Full disclosure… Ken and I have been friends for about 25 years or so. We have traveled the back roads of the Sierras together and solved the ills of the world over about a hundred lunches. It is fun to present this interview with him for you all.

We met and chatted over lunch at a tiny little restaurant within walking distance of Ken’s studio. The studio, by the way, is located in the very first studio in Arizona, and was a full TV Broadcast studio for decades. From “Wallace and Ladmo” to Ronald Reagan, the studio has seen its share of celebrities, actors and politicians. Today those same floors and walls house Ken’s working commercial studio.

I just finished working on Ken’s new website, and we launched it this week. Ken takes a minimalist approach to many things, as do I, so the site is very open, clean and easy to navigate. Here is a screen shot.

I brought along my trusty iPhone and did a few clicks, and Ken sent some images from his portfolio to share.

Ken in front of his World Class studio in Phoenix, Arizona

Ken has been shooting a wide variety of work ever since I met him. From landscapes to interiors, food to people, Ken shoots it all. His style also lends itself to a wide variety of applications.

Ken at work in his office which overlooks the studio from the second story.

Ken shoots just about every format camera there is. “I haven’t pulled the Hasselblad out in a few years,” he said with a smile. But I know he will soon. Ken is itching to do something new and different. He is looking for a challenge, a project to spend some time with. I am looking forward to seeing what he comes up with.

Ken's Studio features a totally tech ready conference room

Recently Ken was invited to submit a print portfolio for a review process. He put together 10 images that showed his style and the breadth of his work. “It was a bit scary at first. I only chose 10 images, made large prints and put them into a very simple presentation box. I kept thinking that I should show more, second guessing myself on the decision to show only 10 pieces.” He smiles when he tells me “it actually worked in my favor. The reviewers had more time to remember each image. I was surprised at how well it was received.”

Ken's new portfolio is garnering a lot of attention in the regional market

The studio is quite an old structure and has been everything from a TV studio, to offices and at one time held about a dozen radio stations. There are places in the building that don’t really make sense now, but he has had fun hanging art and shooting in some of the passageways.

Ken in the hallway that runs around the top floor of the studio. This is one of Ken's favorite spots.

The studio is a huge room with a 2.5 story ceiling. There are still lighting instruments left on the railings above, and they give the space an amazingly fun feeling. The end of the studio has a second story walkway where clients and guests can stand and look down at the shoot in progress on the studio floor below.

The fantastic studio at First Studios, in Phoenix, Arizona, and it is where Ken Easley works his magic with a camera

Lunch at Matt’s Big Breakfast was simply a great time. If you are in the area, you should drop in.

Our Lunch at Matt's Big Breakfast Diner

If you are considering a workshop, please take a look at the Lighting Essentials Workshop Site at Learn to Light. Now on to the LE Interview with Ken Easley.

1. How long have you been in business? Was it a slow transition or did you just open shop?

For whatever reasons, I never felt I had the “chops” to work in photography until I had my degree. A month after graduation with a BFA in Photography in 1980, I was a full time assistant in a commercial studio. Been making my living doing nothing but photography since. 2 years assisting, 4 years as an in house corporate photographer, then my own studio.

2. How did you get started? Any mentors or great stories here?

My first job was with Rick Gayle. He really opened my eyes to commercial photography. I saw first hand the level of commitment it would take to make it, and he also helped me realize that I could satisfy my creative drive in a commercial photography setting.

I’ve been interested in photography since I was 10 or 11. My first camera was a brownie starflash, a gift from my aunt. My strongest memories are trying to shoot frogs and waterbugs in Oak Creek Canyon. And my Dad complaining about how much film I was using and how expensive it would be to get it all processed. The next year I got an “Ansco Developing Kit”.

3. Describe an average week at your studio.

This has really changed over the years. I have gone from doing lots of small jobs, shooting almost every day, for years on end, to having several days between shoots. The crowd sourcing of digital images has made the small product illustration, for several hundred dollars or more, a thing of the past. Fortunately, somewhat by design, my average shoot is now much more extensive, more expensive and more profitable. Factor in the preproduction time and post production time expected on each shoot and I work just as many hours in a week. But, I’m doing fewer invoices.

4. Why Phoenix? Have you considered anywhere else?

Born here. I guess I just got used to it. No snow, no earthquakes, no hurricanes, no tornadoes, just the heat which I really don’t mind. My work has taken me all over the US. Personal travel even more. I’ve been to many places I love. Briefly considered lots of them, but no matter where I go, it just feels good to come home. I do love to travel though. I figured long ago that if my goal was to be a really big name in the biz, it pretty much had to be NY or Hollywood. Yes it’s possible from other places, but much harder, almost a fluke. I made a conscious decision to stay local and try to work with companies that could send me out of town, rather than try to build relationships long distance. Now with the internet firmly taken hold, it matters less where you are from.

5. What motivates you, or gets you going? What do you use for inspiration?

Mostly other artists. Sometimes photographers, sometimes painters or sculptors. Anything that is visually new or interesting. That’s part of the appeal of travel. Seeing new sites (oh, and food.)

6. What is it you like the most about being a photographer? Do you do anything else for a hobby or avocation?

Paraphrasing the cliche, “a bad day as a photographer is better than a good day at almost anything else.” I’ve mentioned this as a generality in conversation but it did actually happen to me. After a really bad day in the studio, nothing went right, not feeling well, etc., even left to go home early. Within a couple blocks of leaving the studio I passed a crew of street repair guys. It’s 110 degrees, they are working with hot smelly asphalt and shovels. My day was not so bad.

I am a serious amateur woodworker. I like to think I’m an artist in that area too.While I do make practical things, including furniture for the house, etc. I really like woodturning. After working with art directors, meeting deadlines, running a business, it is very therapeutic to take what would most likely be a piece of firewood, and make a great big pile of wood shavings. If I happen to get a cool little bowl or vase or something out of it so much the better.

7. Are there any downsides to being a commercial photographer that you would like to change? How would you change them?

So many rambling thoughts on this. I have often thought that photographers should be licensed like doctors, or even plumbers and hair stylists. Make it illegal for someone to photograph a real job just because they have a 6 megapixel camera. I know it wouldn’t work and probably shouldn’t, but can’t help thinking about it sometimes. The fact is, I’m really not interested in the photo assignments someone would trust to an unknown. I’d rather work with creative dedicated people who care about the end result. They see me as a part of the solution, not an afterthought. The change will ultimately be determined by the marketplace. Like anything else, some people will only want their company or brand to be associated with the best, or at least convey the idea that there is nothing better, while others will be satisfied with the cheapest solution to showing the customer the goods. The buyers will have to decide where along that scale they want to be. Individual photographers will have to decide where they will draw the line for their own work, I hope to stay much closer to the best.

8. What was your most memorable assignment?

It’s been a while now, but I spent two weeks in Alaska, shooting for the National Park Concessioner at Denali. We really got special treatment, did some great work, and saw things that blew my mind. Denali, (Mount McKinley) on summer solstice with not a cloud in the sky. Standing next to a beaver dam and looking over at a water level just below my eye level, being held back by some sticks and twigs, amazing.

9. Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”

Every assignment has a little of this. I’ve never been a photojournalist, although that is part of what got me interested in photography as a kid. Nothing as harrowing as those guys see regularly. However, I did see my life flash before my eyes while shooting for a river rafting company on the Grand Canyon. I was way out on the nose of the raft while going through a rapid, Crystal Falls, and a guide who was holding my feet let go (to keep himself from going over) and I cartwheeled off the front, camera in my right hand and a rope wrapped around my left hand. I came up underneath and face against the bottom of the raft, and was more or less pinned there for what seemed like several minutes. Eventually I worked my way out from under and got my head above water a few yards downstream from the rapids. A couple shots of brandy and I was fine. It was a truly great trip.

10. What would be your ideal assignment?

I like shooting way too many things. I guess a corporate job for a large multinational, where “corporate photographer” was on the same level as say, CFO, or CIO. Where I could determine what was next up to document, advertise or illustrate, and how. The company should be in several countries, have several subsidiaries in varying lines of business, and it would be nice if they were doing something good for the planet as well, perhaps they would have a large charitable arm or foundation. Of course all expenses would be covered, and I would have access to any equipment I wanted. I would never have to send an invoice or negotiate an assignment. fee, yet had a very respectable income.

11. Future plans for (your name) and his/her photography?

I’ll be happy just to stay on top of technology and trends for my commercial work. I think I do a pretty good job of that but it takes a determined effort. Perhaps, like thousands of other photographers, try to do a little more fine art, and maybe even teach a little.

12. Tell us a little about your new work…

Personal work is always a struggle. If you are an ice cream taster for a living, you might not want ice cream on the weekends. That does not mean you don’t love ice cream. Ongoing projects include simple studio floral/botanical shots. When I can, a series with the working title “modern ruins” that documents abandoned architecture. And a few other ideas that have been rumbling around in my mind for quite some time. Commercially, I will continue to strive for the interesting and challenging work. I’ve always done some video production, starting in 1990 or 91, and will look for opportunities for pushing that a little.

13. Oh, and what is on the music box right now at your studio?
(yes, it was supposed to be 12, but what the heck…)

Right now my iTunes is playing “The Crusaders.” My taste in music is fairly eclectic. From Green Day to Billie Holiday. Last album into the collection was Tomo Fujita – Jazz/Rock/Blues electric guitar instrumental (iTunes says his genre is blues.)

Thanks Ken.
You can visit Ken’s Site Here. And drop him an email if you are wanting to take a look at the book.

Thanks for visiting the site, folks. You can follow me on Twitter if you are twitterly inclined. Workshop information is here, and my website is here.

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Hey… it’s been a while. Sorry ’bout that. I have been traveling so dang much that it has been a little hard to get to the site… but I have really got a lot of stuff ready to go.

The last few weeks included Boise, Toronto and this weekend it is Pittsburgh. If you are ready to get your lighting up a notch or two, we will have our schedule for next year ready for signup on December 1. I am taking most of December off to work on the book and DVD. We should have some great stuff for next year. I am revamping the workshop to include more demos/handouts/video and some other cool things to be announced.

Toronto was a blast… a real blast! We had some incredible light on Saturday, and some – uh – fog on Sunday. No matter… the thing rocked. Shooting in Adam Belnap’s beautiful studio (more coming on that) and the cool area all around it.

I got to see some of the beautiful Canadian countryside on the way back (getting lost facilitated a trip through the back roads of Ontario… lucky I had time). It was beautiful and cold.

I got to the airport in Buffalo and found this email from one of my attendees…

“I wanted to let you know how much I enjoyed your workshop. I am in tears right now and that is not an exaggerating. I have been struggling for awhile (for a long time) with figuring out a career path for myself. I have always had a passion for photography, but was always unsure if I could do it. I got home last night and was anxious to look at my photos that I took from Sunday’s session, but had to force myself to sleep. (I can’t lie I was exhausted, but a good exhaustion.)

This morning I woke up got the kids off to school, and sat down to look at my pictures. There were some not so good pictures, some really good images, and some photographs that I never thought I could’ve taken in a million years! They literally took my breath away. If it weren’t for you putting on this workshop, and making it affordable to someone like myself, I would still be sitting here today, wondering if I could do it. I now know I can do it, and more importantly I want to do it so bad I can taste it. Thank you a million times over.”

I love this. I really do. You are welcome!

Some recent posts from around the net:

A Photo Editor had this interesting post on “Perception”.
Heather Morton: “A Year in the Life” project.
David Hobby has a few beers with Vermeer… heh.
David Eustace and his daughter take a trip.. and the result is stunning.
My friend Chris Valites got a nice post on Conscientious.
Liz Cockrum knocks us out with an amazing set of portraits.

IMPORTANT NEWS! Selina Maitreya’s incredible, wonderful, informative and entertaining audio series is now available to the readers of this site for half off. That’s right! 50% off her regular price. Simply visit her site and order the audio. When you get to the purchase page, put in the code FOSLE and you will get $100 off the price at checkout. This audio package will change how you think about your work and working in this great business.

Let’s go on now and check out these amazing 33 images from the Flickr LE Pool.

From the amazing Lighting Essentials Flickr Pool. And remember that you should click on the images you like and visit the photographers. Leave a comment or two… they love it

Thanks for taking a look and be sure to click on the images to see more work by these wonderful photographers. If you liked it, be sure to Tweet it or share… see upper right of each page for a series of sharing tools.

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Daron Shade presents a really well written article about ‘Breaking Out’ and Breaking In to the world of commercial photography. Another of our “Going Pro” series. I hope you enjoy them.

Today finds me in Boise, Idaho. The day after a fantastic workshop weekend here. Small groups mean a lot of interaction and that is what I like. I keep the workshops small specifically for that reason. I get to know each of the attendees and get to know their level and goals for lighting.

Next weekend is Halloween. Great time for getting great portraits of caped crusaders and princesses. Have fun with it!

A few posts from around the net:
Heather Morton on the found images of Vivian Meirs.
Andrew Hetherington on and editorial shoot for Details Magazine… subject, the band ‘Creed.’
20 Photoshop Tips for Workflow. Pretty good stuff.
And here are 50 Photographers Portfolios for you to peruse. Still kinda perplexed by the totally flash web site meme, but “you can lead a horse to water… blah blah.”
A reminder that we have some photographers portfolio sites built on WordPress at a great price. You can customize and totally build a great online presence, with a built-in blog as well. Take a look at our designs here.
And be sure that you hit the Archives tab for a list of older articles you may have missed.

Next up for the workshops is Vegas, Pittsburgh, Toronto (full) and Florida (full). Lots of traveling this fall. December will be the finalization on a new project I have been working on and then we are off to a winter vacation.

Back at the workshops next year. Now here is where you come in. If you have a town that you think would support a workshop, let me know. We need 8 photographers (no more than 10) and a place to shoot.

Breaking Out
by Daron Shade

As I was in the planning stages for this article, I really wanted to dive into Search Engine Optimization and web presence – but quickly realized that I was again making the same mistake that keeps most photographers from success. I was going to put marketing before defining the business. There’s a sea of good photographers that all want to be successful working pros. We need to understand what sets us apart from other photographers before we can begin to design our web presence or any cohesive marketing message. Most importantly, as commercial artists, we must understand that our creative process is partially driven by our art buyers and partially driven by our own unique inspiration. We shouldn’t be creating portfolio images that we ourselves don’t find compelling, nor should we be completely self-indulgent.

At one point in my career, I tried to cast a broad net – believing that in a small market, a generalist without a signature style would get more work than someone who is known for a specific look. My portfolio devolved into a mishmash of images that didn’t speak to me or the buyer. Somehow, I overlooked two simple facts: Small-town buyers have access to the same media that the big cities do, and that my clients hire me for my style, not some sterile image that looks like it was downloaded microstock. Small-town clients see the latest marketing trends and have a good handle on great images. Just because they’re here doesn’t mean that they won’t appreciate the same level of presentation as a big city agency.

From these mistakes, I have learned that the most important part of portfolio presentation is capturing the interest and imagination of the buyer. Here’s the benefit of being in a small market – if you knock their socks off, they will remember you. As we will discuss in the coming months, you’re going to have a website with hundreds of images that will show them that you can do anything. First, you have to get them excited enough about your work to go to your website. That’s where a top-tier portfolio open the door. They will think of you when they have an important job – even if it doesn’t fall in line exactly with what you have presented to them in the portfolio.

Image selection is paramount to creating a compelling portfolio. Just because we like an image doesn’t mean it should go into our book. This can be tough for many of us because of the emotional investment in our work – but remember that just because an image isn’t in your portfolio doesn’t mean that nobody will ever see it. In fact, some of the most popular images on my own website have never seen the inside of my printed portfolio.

A great exercise to follow is to create a folder of about 20 of your favorite images and start looking for consistencies among these images. Are they peak action, “moment in time” images, display a mastery of existing light, intimate family moments, mixed lighting, etc. etc. – we as photographers must learn our own strengths and style before we can hope for success. Within this group of images, you will certainly see patterns of images that have consistent elements such as subject matter, lighting, color palette, emotion, composition, and more. You should be able to recognize these and begin to understand your own style. It sounds simple, but it is really tough to back off and see our own creative product objectively.

For years, I would ask another working photographer to review my book and provide feedback. This provided mixed results at best and was akin to allowing the inmates to run the asylum. As a photographer, we need to search within ourselves to find what motivates us and what we embrace most about our jobs. Once we do this, we can find the road to being commercially marketable by carefully following what the art buyer wants.

From the 20 images selected above, it’s likely that only 4 or 5 have a consistent theme that is worthy of building a portfolio around. Guess what? It’s time to start planning images that are built around this concept. Here’s where my advice may differ from most other photographers – It seems most say “shoot, shoot, and shoot some more” – I tend to disagree with this philosophy. I support “conceive, plan, and then shoot” – If you’re building your career, you are much better served planning images for your portfolio rather than shooting every waking moment then trying to edit down to a few great images. This may be my film background dictating my style, but I think most of us would be better served by carrying an idea book with us and sketching concepts rather than walking around camera-in-hand and hoping something presents itself. Of course, this advice is assuming you’re already got the nuts and bolts of your gear covered and can create most anything you can visualize – if you can’t, you’re not ready to start charging for your work. The idea is to create a presentation that shows a broad spectrum of your work, but tied by that common thread that you have found for yourself in your own work.

Once I’m reasonably satisfied with the portfolio but need some direction, I solicit people I know for input – but I do it carefully. Our friends and relatives may be afraid to tell us the truth, so I try to make it easy for them. With questions like “I need to remove an image from this book, which one should I take out?” followed by “why” – if multiple people are pointing to the same images for the same reasons, I’m probably best taking that image out of my book. Photo sharing websites and forums are definitely not a place to decide the contents of your portfolio. Great for a pat on the back or having your images torn apart by people with dubious credentials, but certainly not a place to hinge your career.

Once you have a dozen or more images that follow a consistent theme and are exemplary of your work, it is time to consider shopping it to buyers or running it by a portfolio consultant. Presentation to buyers is another wonderful aspect of being in a small market. You will often be present while your portfolio is being reviewed. Watch the eyes and involuntary expressions to determine which images are the ones that grab their attention. It’s bad form to ask for detailed critique, so it’s critical that you ‘read’ the review properly so you can update your portfolio in the right direction. A professional portfolio consultant is an excellent way to cut to the chase and get a seasoned veteran’s honest opinion of your work, and I especially recommend hiring a consultant if you can have face-to-face time with them. Again, an unfiltered first impression is the key to understanding your book and updating it with the right images.

Over the next few months, we will get in to much more detail than this high-level overview of the process of defining your style and building your book. Hit me in the comments section with questions and feedback – or email me directly, daron@daronshade.com – your feedback will help determine what we discuss next month, so let me know what’s on your mind.

Before our next article, sign up for Google Analytics (www.google.com/analytics). It is free and a great tool for monitoring your site’s traffic. You will need this as you market your business and quantify what efforts are bringing you traffic and more importantly which ones are bringing you valuable leads.

I’m including a Google Analytics screenshot that includes my website’s visitors over the last year. I want to illustrate a growth trend more than just number of visitors. My site has grown from 200 visitors per month in October 2008 to 1750 in September 2009. That’s an 850% growth over the last year. I am looking forward to sharing how I was able to accomplish this.

Thanks Daron. If you enjoyed this article, please let your friends know through Twitter or any of the social media sites you can find listed at the top right of this post. Visit Daron’s site here.

See you next time.

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Briana Shaker adds a new article on having fun and getting the job done. It is good reading for photographers and models alike. More after the jump as they say.

I want to take a few minutes and let everyone know how much I appreciate the great emails and comments you are all making on the site. And to my workshop attendees, I can only tell you how amazingly humble it makes me feel that you come to the workshops. I work hard to make them pretty special. And the feedback seems to indicate that you feel the same way. Thank you.

I am preparing next years schedule and want to get that up as soon as possible. This week for sure… (yeah… we’ll see – ed) but know that I am on it.

We still have openings for Boston (1), Pittsburgh (2), Vegas (4) and Boise (2). The Toronto and Florida workshops are full at this time. Woohoo! If you are thinking about getting toned up for the holidays, come on down and join our merry band of talented photographers.

I want to link to a few articles that I have been excited about on other blogs.

A Photo Editor has a wonderful interview with Sam Jones, and editorial portrait shooter.
Sam Jones Part 1
Sam Jones Part 2

Heather Morton’s Blog is just a fantastic source of great information. This post on Email marketing by photographers is a great read.

David Hobby (Strobist) has a timely article on creating a color pallete for your work. It is something a lot of photographers don’t think about, but they should.

Selina Maitreya’s audio book is now available on her site. Wow… it is a fantastic look into the world of creating a kick-ass portfolio, finding your voice, and living your life with photography. Check out the free chapter and you will be sold.

And Robert Wright has a post on the use of digitally alteration and the news on his great blog Wrighting.

BTW, my friend Kirk Tuck has a new book out, Commercial Photography Handbook: Business Techniques for Professional Digital Photographers, for those of you thinking about starting out in the crazy world of commercial photography. I will be reviewing it soon, but I think you should check it out as a great source book for the move into commercial.

Well, let’s get on with Bri’s great new article on having fun and being professional in front of the lens.

Say, “Cheese?” Please… Say, “Natural.”

“Amateurs focus on the model, pros focus on the shot.” – Don Giannatti

By Briana Shaker

As Don says, pros will focus on the shot, so if as the model, you’re bringing the “cheese”, it’ll disrupt the shot. It’s about blending or contrasting with the environment, harmony or disharmony, but never amateur. For instance, if the shot is comprised of some form of architecture with numerous vertical lines, the model can either stand tall and reflect the image, maintaining the shot’s feel or work horizontal or angular lines to create a disjointed shot, making both aspects stand out so it “pops.” But the amateur? The amateur smiles likes she’s on vacation. Just think of the stereotypical “ignorant American tourist” complete with Hawaiian shirt, camera, and straw hat. True, he stands out. But not in a good way… he’s best… behind the lens, right, Don? Or even think Florida. Spring Break. Drunk girl. Big smile. Good for MTV, but not for the runway. (You got a problem with Hawaiian shirts, kid? –ed)

In front of this bush as a design element, the photographer wanted a lot of lines to break the symmetry.

Socialization

Now why do we act so cheesy when first in front of the lens? Simple. It’s natural. It’s how we were raised. Our parents pointed a camera and said, “Smile!” And thus we smiled. We’re conditioned to behave this way. A philosopher I once read wrote that we see the world before we name it. And it is those names that label or place something in its category. We see a camera and we say cheese. Conversely, we want to be models and we see a camera and we exaggerate our looks. But which is right? Or is there a better place? Somewhere in the middle? Or… is it as I suggest? A chameleon effect? That effect where the professional model knows how to blend and how to make something stand out. Yet, how does she do it?

Having Fun with the Moment can loosen everyone up!

Au Natural

Now some shoots, like high fashion, demand such exaggeration, but, equally, some shoots prefer that “girl-next-door” look or the “lifestyle” image to gain a desired effect. Yet those shots never really seem natural do they? You really think that woman in the Wal-Mart ad hangs out with her friends in their underwear smiling at each other? Sorry guys don’t hate me, but we don’t. But it works. It blends with the environment created in the ad and it plays on stereotypes to stand out and thus get a desired effect… you to buy the product. The point is that modeling is seemingly anything but natural, but a good model can train her self to do it… naturally. Because it actually is something very basic and something we all already know how to do. Make sense?

Here we are being silly in a coffin in Jerome, Arizona

And here we are being a bit more serious in the image. Jerome, Arizona

Retail Clerks and Baristas

Now some people really do like their jobs and are naturally cheery, but… we know it’s false… no one is that happy. But we can still learn something here. The clerk or barista gets us to buy. And we expect them to be overly happy. They stand out. But we remember the coffee, not the guy who whipped our latte. So they blend too (metaphorical joke intended.) That’s natural. The clerk is what we expect, annoyingly there to start us a dressing room, but that’s where her role leaves off. We still have to try the stuff on. The barista is there to wish us a good morning, but doesn’t come with us to make sure it is truly a good morning. But they are what we expect and what we want; a natural part of the process. They got us to look at the products and thus buy.

This ad for Apricot Lane called for me to be a bit more aloof.

A model is the same. We’re there to sell a product. Early in our careers we’re selling ourselves in the portfolios we create for agencies to view. And later, we’re there to sell the product our agents set up for us to sell. For instance, I just finished a campaign for a gum manufacturer. Will my name roll in the credits? No. I was just paid to bring attention to the product. To get potential customers to look and then get them to see what I have to sell. And I did my job well. It comes naturally.

In these ads I was to act like a Volleyball Player in the middle of the woods. It was an ad that focused on not using up natural resources by using software instead.

Model Naturally: A Guide

• Environment – the set – what is it? A Zen garden? Then feel it. Be Zen.
• Assumptions – the theme. What is it? Zen? If so it makes you think of Zen’s purpose in our lives. Most people are stressed and need a moment of happiness. Zen offers happiness. If it’s linked to the product. Then show that connection. If chewing gums leads to Zen… show it!
• Curiosity – it’s a natural thing. So use it. Let people formulate their own opinions… well, opinions you lead them to see through your manipulation of their assumptions. If your look arouses curiosity in the viewer, they’ll look at what you’re doing. And want in.
• Draw Attention to Self – seem a part of the experience. Be one with the set, product, and theme. If you’re part of it and seem that way, it’s believable. So act the part… believe you’re there.
• Draw in Viewer – make them feel as part of the experience too. Let them know if they have what you have, then they too will experience what you experience.
• Know the product – knowledge is power. The more you know about what you’re selling the more you’ll be able to sell it. It allows you to enter the world of the individual that is using the product. It’s hers. It’s yours. And soon… it will be the consumer’s.

Fashion is Exaggeration – Naturally

Yes, fashion models stand out. But that’s natural. When we buy clothes it’s not because we want to hide. We don’t shop at ninja stores, seeking the best camouflage for our night out clubbing. No we shop for the look that makes us “look” good. We want to stand out. We want to be seen. Now how does a model do the same? If she just wore the clothes would we see the clothes? Or do her exaggerated poses make us pay attention to the lines of those clothes? The colors? Do we see the product and not the model? Quick test: open your Victoria Secret catalog. Turn to page 7. Look. Now shut quickly. What color was her bra? What color were her eyes? Gotcha



In Nova Scotia, Don and I found this great bridge. Contrasting the straight lines with lots of curves and attitude was my job. This was really early in the morning and it was chilly for us desert folk!

Conclusion

Nature is about adapting. Evolution if you will. And being natural is the same. It’s about evolving to meet the needs of the environment you find yourself in. The carnivore stands out and the herbivore blends. The model can naturally be both. It’s as simple as pretending we’re something other than what we really are… a process we are all quite good at: The world’s a stage and we all play our parts. Now go play yours, sell some stuff, and make some money



Just relaxing and being myself was the catalyst for Don shooting this series.

P.S. This article is dedicated to the Canadian photographers I met recently in Toronto.

Thanks Bri. Glad you are having a great time up in the Cold North.

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This weekend’s interview is with Steve Korn, a photographer and musician living in Seattle. I think you will find his work and his words interesting. Being a creative person in music and photography can bring a different perspective to things. Steve presents his work in a very direct, exciting and yet somewhat understated way. Nuance and style.

Before we get going, I want to point out some older posts you may find interesting. There was a series on using your small strobes for professional results and a few other posts that may be something to try this weekend. Be sure to hit the Archives button on top… there is a LOT of information here.

Speedlights: Unleash their Creative Power
Using Your Small Strobes for Professional Results Part One
Beating the Sun with Small Flashes
Simple Setups for Dramatic Lighting (with a long video)
One Speedlight: Some Examples

And a few recent interviews in case you missed them.
Eduardo Frances: San Salvador
Claire Curran Corbett: Dallas

And another announcement: Midwest Photo Exchange (MPEX) is now offering 10% off a selected group of items. I selected them and we call them “Essential Gear”. The list includes Dynalite and ProFoto kits, stands, reflectors, booms and more. And with 10% off, simply for being a reader of this site… hey, that’s pretty cool. So check ‘em out by hitting the banner ad on the top of the stack to the right. And remember if you need to borrow a lens, keep BorrowLenses.com in mind. Great service and wonderful selection.

Well, let’s head out and meet Steve Korn. We asked him the now famous 12 questions and he responded:

How long have you been in business? Was it a slow transition or did you just open shop?
I’m really just getting started. I shot my first gig for pay in August of 2006. I didn’t really actively start marketing myself until the summer of 2007 however. And even then, I haven’t aggressively marketed myself, stuff seems to find me as a result of my connections. Even when I go to show my portfolio, it always seems that the appointment is the result of another job I did.

How did you get started? Any mentors or great stories here?
I became interested in photography in 1985 when I spent a six months in Europe after high school. I had a rangefinder and a ton of film. I think I had developed my sensibilities for composition when I was younger because my father and brother were both amateur photographers and we used to spend at least one weekend every month in Yosemite and every Sunday night looking at their slides. There was always a lot of discussion of what made a picture work or not. It was also my introduction to Ansel Adams. In Europe, I was not only interested in the beautiful landscapes and urban scenes, but in the people. I remember taking a picture of a crowd of people in a narrow alley in Venice and dug the fact that I had captured a moment in the day of all of these people, without having stopped them or posed them for a portrait. They were interacting with their environment in a natural way.

Another important early compositional influence for me was the paintings of Andrew Wyeth. At about 10 or 11 years of age, I remember my parents showing me his work in a book they had, and particularly his piece, “Christina’s World”. The question of the woman’s stance and the movement of her hair raised questions that I didn’t realize a picture could. I liked the idea that the serene landscape was interrupted by her seemingly startled stance. A story played itself in my mind that something had happened at the house and that she seemed on the verge of jumping up and running. But, most of all I loved the fact that I didn’t know, the painting engaged my imagination.

When I think about it, most of my favorite images have this quality. It’s not just a point in time, but rather my imagination is engaged to think about the moments before and after the shutter was clicked. I guess that’s the narrative quality that appeals to me. I don’t like static images or images that look especially posed or that lack any real engagement from the subject. Even with inanimate objects, like a martini glass, I want it to look like it’s alive.

Describe an average week at your studio.
I guess there isn’t an average week as some weeks are spent working on generating work, showing my book, meeting with prospective clients or shooting photos. There is a mix of time spent at the computer processing images, updating the website, and if none of that is happening I focus on developing my portfolio. If I don’t have a specific job, I try to work on portfolio development first and foremost. As for a physical studio, I don’t have one but rather rent when the need arises.

Why Seattle? Have you considered anywhere else?
Seattle is a great city. There are a lot of opportunities here and for someone like myself, just starting out, the doors seem fairly open. It would be nice to be somewhere that is easier to shoot outdoors on a more consistent basis.

What motivates you, or gets you going? What do you use for inspiration?
My main focus is people photography. People are what get me going. I find everyone to be an interesting potential subject. Everyone has a story and I love trying to communicate some of what that is. I like other types of photography as well and do dabble in them. But, regardless of my subject, underlying everything is a love of form and color. I’ve always had strong reactions to color and I love seeing the lines and juxtapositions in an image.

What is it you like the most about being a photographer? Do you do anything else for a hobby or avocation?
I love the creative process. I love envisioning something and then trying to make it come to fruition. I like that, try as I might, intangible elements will always have an influence on the outcome. Whether it’s how my subject will respond, the weather or a technical problem I have to solve, all of these elements bring vitality and a bit of the unknown to every situation.

My main vocation of the last 23 years has been working as a professional jazz musician. I revisited my interest in photography in 2003 as a hobby because I didn’t have any escape from music. Music was my job and my hobby. In the subsequent years I became more deeply interested in photography to the point that it eventually consumed all of my non-music time, which was about eight hours a day of constant study and practice.

Having been involved in an artistic discipline for 30 years, and being a teacher has really influenced they way I have gone about developing as a photographer. I’ve always been very philosophical about art and my role as a practitioner and as a result I think I have avoided a lot of the pitfalls I might have hit had this been my first go around in an artistic discipline. I think I come to the art with a more mature understanding of where I fit in the big scheme of things and am not hung up about a lot of things that plagued me as a young musician.

My attitude about working, getting work and dealing with clients is heavily influenced by my career in music. The industries and functions are very similar it’s just the scenarios that are different. I think my music business experience helps me get through some of that stuff more easily than if I had come from a different field.

Are there any downsides to being a commercial photographer that you would like to change? How would you change them?
I guess it would be nice if everyone thought the value of good images and the work involved in achieving them is worth what I think they’re worth. It’s kind of a drag because people always want to get as much as possible for as little as possible instead of respecting others and paying people what they’re worth. I don’t know how to change this attitude except to try to make images that they just have to have, whatever the cost!

What was your most memorable assignment?
Well, this wasn’t memorable in an idealic way, but I’ll never forget it. I was asked to Photoshop a picture of a baby who had passed away at birth. The baby’s skin was very fragile and had torn in places. The photo was going to be reproduced for the memorial. The father was there while I did the job and it was such an emotional thing. I asked him every step of the way if what I was doing was ok, almost as though I were preparing the baby’s physical body. It was heart wrenching and difficult. I don’t think you can really prepare yourself for something like that.

Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….” Well, I guess I’m learning a new lesson every time. The latest is not to give an inch to the art director if it’s your project. I inadvertently allowed an AD take control of an article/shoot I was doing. I assumed too much. It was a good lesson for me in being clear from the beginning about what role I will play in a project. In this case, I was hired to do a magazine edition of a personal project I’ve been doing for the last year. I assumed that when they hired me to do “my thing” that we all understood precisely what that means. Next time I’ll be clear from the start not leaving anything unspoken or assumed. The good news is that the images are good, I just feel weird that in an article representing my photo project, I should at least be involved in the discussion of which images will be used. Had I been hired to do something for the magazine that wasn’t my project, I would have been happy to let the AD do their thing.

What would be your ideal assignment?
I would love to take the Trans Siberian Railroad or travel across Tibet taking portraits. I don’t know if that’s my ideal, but it’s what comes to mind at the moment. I really like taking pictures of ordinary people. Combine them with a fascinating environment and I’m pretty intrigued.

Future plans for Steve Korn and his photography?
I just want to get better. I think that’s the key to staying satisfied with anything, maintaining a desire to grow. As soon as you become indifferent, you might as well do something else. I think by focusing on improving the quality of my work, I also am more likely to get work.

Tell us a little about your new work…
The area I really want to delve into and expand my portfolio in is sports photography. It’s an obvious link to the music and dance stuff as all of these areas are about the pursuit of a discipline. I want to try some different things with sports than what I’m seeing right now. I want to juxtapose the mythology and fantasy element of sports with the reality of being an athlete. It might evolve into a separate project, but it’s something I’m thinking about.

Oh, and what is on the music box right now at your studio?
Marcin Wasilewski Trio – January. And, the Foo Fighters.

Thanks, Steve.

Steve’s Flickr page is here.
And here is his photography website.

BTW, you should check out Steve Korn’ jazz here. He is a fantastic composer/drummer.
His music fills my studio on many occasions.

See you soon.

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Recently I had the pleasure of working with Coni of Glacier Design and her client, Alicia on a big catalog project. It was to be a couple of dozen shots. Most are what I would call a “drop and pop,” or simple product shot. Well, of course nothing is as simple as one thinks it will be. And that challenge is met so much easier when there is some planning and preparation in effect. And that Alicia and Coni had in spades.

We knew it would be a hectic couple of days and we were pushing against a printing deadline. Alicia came with an SUV full of boxes and bag and props. We set up a few tables in on area of the studio and then placed the items in a shoot order. Coni had set a shot list so nothing would be misses so we organized the product in a fashion that would allow us to get and stage the products in some sort of order.

The product is potpourri, scent bottles, gift boxes and reeds. Most of this is pretty simple, but some of the boxes had a cellophane type material over them and that created a bit of a heartburn when trying to kill the reflection, or at least smooth it out a bit, while still maintaining light to the front of the box.

Before we take a look at this shoot, I want to welcome a new sponsor to the LE Site and the Workshops. SmugMug Pro is now a sponsor of the workshops and every attendee will get a one year membership in the SmugMug Pro account. This allows hi res images, hi def video and includes a shopping cart for selling the images you shoot. I am so pleased with their support and even more excited about seeing all the attendees getting a well designed web page with a shopping cart. And we also want to shout out to my other sponsors, BorrowLenses. com and Mighty Imaging. Thanks guys.

Also to remind everyone that the Kansas City workshop is full as is the Dallas and Washington DC workshops. I am hoping to see some of you in Mexico. At this point we only have three openings for Mexico. And don’t worry about the news, we are heading to Rocky Point and it is pretty calm there. Missoula Montana will be a lot of fun and we are thinking about adding a day to that for those who want to miss a day of work and shoot environmental portraits with me.

Let’s get on to the catalog shoot.

We started out with a shoot list and a ton of product. Some of the images needed to be shot on white seamless and some with a more ‘set’ look to them. We chose to shoot the white background stuff first. And there was a reason for that. The drop and pop stuff had to match existing work, so I looked at the catalog they had shot previously and decided on the lighting that would match.

It was also imperative that the light not change drastically between images. These were inserts, headers and full page shots. They should match for this area of the catalog, so we wanted to create something that would be easy to switch between the drop and pops and the still life work.

I took a strip light and placed it over the set and slightly behind the product shoot area. Slightly… like a few inches. I tilted it a bit forward so we could get just a little bit of light to fill the cards in that I knew I would need. This kind of work demands a lot of fill cards.

I also wanted to have a little ‘pop’ from the rear so I added a grid-spot on a medium Norman reflector. I took it behind the set just a little bit and aimed it at the center point of the product. I set this backlight to be 1/2 stop brighter than the main light. This would give me an ‘edge’ to the shots without adding too much of a ‘rim’ look.

Here is the set I used for these shots:

This is the shot diagram for the still life shoots. The drop and pop are minus the background light. The light facing back was to create a little drama behind the shots and not have the background be so ‘flat’.

Our first shot is one we will look at is a potpourri shot. The background was one that Alicia wanted to have a natural, tropical look. While she built it, I worked on the exposure and fill card variations for the glass. Alicia then carefully built the potpourri to make it show as effectively as possible and I did a few last tests. We then added the glass items and checked to see that there wasn’t any strange reflections that would give us trouble later. Lastly we added the candle. Alicia lit the candle only as we were ready to shoot it.

I should note that for these kind of shots, I usually use a tethered approach, shooting straight into the computer. This lets me tweak the looks and also lets me share with the art director and client the EXACT the shot as it comes out of the camera.

The shot below shows how the background has a nice clean look to it because of the small backlight. The gradient actually brings the eye back to the product itself. In this specific shot I moved the backlight to be a little off center so it wouldn’t have that ‘studio product’ look to it. There are cards in front and to the camera left side keeping the fill in check and when you look at the potpourri, you will see a nice highlight on the edges from the backlight Grid-spot.

The image below shows the way glassware holds up with the lighting. The backlight gives a sparkle to it, and the subtle backlight from the grid-spot on the reeds shows how nice a little extra touch to the lighting can render the image. There is a sense of shape to the reeds and and the liquid looks almost sensual. The fill cards surrounding the set keep the shadows at bay and also add a bit of highlight themselves.

This final shot above shows the boxes and the items for a long thin shot at the top of a catalog page. There are carefully placed cards all around the set to provide a nice smooth transition from the lighted sides to the shadow sides. As well, they provide a smooth surface to be reflected back from the product. This pops the color on the boxes as well as keeping the gold printing nice and shiny.

These shots are always a little tricky so be so very careful in the placement of the items. The angle of the boxes have to seem natural, but still show the items as they are meant to be seen. The labels must be straight, the edges of the boxes cannot be damaged, and if they don’t fit exactly tight, use double edged tape to keep them tightly fitted closed.

We lit the candle at the end of the setup phase and I used a long, 2 second exposure to get the candle to look lit. Once the item was focused, we killed the lights, tripped the shutter and waited for the shutter to close before I turned the modeling lights back on. We had to make sure that the candle wasn’t blowing all over the place and we also needed to make sure that the pool of wax wasn’t too much.

Here are two set shots to show the lighting in the real world, so to speak.

For fun, I will share this fun image I posted on Flickr. You can get an idea of the controlled chaos that happens when there are so many ‘moving parts.’ You can see the camera stand I use and the tethered computer and lighting.

EDIT: Here is a graphic with some pages showing the use of the pics I did.

An apology to those who follow this blog. We have been crazy busy lately and doing some reconfiguring after losing the laptop a few weeks ago. And even though everything was indeed backed up, there are still a lot of business things that were an added challenge due to the loss.

But let me tell you that we have a lot of good things coming up.

I promise.

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This post features two shots from this past weeks workshop in Phoenix. My Phoenix Workshops are fairly intimate affairs because I draw smaller groups and my studio is rather intimate as well.

In the first half of Saturday we work on portrait lighting and working with basic lighting setups. We start with one light and work it until we need to add a second light for some reason. Hairlight, more wrap, additional side lighting, 3-point and more are added to the mix.

For these two shots, I used a single light on the subject. The shot of Briana does have a second light for the background but it is not affecting the subject lighting.

Before we get into that… New Workshop dates are being nailed down now. I have some people wanting me to come to the twin-cities, and we are looking into cleaning up that East Coast month. Maybe moving one of the mid-Atlantic dates to a west coast. Montana is a go and so is Chicago. Watch the signup page for a location near you.

So let’s go look at how we can work with one light to create this look. Some of you who are very familiar with this kind of lighting – it is a favorite of mine – may also find some new things as well.

Starting out with the shot of Hayley we will examine the image closely. Here is the image as processed.

Camera: Canon, 100MM 2.8 Macro

The light on Hayley is one strobe on a boom. Over her about 3 feet, and back behind her about 3 feet. The V-Card in front of her is about 3 feet away and wrapping on both sides of her. Camera is aimed through the slot cut in the middle of the V-Card, and we have to check for possible flair.

Here is a lighting diagram:

I call this lighting “Beach Lighting” and it is one of my favorites. I call it beach lighting because it resembles the light I used to shoot under on the West Coast all the time. Bright, very bright, hazy sun and natural reflection from the sand. It can be somewhat contrasty with the hair blowing out a little in order to get that front light correct, but that is OK within the genre.

If you want the light to be a little less on the top of the hair, take a small boom and put a 10″ square flag or scrim directly above the hair… you will see it go dark as you place it in the angle to create a shadow on the hair. Move and adjust to taste. Be sure it isn’t much bigger than 10″ because you don’t want to kill the light on the V-Card in front of her.

There are so many fun ways to change this lighting up. Adding a small light from camera for a catchlight, adding a couple of small lights to each side of the V-Card to give a softer 3-point light and more. Caution… be aware that the light is turned toward the V-card so if you get too close, you can get some considerable flare. Watch for flare, flag it if necessary.

We had finished shooting white on white, and decided to do some black on black. Briana put the black fur (a studio wardrobe staple, and a fake… so now stop hatin’ on me, got it) and a bright turquoise top for a splash of color.

Our main light is a medium (42″) satin white umbrella in bounce mode. It is on a boom and very close to Briana… close enough to use the ‘wrap’ to add light on both sides of her face. Standing behind your model, you will be able to see how the light from the umbrella helps to wrap around the side of the model’s face. If you can see the umbrella from behind her, the side of her face is being lit.

We added a couple of V-Cards on each side of her to further open the shadows, and then put a shiny board under her to add some edge to the fur. Without these close, very close, V-Card fills, the fur would simply have no texture. Adding some bright cards to create speculars on the tiny hairs of the fur was what was needed.

You can see the bright, open shadows this light created under Briana’s chin and eyes. Keeping the eyes bright is one of the concerns I have when lighting. I find I can keep them open and bright by working the light close to the subject.

I wanted to keep the background dark, but also have some gradient to help bring out the texture of the fur. The eye sees the fur and its subtle texture while the background is subtle but smooth in transition.

We chose a small 33″ umbrella with a black back aimed at the black seamless. It is nearly on the floor and mounted on a short “background” stand. Keeping it about a foot from the background allowed a very soft, subtle light-to-dark background light. I tip my umbrella down very slightly when I do this, not wanting too much of the light to wash up the seamless wall.

The last thing we did was take a 12″ by 36″ white reflector and put it over her head at a totally oblique angle… in other words it is vertical to the light and behind her head about 6″. This gives a very subtle, but visible, hair separation light.

We hope you are enjoying Lighting Essentials, and tell your friends. You can sign up for an RSS feed to stay on top of our posts. See top right of the home page. Also, if you like the posts, add them to the social networks you like by clicking the “Save/Share” link at the bottom of this post.

See ya next time.

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One of the ways to separate the subject from the background is to use a spray light. The light creates a ‘halo’ of light to dark behind the subject and helps make a flat background more dynamic. It is a fairly simple technique with a lot of variations possible.

We can do this with all kinds of lights, from speedlights to normal reflectors and beauty dishes. Each can add its own look to the spray, and make it work within the framework of your image.

Before we get to this technique, I would like to let you know we are adding Montana to our workshop schedule this summer. If you are a photographer in Montana / Wyoming area, be watching the site for our Montana workshop date. UPDATE: Montana is June 20 and 21, 2009. Signup is active on the schedule page.

We are also having a pair of advanced workshops in Phoenix in February and March. We will only be taking photographers who are already familiar with lighting tools, but need to step out and get some real experience with models and shoot situations. Limited to only 3 photographers per day, the workshop is fully focused on shooting. We have models for the day, and will be working in studio and on location. Portfolio / Web Site review will be required. See the Learn to Light site for more information on January 26, 2009.

Now… on to some simple ways to create a spray light and a gradient background for your work.

The portrait of Vanessa shows how the background works to create a light-to-dark base for the face and shoulders. The background is behind her about 10 feet. This helps create a dynamic background for the portrait to sit above. The look is far different than a flat background… and keeps the eyes right on our subject.

Keeping the wall 10 feet or so behind her helps blur it from limited DOF. I am shooting here at about f8 at 1/60 at ISO 100. With an 80-200MM L at this distance, the background drops out pretty fast. I am out to about 160-170mm with the lens, so it is quite a telephoto.

Adding a hair light gives a nice shoulder accent. For this shot there is a silver/white ‘Zebra’ over the top of her and slightly back. It creates a nice little accent that is still there even against the bright background gradient. You should really watch this area, because if it the background is too bright, it can kill the separation between the highlight on the shoulder and the spray light.

Marissa is wearing a white shirt in this shot, and it separates fine from the backlight.

The closer the light, the tighter the spread of light. This shot shows the background light at 6″ from the wall.

This close up shows how close the light is actually to the wall. Just about 6″. I think being very careful with the heat is a great idea.

Now we pull the light back about 2″ to 8″ from the wall. Notice the wider spray, and slightly less contrast from center to edge.

Now to 12″ from the wall or background. The light is now very widely spread and there is a soft gradient from center to edge.

The color for the background here is “Thunder Gray.” You can get that color in seamless, and we have our back studio wall painted that color. This technique works best on the grays and darker colors.

One more shot of Marissa here:

This last shot shows how subtle the look can be. We have a hair light on Marissa, and the spray light is adding a dynamic look behind her. The hair seems to be lit, and yet in the corner we can see some dark background to let the blonde stand out.

I like the spray light look. It can be done with far more subtlety than these as well. Photographers like Platon, who shoot a lot of editorial portraiture, depend on variations of this kind of light to provide subtle definition to their subjects.

Try using a Gary Fong diffuser for some softness, or add a few layers of gel for a color. I find that spray lights work well on dark to medium gray backgrounds. Colored seamless, old canvas, walls and wallpaper can also be used to advantage.

If you try this, post a shot or two to the Flickr Lighting Essentials pool and tag it: le_spray_light. I would love to see how some of you take this idea and change it up.

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Well this one is kind of fun. I found this in the archive box and remembered that it was a kinda fun little slide show. This “soundslide” offers a look into how I took a single lighting setup and shot it two ways.

I use a big softbox often when I am working with talent. Michelle is an ice skating choreographer and teacher. She needed some new shots and I wanted to do something a little different.

You can do the same thing with a large scrim and speedlights. Keep the fill cards in tight and watch the ratio between the lit and shadow parts of the face.

BTW, we have upgraded to WP 2.7 and man, is it cool. If you are running a WP Site and haven’t upgraded yet, you really should. It is, as they say, awesome.

But now let’s take a look at how a single setup can create two different shots can be made from the same light setup.

Push the go button and adjust the speakers. That mellifluous tone is yours truly. Hey… I don’t want to hear it. But you do.

I think the SoundSlide Presentation pretty well shows everything you need. Watch for more multimedia coming down the pike here.

Here is the diagram for the lighting used.

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“Kill the Lights! Don’t be scared, make a move, see me now”

A model has a role in lighting?

What?

Unheard of?

Crazy?

Not so much. A model has to do more than smile prettily and pose, she has to be aware of her environment, from the objects in place to the light of the day (or those man-made suns, Stobes!) But it’s more than simply turning your face to or from the sun to get the photog’s desired outcome. It’s more than inspiration, performance, and range. It’s about awareness; awareness in the structure of lighting and how to get the best out of a shoot. It’s also about knowing how to handle the light and the photogs that use it. The following is a quick outline of the basics and a model’s response to the lighting so that she can generate the most positive outcome she can from the experience. (Note: This article is not about how to light, it’s about how models can use the light that photogs already have set up and how photogs can best explain to models what the photographer wants from the shot.)

(Editor’s Note: A Model’s Role in Lighting? I thought they were supposed to help carry the stuff. Now all the models are gonna read this and no one will ever help me carry the gear again. Sheesh.) Anyway, make sure you visit the tech sheets to get caught up there and remember that the workshops for 2009 are now posted… at least the first half of the year.

Well on with this fantastic article by Briana.

Main Light Awareness:

Main light? What is it? And why should a model care? There’s the sun and then there’s strobes (which, for this article, can include light boxes and umbrellas.) There are also both at the same time. That’s about it. The sun or strobe is the main light and the model should always face the light and then adjust to the photog’s wishes. Sound simple. It is and it’s not. For instance, remember Poltergeist?

“Don’t go into the light, Carol Anne.”

Wrong. “GO to the Light, Carol Anne!” That’s right, look to the light. It’s the sun, the center of a model’s universe. Don’t fear it. Kill it! (Sorry, Britney, I’m adapting your quote to work for me.) That doesn’t mean look into the light, it means pose to the light.

Looking into the sun late in the day.

Watching and knowing what a beauty dish does keeps you turned into the light.

A model should center first on the light. Think of that as 1st Position. Now, as discussed in prior articles, a model now uses her range and performance to create art. But that range and performance has its limits. This brings us to 2nd Position, Light Awareness. The choices a model makes when performing must act in accordance to the light. For instance, ducking down, under the light (which the photog spent hours setting up to get the best shots) would be bad. Keep your performance in the light. The spotlight shines on you, so make sure you’re always its central focus.

The sun was nearly on the horizon so I thought of it as a beauty dish.

Mainly, just keep in the light. Shadows are the yin and the yang, the dark and the light, they can equally create havoc as they can contrast with the light and form emphasis. For instance, some pictures of me used shadows to emphasize my nose, or lip, or chin. I liked them a lot. Whereas there are other shots that create features I don’t have and are less than flattering. Not my cup of tea (heh heh.) Yet, it is a photog’s responsibility to direct the model outside the light if that photog so desires. So models just need to continue in 2nd Position (moving with the light) until the photog directs otherwise. It’s simply because, like the yin/yang symbol, shadow/light can equal creation. So 3rd Position is ‘Roll with it.’

Light Changes Constantly – The Sunlight Challenge

Knowing that the photographer wants the light to be at a specific angle to you helps your posing ideas as well.

Light changes constantly – So must you. Not the whole Darwinian adaptation thing, but in changing positions to follow the light. Mainly this is important when using the sun as the main light, for in the studios an assistant will follow you. But in the sun, follow it. For instance, during one workshop in Tucson we were shooting on a street using the setting sun. But the challenge was we had to keep moving in order to keep the sunlight as the main light so every participant could get the same shot.

The sun was going down behind me, so we kept moving forward to pick it up for backlight. I was always watching where my shadow fell so I could be in the light for the photographers.

Now we all know that not all pictures are taken directly under the sun. In fact, many good ones are taken using the sun, but as filtered by other objects. For instance, a tree’s leaves create both dappled effects and larger spots of light from that which leaks through to the ground. Now a model under a tree must make sure to step into the spot with the most light. This is for shots where hair is important. It’s obviously not going to affect the model’s face, unless, of course, she looks up into the light – which can generate a nice effect as well. (But I must stop there, because that enters more of the complexities surrounding the photog’s job, and I’m here for the model :p). Now why would you want your hair highlighted? Maybe you don’t. But it does give a cool halo effect and therefore knowing what it can do will help you add to your repertoire.

Here the photographer used the sun for my hair and a reflector for the light in front.

Another trick I’ve learned is how to stare into sun. Sort of. The trick is to pick your time. During that magic hour as the light is fading, many photogs like to get a picture of the model’s face (it makes the eyes pop and adds a pretty color to the skin.) The light is perfect. But we models have to stand there staring into the sun and not blink or get watery eyes. My trick is to stare into the distance, facing the sun, but all while looking into a dark area, shadow, or whatever. It helps. Honest.

Here I look into the rising sun.

And here I am intently gazing toward a setting sun.

Secondary Light:

Nothing really to worry about here for the model, the secondary-lighting assistants adjust to the model’s moves. Yes, that’s if there are assistants. If there are no assistants it just means more work for the photog. But occasionally the model might need to hold a reflector to help. Yes, occasionally. But the photog will move the reflector – the model just has to pose like she’s posing for headshots. (3rd Position!)

When the Light’s not Right:

When the light is bad, just get in 1st Position and face whatever light is available. Now it may not equal the best shots, and a model’s portfolio may not expand, but the model’s a pro and should just do her best to get the best out of the moment. It’s professionalism. There are tricks of course, but here’s where it gets awkward. Most of these tricks rely on the photog making adjustments and the model is rarely in a position to tell a photog (the director) what to do. Simple tricks without the photog entail make-up adjustments (use lighter eye shadow colors to reflect what light there is), pulling the hair back to lesson shadows (or pin prior to shooting), and tilting your head to catch what light there is.

Keeping my head up lessened the shadows under my chin.

Talk about knowing where the light is… LOL. The photographers let me see what they were doing on the camera. The light I am “holding” as actually on the stairs behind me.

Handling the Photographer:

As I just wrote, the photog most likely needs to adjust to the conditions, but may not know how. A good model should know as much about the craft as she can and thus can offer advice. (Rule of thumb: Never open your mouth if you don’t know what you’re talking about.) But when you do offer advice, what photog can get over his or her learned assumptions and listen to the talent? The good, the bad, and the ugly can. Photogs will quickly get over assumptions that models are just floating heads with bodies. They’re pros too. But that doesn’t mean the photog will enjoy being lectured by the model. Mainly, it’s appropriate to discuss lighting with a photog when you’re already in a strong working relationship. Otherwise, you may just create animosity.

I worked with the light to make sure my face was well lit.

Yet, sometimes a photog needs to be shown the light, to understand its importance. And thus there are a few sneaky ways to help a photog capture the best shots (or see the light.) For instance, if you understand lighting, don’t look at the photog, look where they should be shooting from. They’ll move to that angle soon enough. And the end results will reinforce the -ahem – lesson. Another way is to just tell the photog you like a certain spot or suggest something that you saw in a magazine and wouldn’t mind trying out (I’m always trying out shots, right, Don? Haha – teasing.)

We tried shooting with me upside down. It worked pretty well, but Don got pretty confused. That happens a lot.

Conclusion: So, models – Britney had it right. Kill the light. It’s nothing to fear. Now move and the camera will see you now.

Have I ever mentioned that I love to dance... and fly?

See ya...

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