(Click on photos to enlarge) There’s a belief in photography that the eye is drawn to the brightest part of an image. This assumption most likely is correct. In fact, photographers and other artists have long used dark and light areas in their work to direct the eyes of their viewers. Think of a picture - a photograph, drawing, or painting - where the edges are darker than the interior portion. That dark area acts as a frame, subtly telling the viewer where their eyes need to go, which is towards the interior where the subject is. So it might seem self-defeating to take a picture that includes bright and especially grossly overexposed areas that may distract the viewer from the photo’s main subject. But many photographers and artists do take pictures this way, including me. It’s something that's always appealed to me, though I’ve never been able to explain why. But that's unimportant. I think the bottom line is that bright and ultra-bright areas, though they may compete with the subject, can be dynamic in a photograph. It may be the sheer intensity of the light, independent of whatever the subject is, that helps capture and hold the viewer's attention. The subject is still there and still important. It’s just that now the whole image is more vibrant and exciting. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton T-shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available Unisex™ sizes are Small, Medium, Large, and X-Large. The shirts may also be purchased. There are times when a bright light has a more practical purpose in a photograph. That's when it provides the illumination for the image itself. Without that light, there'd be no picture. Of course, the actual light doesn’t have to be in the photo. But as I’ve mentioned, that super bright area can make the picture considerably more appealing. In addition, bright light can be used to hide an ugly or intrusive background. There were outdoor elements that I felt would hurt the photos below. Blowing out the backgrounds solved the problem. Bright light works well as a clean, white, nonintrusive background for the subject. As seen in the image below, that and the odd highlighting around each chair help define and separate each one. In addition, the overexposed areas add some diffusion that softens the picture a bit. I’ve seen many photographs where tunnels, corridors, passageways, and footpaths have ended in scary, mysterious, darkness. There seems to be a natural connection among those three qualities. It’s as if each one depends on the other two. However, replacing a dark area with a very bright one can often produce an equally scary and mysterious image. I think it’s the fact that whether an area is very dark or very bright, we just don’t know what awaits us there. But it’s interesting to consider how a grossly overexposed area can also connote heavenliness. It’s like people on the verge of death being pleasantly beckoned forward towards a bright light. (Click on photos to enlarge) When photographing a subject, veils and gauzy curtains can cover a multitude of sins such as messy hair, facial blemishes, bad lighting, lack of posing ability, and so on. And, depending on how they're used, these accessories can help make images appear mysterious or even ghoulish. I’ve never purchased actual veils for my subjects. Instead, I visit local craft supply stores for veil-type material, in various colors and patterns, with weaves ranging from coarse to fine. The pieces I purchase are large so there's enough material to cover the subject's head and upper torso. Also, I’ll iron or steam the cloth before the shoot to remove any wrinkles and creases. Here’s Anabel wearing veils prepared from three very different materials. Each veil was carefully arranged after being placed over her head and shoulders. It was positioned so no opaque portion of it covered anything I wanted visible. I also made sure the material was not doubling up, but rather laying flat as a single layer. With the materials being so different from each other, with the variety in her poses, and with the help of Photoshop, Anabel almost appears to be three different people. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton T-shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available Unisex™ sizes are Small, Medium, Large, and X-Large. The shirts may also be purchased. I had Elspeth sit on this window ledge, then covered her with the sheer curtain. I threw the lens a bit out-of-focus, thereby softening the picture. Tilting the camera meant Elspeth wouldn’t have to wait had I wanted to make the picture perfectly square. This would have meant me straightening the vertical and horizontal lines of the window panes in the viewfinder - something that would have taken too much time, causing me to possibly lose her barely visible but very sweet smile. Jaida appears to be struggling with an out-of-control veil, as if it's windy and she's trying to prevent it from blowing away. Actually, we were inside her house, and there was no air movement. Her convincing demeanor was the result of good acting! Linda is draped with a blanket instead of a veil. The covering serves the same purpose as a veil but evokes, perhaps, more humor than drama. The cigarette sticking out of her mouth adds some extra oddness to the picture. Makenzie’s eyes are completely covered by her veil, and bare branches hang above her. Together, these details infuse the photo with a sense of mystery. After not viewing the photograph for several months, I found two details I’d never seen before. First, the picture appears to be divided equally into two sections - the model and far background trees in one and the horizontal tree branch and sky in the other. Second, the very bottom tree branch lines up almost perfectly with the top of the tree line in the far background. (Click on photos to enlarge) I’m excited when my models (or anyone else on the set with us) make suggestions about clothing, hair, makeup, and the like. In addition, when an interesting posing idea is brought up, I’m very happy to try it. However, in the past, if it was something that did not seem to have a chance of working, I’d quickly discard the suggestion. I was convinced that I was the final authority on what poses would or would not work. I still react that way occasionally. But this belief obviously has limitations. Making a snap judgment means I’ve thought little about what was suggested to me. Instead, if I spend a few moments fully considering the idea, I’ll often find that it indeed does have merit. However, there are times when I'm absolutely convinced a posing suggestion will not be successful. But out of respect for the model, I'm willing to give their idea a chance. I'm happy to say that more often than not, we end up with some interesting images. The end of our photo shoot was drawing near. Lexi had been a great model, and I wanted to reward her by shooting a setup she’d been considering. So, after she posed herself, I took a few pictures. I hadn’t been crazy about the setup and was sure none of the photos would have any value for me. Boy, was I wrong! There’s so much I like about this particular image - the strong diagonal created by the tree branch, the angular bends of her arms and left leg, the contrast between her red dress and the green background, and her intense stare. I had asked Cynthia to sit. She did, but not the way I figured she would. I was about to ask her to move onto the seat, but decided not to. This was our first time working together, and I didn’t want her thinking I was the dictatorial type. So I took a few shots, assuming none would be very good. I changed my mind when viewing the pictures back in my office on a full-size monitor. One of the things I really like is the bend of the knees, with one slightly below the other, and how that matches the bottom of her dress, with one side being a little lower than the other. In addition, I love the soft shadow surrounding her legs and chair, produced by the ring light attached to my camera. I realized how charming it was that she'd decided to sit on the chair this way. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. A dance company had hired me to photograph its dancers. After finishing, I had the opportunity to pose them for some of my own stock photography. These two were excited to be photographed-especially the young woman. In the middle of me explaining the sort of setups I wanted, she grabbed the young man and began working out this pose. I didn't think I'd like it but, as before, I decided to try a few shots. I was surprised and very happy with how they turned out... especially this one. Here’s another setup I was positive would fizzle. This young couple and I had spent a few hours photographing at a city park. They had been a delight to work with but were itching to try a few setups of their own. After completing the shots I wanted, they led me to this merry-go-round. To the uninitiated, this old-fashioned device spins by having someone hold onto its railing while running. Once the ride gets moving, the runner jumps on. My role, of course, was to document the process. So, I hopped onto the device, and Kevin began spinning it while Ariana ran alongside. Though they were savvy enough to be aware of the camera and knew the importance of good expressions, I could tell they were genuinely excited and having a grand time. They never came completely aboard the spinning disk, but I was still getting some great images. It was also satisfying knowing I didn’t have to set up the shots, since I was now shooting documentary style - following and photographing what was directly in front of me. I was delighted with the results. (Click on photos to enlarge) When searching for other-than-human things to photograph, I’m not usually drawn to the same objects or scenes that others often find appealing. Rather, I’m more attracted to the ordinary - things other photographers might never consider shooting. What I love photographing is the nondescript, the unremarkable, the plain. Things lacking visual appeal. It’s with these sorts of subjects that I can apply my trade, which is trying to make the commonplace interesting. I do this by playing with subject positioning, camera placement, camera angle, focal length selection, depth-of-field, lighting, and, sometimes, prop placement. In addition, and as important, I’ll be thinking about what can be done during the editing process to improve and enhance the final image. I find this kind of photography far more appealing and challenging (in a good way) than merely recording the pretty things I come across. Let me address that last point for a moment. I’m certainly not criticizing photographers (amateurs or professionals) who enjoy shooting sunsets, architecture, or animals in the wild - the visually stunning that easily catches the eye. I understand the appeal. But for me, it’s being able to take something most people would consider not worth shooting and coming up, hopefully, with a quality photograph. I think many photographers don’t consider the possibilities of photographing the ordinary. They don’t realize the wonderful images that can result... something that certainly makes sense if they’ve never done this type of shooting before. For me, this type of photography involves two general steps:
After a while, I think the photographer will become more comfortable with this process - both with selecting the objects or scenes and using the camera and editing techniques to mold them into appealing photographs. Then, instead of avoiding the mundane, they’ll embrace it, knowing they can transform their subjects into wonderful images. It’s really a satisfying feeling - coming up with quality photographs that started with something very ordinary. Below are images created using the above steps. Realizing these street lights and crane could produce an engrossing photo, I searched for somewhere to stand where all the elements would be visible, with none being blocked by another. I was lucky that the poles, from my perspective, were all different heights, making them more interesting than if they had not been. Additionally, I was fortunate to have beautiful fluffy clouds as a backdrop. The lamps, which hadn't been turned on yet, were lit using Photoshop. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. It’s important to look straight up, from time to time, when out taking pictures. I was wandering through the Connecticut State Capitol, looking for my next photo possibility. Nothing was catching my interest until I looked up. After seeing this ceiling, I knew I had my shot. This was taken at the Connecticut State Library. The floor was made from some sort of translucent material. When I turned off the lights, the entire aisle became lit with this striking warm, soft, low-angle illumination from the floor below. In addition, I think the sea of booklets and the length of string binding each one is quite fascinating. I did not white balance the image, preferring the light's natural warm tone. I thought this bent, no-parking sign was intriguing. But, I felt something more was needed to add context to the sign. I realized these two buildings could be used for that. So, moving close to the sign and using a very wide-angle lens setting, I framed the shot to make the buildings appear to encompass the sign. Before walking into this coatroom, I had thought little about the kind of wonderful shadows a few ceiling spotlights (which I removed in Photoshop) and a bunch of empty hangers could create. It's the length of the shadows - and knowing the much smaller hangers produced them - combined with their random patterns on the wall that, for me, make this a dynamic image. As in the library shot above, I did not white balance the image, preferring the natural warm tones of the spotlights. (Click on photos to enlarge) Depth-of-field deals with how much of the area in front of and behind the object you focus on is also in (acceptable) focus. “Great” or “Deep” or “More” depth-of-field means that a large area in front of and behind the object you focus on is in acceptable focus. “Less” or “Shallow” depth-of-field means that very little area in front of and behind the object you focus on is in acceptable focus. Depth-of field is determined primarily by, but not only, the f-stop (aperture) setting. The smaller the opening (the larger the number), the greater the depth-of-field. The larger the opening (the smaller the number), the shallower the depth-of-field. Here are the major factors that determine depth-of-field: To produce a greater depth-of-field: Use an aperture (f-stop) with a small opening Use a wide-angle focal length (zoomed-out) Move farther away from the subject To produce a shallower depth-of-field: Use an aperture (f-stop) with a large opening Use a telephoto focal length (zoomed-in) Move closer to the subject The image below has a great depth-of-field. When first arriving to this location, I realized I wanted everything in the picture to be in focus - from extreme foreground to extreme background. With all the fascinating lines and angles created by the freeway section, I wanted every part of the picture to be sharp. The lens was set to 17mm at f13. This image has a shallow depth-of-field. What’s interesting, at least to my eye, is not being able to determine which section of barbed wire is in which plane. To me, the center three wires seem to be next to each other, with only the middle wire being in focus. In reality, the wire to the right of the in-focus wire is closer to the camera and the wire to the left of the in-focus wire is farther away. The lens was set to 135mm at f5.6. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. Here's what happens when the camera is placed very close to the object being photographed - in this case, a pen etched with lots of zeros. The depth-of-field becomes extremely shallow, almost nonexistent. Not only are most of the zeros and the pen out-of-focus, but they're mostly unrecognizable. The lens was set to 105mm at f5. The four pictures below are identical except that each was shot at a different aperture setting (listed under each image). Each picture was focused at the same point; the area between the numbers 81 and 82. The only difference among them is the depth-of-field. You can see the background becoming more out-of-focus as your eye moves from the top to the bottom photo. The lens was set to 80mm at f11. The lens was set to 80mm at f8. The lens was set to 80mm at f5.6. The lens was set to 80mm at f4.
(Click on photos to enlarge) As important as the model’s facial expressions are when posing for a photograph, what she does with her body is no less critical if it's going to be seen in the shot. Therefore, it's important she be comfortable coming up with appropriate and interesting body poses. I'm rarely looking for any pose that's too dramatic or intense, however. It's subtlety that usually works best (though not always, as seen in one or two of the photos below). Of course, it's also important that both her facial expression and body positioning complement each other. Coming up with good body poses is more of a team effort when the model is inexperienced and a non-actor. For example, I may request that she change her body pose from shot to shot, but she instead unknowingly repeats almost the same one each time. If that happens, I might hold up a portable mirror for feedback as she tries a variety of poses. Together, we can be sure each one is indeed different. I may also suggest a specific emotion ("joy", for example) that I want expressed through her body pose. If she's having difficulty doing this, I'll help her out, perhaps by giving specific directions for specific placement of her head, arms, legs, etc. This can take time, but good results are usually guaranteed. Occasionally, the model will create a body pose that's too extreme or too overwhelming for the shot I want. If this is an issue, I'll ask that she reduce its intensity. Let me note that it’s usually easier toning down a model’s pose than trying to intensify it. Many times, how her body is positioned is of minor importance in terms of the whole picture. This may be the case when things such as props or setting are more important. In fact, sometimes a more neutral pose can immensely benefit the photo by not taking anything away from what the picture is trying to depict. Gwyneth convinces us that what's really an empty attaché case is actually something quite heavy. That's emphasized by her pretending to support it on her chest and her wonderful grimace. Added together, she gives a very believable performance of someone acutely struggling. This photo speaks volumes of Dora’s emotions. I love the twists and turns of her body, especially the way she holds her left arm. Combined with the knock-knees supporting her arms, which in turn support her hanging head and hair, everything points to someone seriously unhappy. Several elements work together to create what could be a picture of a marginalized teenage girl. She looks shocked and confused. She’s relegated to the corner of a small, empty, stark room. The fact that she's shot from a high angle further diminishes her. But perhaps the most powerful element is how she’s scrunched up, clenching her arms, and squeezing her legs and feet together. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. This is a setup that many of my stock photo agencies request. So, if there’s a window at the shooting location with appropriate outdoor scenery and lighting, I’ll usually try a few shots. This image of Gretel, I think, is something special. Not only is her expression convincing, but I think her body positioning is perfect. I like her placement by the window, the tilt of her head, and her ponytail resting on her shoulder. In addition, the bit of hair falling over her face and the shadow under her eye, perhaps mimicking tears rolling down her cheek, make the photo even more interesting. This is what I find appealing about Miranda’s pose: Head and body slightly twisted in different directions. Slight tilt of the head. Hair covering most of one eye. Unusual positioning of her fingers. Door opened only enough to contain her. Intense expression. Toni is a fine performer. The drama she creates lying on the bed with one arm close to her and the other outstretched is, I think, quite amusing. The 28mm wide-angle lens being fairly close to her helps emphasize the left arm by elongating it. Ariana looks nervous but in control. She's poised for action if necessary - ready to fling off the blanket and jump out of bed. I wanted only a small amount of nudity. To that end, she strategically covered her breasts with her long hair. The gun was carefully positioned in front of the blank wall so as to be clearly seen.
(Click on photos to enlarge) Arms and hands can work beautifully as props. When properly positioned, their ability to add interest to a photograph rivals that of more traditional props. Some of the models I work with require very little guidance from me when it comes to intriguingly positioning their arms and hands. Whether by instinct, skill, or luck, they create wonderful poses almost completely on their own. Unfortunately, most require more direction-sometimes a substantial amount. However, I'm open to trying almost any pose the model comes up with. I've learned that what I don't like initially may actually look wonderful in the photograph. But it's important that my models refrain from any kind of posing that won’t work for my sort of photography. That means nothing relating to glamor or attempts to be realistic (pointing, gesturing as if talking, hand on the chin as if pondering, etc). Rather, I want “unposed” poses-something more natural. Or something offbeat. I demonstrate this by positioning my hands and arms in those ways. As an example, I might pretend I’m mulling over a problem by arranging my hands and arms into an oddball configuration, mimicking what happens when I’m not consciously thinking about them. I acknowledge the unnaturalness and awkwardness of these kinds of poses, and that they are precisely what I want. To me, this picture reads as someone who's surprised or in deep thought. I think having her hands positioned at different heights on her face makes the image more interesting than if, for example, one were on each cheek. Usually, when I ask a model to touch her face as part of a pose, she’ll place an open hand, fist, or finger against her cheek. In this instance, I love what Oliana did (totally her idea). Her fingers are lightly touching her face. They’re spread slightly apart, making each one visible. They’re relaxed. But it’s the curve of her fingers, from index to pinky, that I find most fascinating. And, for whatever reason, her expression and hand seem to complement each other perfectly. Judy’s task was to act scared, which I think she carried off very well. Her left hand adds to the effect. The way it and her fingers are bent show her tenseness. She’s almost clawing at her face. The hand positioning goes a long way to emphasize her feeling of being frightened. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. Randi’s checking the sky for her bird buddies before flapping her wings to join them. Not really, but it does look that way to me. Her background as a theater major helped inform her poses, which were quite varied and wonderfully odd. I consider this one the best. The bend and positioning of Ariana’s fingers are unusual. Using her last three fingers, without the first one, to pull the blinds downward is interesting. I’m not sure what Esther is doing, but it is theatrical and wonderful. Once in a while, I'll ask a model to hold her hands this way. As you can see, one hand is gripping the other hand’s finger. The pose is probably less common than the more usual hands-folded-together pose, which is why I like it. It’s not necessary that the hands and arms belong to the model. Anyone nearby can provide one or more appendages. I find disembodied limbs within the frame appealing. Laurette’s smirk! That, along with the tilt of her head and the grasping of her legs, seems to show total contentment. It’s fun wondering what the hand just inches above her is about to do (it belongs to her mother). Here they are again. I find the gentle and soothing grip Mom has on Laurette to be quite satisfying. I think this is some wonderful acting. Adeline seems absorbed in thought, oblivious to her arm being yanked by her mother. Adeline not acknowledging that fact helps make the image work.
(Click on photos to enlarge) For a photoshoot, I'm usually fine with what the model selects for clothing as long as no patterns, lines, or logos are present (unless they're something easily removable in Photoshop). Patterns and lines may draw the viewer's attention away from the model, while logos are usually copyrighted, possibly causing issues if the images are sold commercially. However, there are some clothes that especially interest me. I love almost anything that’s vintage or a vintage reproduction. I’m also partial to lacy and seriously feminine garments. Offbeat costumes are great too. I’m crazy about big gowns that seem to envelop the wearer. Perhaps most importantly, if the model's excited about a specific outfit, I'm usually happy with her wearing it for at least one setup. Astrid's fancy costume contrasts nicely with her mother's simple shirt. Then there are white clothes and black clothes. I think white clothing can sometimes create an ethereal feeling, while something black can produce a mystical or sensual vibe, depending on the context. While I love their extreme tones, lighting them may be tricky. I don’t want to blow out the whites or block-up the blacks. However, since even fairly extreme tones can be easily modified in Photoshop, this is rarely an issue. A warning - black or very dark clothing can highlight unpleasant things such as hair, dust, or other crud. It’s not always apparent to the naked eye, but can be painfully obvious when opening the image in Photoshop. When a model is wearing something dark, I keep a clothes brush nearby, trying to remember that it needs to be used regularly. No matter what she's wearing, however, I request that her tops and dresses have long sleeves. This is for three reasons: Long sleeves don’t suggest any specific season which, if it did, could limit how the image might be used; they add a slimming look to the arms; they cover things I don’t want visible such as scars, cuts, and tattoos. In addition, I’ll request that nothing elastic be worn, especially on the sleeves, since cinch marks may appear where the elastic contacts the skin. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. I wanted to show a woman having just arrived home after an exhausting day at work. I liked the idea of her being too tired to even remove her coat. I don’t want the model feeling physically confined by her clothes. This can happen with tight garments that restrict movements or short clothing, such as skimpy tops and skirts, that may inadvertently show her underwear or body parts she’d rather keep private. If this is a constant concern for her, it will negatively affect her posing. For getting the great shots, it's critical she wear clothing that will allow for free movement and keep the body parts she wants covered, covered. I had just told Emmy that she looked like a giant pink cupcake. The effect of certain undergarments can have a huge effect on an image. For example: Bras - Visible bra straps, for certain photos, may work well. They can add an interesting design element to the image if they complement the rest of the outfit. An example would be an exposed bra strap with clothing that’s generally disheveled. However, there are situations where a visible bra strap may look sloppy and ruin the look of an outfit - for example, when one sneaks out from under a strap on a formal dress. If there’s a chance one or both might become visible in an untidy way, a strapless bra is a must. Pantyhose - Hose is wonderful for covering cuts and bruises, and to smooth out the legs. Having the model wear a pair often saves me significant Photoshop time. On the other hand, certain types produce a distracting sheen, making the legs look unnaturally shiny. In addition, I've found that many models hate the feel of pantyhose. So, I let them decide whether or not they'll wear a pair. Sliming Underwear - I'd never suggest to a model that she wear this type of underwear, but having some on under her clothes does create a nice slimming effect on the body. If I photograph at the model’s house or apartment, I’ll usually select clothing by going through her closet and bureau (with her permission, of course), pulling outfits and setting them aside. Other than previously mentioned, I’m not looking for anything specific, just whatever catches my eye. Determining which clothes will work depends on where the shot will take place, the props, the lighting, the concept, and, most importantly, whether or not she wants to wear what I've selected. Along with the patterned shower curtain, her dress adds some flavor to an otherwise boring location. With girls and teens, I want their clothing to be age appropriate, according to my standards. I want nothing that may be suggestive. At times, I’m the one who must tone down what they want to wear. On the other hand, according to more than one mother, what I may find inappropriate actually is what “all the girls her age are wearing these days”. Accessories can be important for almost any outfit. Her look can be improved significantly with the right adornment. I’ll often ask to see the model’s hats, shawls, veils, scarves, and anything else she thinks might work well with what she's wearing. In addition, I’ll bring a variety of props that can be used as accessories. I rarely mention anything about shoes to the model. Unless I want to feature them in a picture, they’re not really important to me. If she asks, and especially if there’s a pair she’d like to wear, I’m happy to show them off in a few shots. I wanted Jannie to wear something earth tonish - to pretty much match her skin - to set her apart from the failed math test she's holding. The three pictures below show Kira wearing a few of the wonderful outfits she and her mother brought to our photo shoot, which was at a rented studio. I always ask the model to bring a variety of clothing and accessories if we’re shooting away from her house or apartment. They don't always do that, however. But Kira and her mother brought several beautiful and distinctive items to wear, allowing for a variety of shooting possibilities. Ariana, below, always brings great clothes and accessories to our photo shoots. In this shot, I love the contrast between her very feminine dress and stockings and her boyfriend's tough-guy leather jacket. Also, I think the addition of the little girl’s doll being held haphazardly adds an interesting element to the setup. And now for hoodies. Boy, do I love hoodies! I carry a few shirts-with-hoodies in my prop bag. It’s perfect for quickly changing the entire look of the model. This is especially true if it fits loosely, since it can cover and therefore hide whatever she’s wearing without having to first remove the clothing. To me, and maybe to the model, wearing a hoodie can provoke an air of mystery and disquiet, feelings I often want displayed in her poses. It’s interesting seeing what the model does with the hoodie once it's on her body. For that reason, I’ll wait before making any posing suggestions. I'll watch carefully as she puts it on and adjusts it - ready to bark out a request to hold her position so I can take a picture. Finally, it’s fascinating how the model quickly realizes the prop potential of the hoodie’s drawstring. Many times she'll grab each end and begin playing with them, using both as posing aids that will often add more interest to the shot. Having the drawstring gives her more confidence, I believe, since she now has something to do with her hands. (Click on photos to enlarge) (Each pair of images shows "before editing" and "after editing") As a professional photographer, I’ve created hundreds of portraits for commercial, corporate, editorial, and magazine clients. However, it’s the magazines – mostly the business ones – that often are most open to unusual and offbeat images… the type I like to shoot. A typical assignment from them is to create an “environmental portrait” of the person being featured in a particular magazine article. My definition of an environmental portrait is a picture where the background and foreground are just as important (or maybe even more important) than the subject. Whatever is needed to create an arresting portrait is fair game. Making the subject look attractive is not the photographer’s main intent. Instead, the goal is to create a truly inventive and compelling photograph where the subject, though certainly important, is just one element of the final product. The magazine requests this sort of portrait because it wants something to make readers pause and actually read the article the picture accompanies. The job of the photographer, therefore, is to take often ordinary faces and locations and transform them into something wonderful. For many years, I shot these portraits using a medium-format film camera (it produces 2¼” x 2¼” images, a size considerably larger than the standard 35mm film format). I primarily shot transparency film, which is made from the same material used for 35mm slides, but larger and without plastic or cardboard frames to encase it. The photo shoots usually took place where the subject worked. My assistant and I would arrive with bags of strobes, light stands, and supporting equipment. After finding a shooting location, we’d often spend up to four hours composing the shot and precisely lighting the location and the area where the subject was going to be placed, taking test Polaroids along the way to check our progress. When finished, we’d call in our subject and spend thirty to sixty minutes taking pictures. When done, we’d bag up our equipment, drop the exposed film at a photo lab to be processed, and head home. Since we were using transparency film, that was the end of our work. Retouching to enhance or improve the images required the services of a professional photo retoucher and, due to their high fees, was rarely an option. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. During the photo shoot, we’d use from one to six strobes (flash units). Providing enough illumination for a proper exposure was certainly one of our goals. But just as important was creating lighting that was dynamic and interesting. For almost any portrait, I think it’s the lighting that ultimately determines how successful it is. The lighting process was the primary reason for the lengthy setup time. We’d experiment with various strobe placements, strobe heights, and strobe intensities. In addition, we’d try out all manner of light modifiers on the strobes. It was an arduous task, but one that allowed me to begin the photo shoot with a well thought out lighting design. There was another issue as well. The lights usually were aimed at very specific areas of the subject, foreground, and background. The subject moving around even slightly could throw off the entire lighting scheme. This meant that he/she was pretty much locked into that one position. Changing it required repositioning the lights at least somewhat. My shooting methods changed considerably after moving from film to digital, and especially when editing programs such as Photoshop became available. The lighting that took so long to set up using up to six strobes can now be done much faster in postproduction – and with almost unlimited possibilities! Further, since it’s postproduction, I can spend all the time I want experimenting with various lighting arrangements without inconveniencing the subject. So now, for an indoor portrait shoot, I’ll quickly set up two or three strobes and simply bounce their beams off bright colored walls and ceilings. When shooting outdoors, I'll use the ambient light while sometimes adding additional illumination with a portable strobe or handheld reflector. Whether shooting indoors or outdoors, I usually end up with soft and even lighting on the subject. It’s often flat and uninteresting, but allows for a greater area of coverage. This means the subject has a larger area to move around in while still remaining well lit. It’s then in postproduction that the images can be edited and relit to my heart’s content. The added benefit is that specific shot setups and modifications during the photo shoot are much faster now. We can do many more setups in the same amount of time it took to do a single setup using my half-dozen strobes. This new shooting method also led me to stock photography. A stock photographer shoots a variety of images and then sends them to their stock photo agencies for display on their web sites. When magazines, businesses, ad agencies, textbook companies, etc. need photos, they often will purchase existing images from one of these stock photo agencies, thereby saving the expense of having to hire a photographer to shoot new images. When the stock photo agency sells a picture, the payment for that sale is shared between the photographer and the stock photo agency. Most of my portrait work these days is done for my stock photo agencies. I love doing this because no photo editor is telling me what to shoot, how to shoot it, and how to edit the results. Every part of the photography process is now almost completely under my control (“almost” meaning that my stock photo agencies have some minor shooting parameters I must follow). I’m also having fun working with an assortment of models – the subjects for my portraits. Most are not professionals, but rather friends, students, and others who answer modeling ads I post online. With my updated way of working, I can set up and shoot quickly. Over the three or four hours we’ll spend together on a photo shoot, I’ll often finish with up to fifty different shot set-ups and a few hundred pictures. Of course, it’s then hours and hours I'll be spending in post-production!! Under PORTFOLIOS on my website are three portfolios showing some of my stock portrait images. They are entitled: COLOR ADDED, PAIRS OF FOLK, and ON THE BED. These titles, hopefully, are self-explanatory. The photos above also are stock images. (Click on photos to enlarge) Finding a wall that a model can use for posing is rarely a problem. Indoors or out, there’s usually one nearby. I’ll sometimes ask that she lean her back or side against it. Doing so can be quite liberating for actors or models. Because it’s a physical support, the wall can offer more freedom for someone trying to work out a pose. She’s able to avoid the awkwardness that people often feel when standing by themselves, unsupported. What I find useful too, on occasion, is having the model lean head or chest first against a wall. The results are akin to the above, but since it’s her head or chest that’s now touching the wall, the dynamic is different. It’s probably not something she does regularly, so this novel position can make the experience more interesting and liberating for her, leading to some engaging images. The three photos above show two models with their heads either against or very close to a wall. The first image shows Jaida staring at the wall intently, as if in deep thought. The following two pictures show Ginny and Jaida with their heads solidly touching the wall. To me, it almost seems the wall's blocking them from moving forward, both physically and mentally, making them appear rather depressed. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. Another variation is having the model touch the wall with both hands, as in the two photos above. Again, this physical support allows for a wide variety of bodily contortions. The appeal of these specific poses for me are the odd angle of the young woman’s head (as well as the hair-covered face) in the top picture and the apparent climbing effort of the girl in the bottom picture. In the above two pictures, it appears the teenage girl is trying to retreat into the wall from a couple of uncomfortable situations. It's as if she hopes it will magically open and whisk her someplace far away.
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January 2025
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