up with my good friend Loren Kollmar. Then off to the Saloon for some vanilla vodka tonics... After that was done it was a long cold walk home, and then a bike ride down to the Caterpillar Lounge for a beer and sushi.

All in all it was a lot of fun, saw some good friends, and again kept things pretty minimal for the most part - although getting up this morning was less than minimal, but I took the day off so it was all good!