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Behind the Lens is a new series that allows you to learn a bit more about your favorite FYP Writers.  While we know your enjoy their articles, sometimes you just want to know what makes them tick!  We are pleased to provide that insight for you.

Brooke Snow is a lifestyle photographer in Northern Utah.  She lives with her husband and spunky two year old son in a 99 year old house–all of which have a lot of character!

Brooke’s formal education includes advanced degrees in Music, and she often seeks for ways to merge music with her photography. Whether that is composing a track of music for an image slideshow, taking inspiration from the lyrics of a song, or simply learning to “listen” through the creative process, she loves to find ways to bring the influence of all her interests into her work.

Brooke writes inspirational articles that take root in the concept of being true to your authentic self.  As an educator, she passionately believes that each person has a unique vision that is influenced by every life experience, interest, trial, or triumph that make up who we are.  Exploring the different ways that we can capitalize on our unique differences is a theme you’ll see again and again in her writing.

Brooke is a Nikon shooter who prefers prime lenses because of the limitations they bring. Not having a zoom option, in essence forces her to be a bit more creative and physically active in creating a photo.  This compliments her lifestyle storytelling approach in her work, as she is always searching for exciting perspectives and composition to bring in a little intrigue into a visual story.

Brooke spent four  years shooting professional portrait photography and recently opted for a business sabbatical to give more time to focus on her online photography courses that empower photographers both technically and creatively.  Much of her current photography work involves exciting and interactive shoots that are filmed live for her classes as well as a list of personal photography projects to keep the balance of using photography as a source of joy and not just a source of income!

You can follow Brooke’s work on her blog: http://blog.brookesnow.com

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Each Monday, we’ll highlight one indie photographer whose body of work deserves special recognition.  Please enjoy their photography here, and make it a point to enjoy the rest of their work on their website.

With the Holiday season right around the corner, what better time to showcase photography that includes both food and people?   This week’s Indie Spotlight, Nicole Young, not only shoots the aforementioned styles, but stock photography as well.

Hailing from Seattle, Washington, Nicole’s photographic arsenal includes a Canon 5D Mark II, equipped with a 70-200mm 4/4L IS lens, which she uses for most of her work.  She likes to get in close, compressing her images, giving them a fairly shallow depth of field.  Most of her photography as of late is food, so her workflow is somewhat involved.  Since the images are shot for her stock portfolio, she must first decide on the subject what she wants to photograph.  Next on the grocery list (literally) is to purchase the ingredients, and finally cook, style, and prep the food for the shoot, which is done at her home studio. With camera and tripod ready to go, Nicole will shoot approximately 30 photographs, and take away 3-5 keepers on average.

She relies mostly on natural light for the food photography, however, the setup for photographing people is completely different.  A strobe is a must giving her subjects a “lifestyle” look, which ultimately produces a photograph that doesn’t appear to have been shot using artificial lighting.  There isn’t one particular setup or workflow when it comes to photographing people, so Nicole will work with whatever is available in terms of lighting, surroundings, and the people themselves.  It’s a very organic process, kind of a “go with the flow” type of shoot.

Concerning software, Nicole imports her photos into Adobe Lightroom using the DNG conversion feature. She has been using this process for the past year which helps her keep a good file structure without the added XMP side car files.  Next, she will select the “keepers” and apply basic adjustments like cropping, white balance, exposure, etc.  When she is happy with the basic edit in Lightroom, the next step is to export the files from Lightroom using the PSD extension so they are prepped and ready for editing in Photoshop.

After the photographs have made their way into Adobe Photoshop, Nicole uses a series of steps for final editing.   First, a new blank layer is created for cloning/healing.  Level adjustments come next using the brightness/contrast set to the luminosity blend mode.  The third step is another level adjustment layer for color adjustment using the color blend mode.   Step four, a new layer is added for color, which Nicole fondly refers to as the “color pop” effect.   Lastly, a sharpening layer is added using the high pass setting.   Other layers will find their way into the process now and again for teeth whitening or eye brightness, however, the five steps outlined above are Nicole’s normal workflow.

Nicole is currently trying to do more travel photography mostly to experience new places and culture, and build her portfolio with a different style of work. She would especially like to visit Antarctica, lured by the colors, wildlife and rarity of the adventure.   She would also like to create more “fine art” photography since most of what she shoots is commercial (lifestyle and food).    ”I don’t have many photos that I would enjoy printing and hanging on my wall.  I’m trying to make a concerted effort to create more of these, especially landscapes.”

Concerning tips and techniques, Nicole likes to use the “live view” feature of her camera when shooting with a tripod, especially food photography.   The live view allows her to zoom in on the focus spot to ensure the clarity and sharpness.    This view also allows her to adjust the props and food easily.

Nicole draws inspiration from many photographers, however, there are two that especially stand out.   The first is Gregory Crewdson, whose images are very surreal, and somewhat eerie.  He spends more than the average amount of time in post production, which Nicole translates into dedication and vision.  She is also a fan of Julianne Kost’s composite work.  Nicole describes her work as dreamlike, and especially loves the textures and colors Julianne uses.

You can Find Nicole online at her personal blog, Twitter and Google+

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I don’t often go on a rant but this is my Molly Wood! A recent amazing display of lack of understanding for technical matters related to photography by a company whose business predicates on the medium brought me to the point of writing this article.

At some point, much to manufacturers delight, we have all been on the megapixel roller coaster. Why the “roller coaster” you ask? I use this term not because I’m being overly dramatic, but because it really is one. We’ve all been conditioned that the more megapixels, the better the image will be – that is the upside. Then we find out that this is not actually the case and that is the downside! This is one ride, thankfully, that I’m no longer on!

Recently a San Francisco based company that connects travelers with accommodations in local homes approached me because they were looking for interior/architecture photographers all over the Caribbean (Yes, that company). As part of their service, they offer professional photography for the homes listed on their site.

I’ll go through the requirements below briefly so you can see they were quite logical until they got to the megapixel issue. As they indicated, the selection of photographers is conducted by our global photography team based in their headquarters in San Francisco, USA.  Their decision is based on the following criteria:

The photographer is located in a city where we have demand for photos: it doesn’t make sense to ask our photographers to spend hours commuting for a job that should take around 30-45 minutes.  We select photographers located close to an area where we foresee enough demand for photos.

CHECK

The photographer can communicate in English: It doesn’t need to be a perfect English, but it must be good enough to allow a smooth communication between our photographers and our photography team based in the US.

CHECK

The photographer has a proven portfolio: It’s great if you already have experience with real estate or architectural photography, but this is not a requirement. We have had great experiences with talented photographers that are specialized in other kind of jobs such as weddings and products.

CHECK

The photographer has a professional-grade camera: You will be needing a 12.1MP DSLR camera (or higher) and a wide angle lens and a flash, depending on the location.

Uh oh, herein lies the problem, apparently they are still on the roller coaster!

The email exchange that ensued was as follows:

Reply from me:

Hi, I am interested but I currently shoot with a 10.1 MP Nikon D200, however I shouldn’t see this as a problem as I currently make fine art prints up to 20×30 inches with my files. By the way, I only shoot in RAW.

Let me know if I should proceed, thanks.

Reply from the San Francisco based company:

Hi Jeremy,

Unfortunately, we require all our photographers to use a 12.1 MP dSLR camera. This is for archiving reasons.

Thanks!

I did some research and found that the largest image shown on their site was 629-by-426 pixels and upon further research I found that my camera, a Nikon D200, which I’m extremely happy with and not yet ready to upgrade, captures images that are 3872-by-2592 pixels. Taking this information into account, I decided to look at displays and found that the Apple’s 27” Thunderbolt display’s resolution is 2560-by-1440 and even the huge 30-inch Apple Cinema HD Display delivers a 2560 x 1600 pixel resolution.  Given that the image from my camera exceeds the resolution of today’s largest computer monitors, I was at a loss as to their reasoning.

I know all those figures are tough to get a handle on, so let me make a nice infographic for you. I have adjusted the graphic below so that relative sizes are constant. In the image below, the RED image is what originates from the camera, the YELLOW is the maximum the 30-inch Apple Cinema HD Display can show, the GREEN is the maximum an Apple’s 27” Thunderbolt display can show, and the BLACK is the size of the image that they actually use on their site:

My interest was certainly not the compensation offered, which they also outlined in their criteria:

We pay a standard fee per session. Each photo shoot pays $45 USD plus up to $10 USD for travel expenses ($.50 per mile traveled). This service is paid directly by ****** within 7 business days of the date you’ve uploaded the pictures into our system. The whole payment process is held online. You just have to register your bank account in our system and we will make a deposit directly into your account.

I was interested moreso in doing the architectural shoots purely for the purpose of stretching my legs and shooting something that I’ve shot before, but don’t normally shoot — every photographer wants to get out of the box sometimes.

Now don’t get me wrong, the company in question is within their rights to set guidelines as they see fit, but rules with no reasoning never sit well with me. This just sounds like another Netflix/Qwikster melee.  The company has made arbitrary decisions without a full understanding of the forum they ventured into. As photographers, we know that computer monitors display 72dpi and knowing this would mean that an image that is 3872-by-2592 pixels would need a monitor that is approximately 53-by-36 inches to be displayed in its entirety. The company in question has committed a cardinal sin akin to someone remarking “you must have a nice camera to get images like that.”

This begs the question, what exactly are their archiving criteria? While I can appreciate wanting larger files because I shoot RAW and keep all my RAW files, images shot with just about any modern dSLR can be blown up to fit on a billboard.  I cannot comprehend their rationale, but I can offer them this advice:

• A bad photograph is a bad photograph, regardless of the number of megapixels.
• Unless you are planning to make huge billboard images, 5 megapixels are more than enough.

What are some of the experiences you’ve had with people not fully understanding technology and photography? Share your experiences with us in the comment section below.

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Other Links:

"Parallel Universe" by TE2YA

"Metropolis" by zieniu

"Swimming Pool" by leovilela

"Wine" by TankPhotography

"Apple Ipod Advertisement" by delusionzofgrandeur

"Superchocolate" by jaimeibarra

"Absolut" by muratsuyur

"Before the storm" by zemotion

"Fair Flight" by robinpika

"Cafe Emporio III" by strany

Each Friday we will post a Weekend Photo Focus (also hash tagged on Twitter as #weekendphotofocus) on a certain subject, something to spark your creativity. An empty weekend for a photographer, is like an empty canvas, we could always use something to do when we have nothing planned right? So with this in mind we created this series, one that will get you out doing what you love. The premise is simple: snap some photos over the weekend dealing with the weekends focus, and if you send them to us, or Tweet them to us, we will post them for others to see. Having a focus will help us as artists & photographers see things that we might not always see, make us take a shot at something we might otherwise have not. In seeing other photogs chase after the same focus, it can only breed even more creativity in our own work.

At the weekends close, we will follow up our weekend focus, with what we found on the Web (including some of the photos sent from you) that falls in line with our focus. We hope you join in the fun and help us spread the creativity.

example of a tweet to us:

@fuelphotography Here’s my submission for this week’s #weekendphotofocus, New Life & Spring: http://bit.ly/aY1oC7

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This weekend we are going to look at something a little different from the usual themes, but something that surrounds us every minute of every day. This weekend’s theme is: Commercial Photography.

"Jump Over Lyon" by nikonforever

"Pain De Savon" by mikper

"Menthol 2" by bugs22

"Tema" by candas

"Cafe Emporio" by strany

"Pasta Hotline" by sharadhaksar

"Alice VIII" by koukei

"Coca Cola" by MichelleRame

Each Friday we will post a Weekend Photo Focus (also hash tagged on Twitter as #weekendphotofocus) on a certain subject; something to spark your creativity. An empty weekend for a photographer is like an empty canvas – we could always use something to do when we have nothing planned, right?

The premise is simple; snap some photographs over the weekend dealing with the weekend’s focus, and if you send them to us (or Tweet them to us) we will post them up in the follow-up article. Having a focus will help us as artists and photographers to see things that we might not always see, and make us take a shot at something we might otherwise have not.

At the weekends close, we will follow up our weekend focus,  with what we found on the Web, and your submissions, that fall in line with our focus. We hope you join in the fun and help us spread the creativity.

example of a tweet to us:

@fuelphotography Here’s my submission for this week’s #weekendphotofocus, New Life & Spring: http://bit.ly/aY1oC7

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Each Monday, we’ll highlight one indie photographer whose body of work deserves special recognition. Please enjoy their photography here, and make it a point to enjoy the rest of their work on their website.

Warning: The following article may cause sudden cravings for everything in your home or work space that is edible;  A full stomach is strongly advised.

Setting up my tripod, adjusting my lights, and putting a nice steak on the table are not what I think about when creative inspiration strikes.  Around these parts we call that dinner, however, those tasty images we see in magazines, on television, or on the menu at our favorite drive through were photographed by someone.  Their job is to make food look good, and entices us to purchase their product.

Today, I have the pleasure of featuring one such photographer.  Hailing from LaGrangeville, NY, USA, Rikki Snyder, a professional food and still life photographer, makes food look good.

Whereas we sit down to devour a good meal, she arranges it without taking a bite. Her table settings include a Canon 7D DSLR, and a Canon 85mm f/1.8 lens.  The lens is the most important part of the photographic process according to Rikki, as it allows her to get “up close and friendly” with the food.  The shallow depth of field, which always makes the food look good, is also used when she switches from pie to people, producing incredible head shots.  You can turn any background, cluttered or clean, into a nice backdrop using the bokeh it creates.   (Some of the photos featured in this article were shot using a medium format camera with a digital back that was available to her when she was in school)

When shooting food, Rikki will normally choose what she wants to photograph prior to the actual shoot.  Next, she raids her “prop closet” as she calls it, and picks out appropriate extras that compliment the food.  Once the food is chosen and the prop decisions have been made, it is time to break out the sketchbook and draw what she is envisioning the photo to look like.

A sketchbook you ask? Stick with me on this one, it gets yummy!

After sketching out how she would like the scene to look, Rikki breaks out the camera and slowly begins the process of shooting, moving props, experimenting, working to achieve the look she is going for.  During the shoot, Rikki will use the built in camera features to process the photos, only using Lightroom and Photoshop for minor adjustments.

Photoshop is used for normal touch up along with some dodging and burning if necessary, and lastly, if there is a good amount of fabric involved, or it is a textured piece, Rikki will run the photo through a high-pass filter with very low opacity.  When shooting in natural light, she will create a warmer image to offset the natural “blue-ness” associated with food.  A good boost in contrast will complete the process.

One subject that she would like to shoot but hasn’t had the opportunity is French Macarons! Unfortunately, she hasn’t found a bakery in New York that sells them, but the search continues.

Rikki offers some great tips and techniques when it comes to “food photography.”  First, always look for the best light you can possibly find.  A soft and “airy” light source is always the most desirable.  If you’re using light from a window, make sure the windows are facing North, and schedule the shoot between 11am-2pm.  She also suggests using black and white cards to shape the light, which can really enhance the overall look and feel.   If you need to prop your image, always try to use textured linens, preferably with imagery as this will add a nice accent.  Another critical piece is the color choices, as they can make or break a great photo.  Play around with complimentary and contrasting colors to get the look you want, however, don’t feel the need to “over-prop” as sometimes simple is better.

Self portraits, which is a style that Rikki has tried in the past, has helped with her food photography.  It helped determine what ideas were a success and which ones failed.  It also helped train her mind to plan out every detail and see the space she has to work with using her mind’s eye before executing the idea.  Envisioning the space before the shoot has also flowed into her still life photography.  Taking the time to do the “leg work” and realizing the final product in her head before the shoot really makes the image work.

Moving to influences and inspiration, Rikki is a fan of Katie Quinn Davies and Aran Goyoaga. In her own words, “They’re both HUGE inspirations to me and I admire their work so much!” Rikki would like to try interior photography someday, but for now she is focused on food and enjoying every last bite!

You can find Rikki out and about on Twitter, Flickr, her personal blog, and website.

Now where did I put those French Macarons!?

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The Assignment

Recently I had a brochure design assignment, since my major clients are big corporations, I have designed tons of corporate brochures and literature.  This brochure was  for a partitioning system.  Sounds boring, right? That was what I thought too, just another product brochure.  However, with a little creativity, it turned out to be one of my best designs!

You may wonder why I’m talking about a design job on Fuel Your Photography.   Photography, in fact, played a huge part in this brochure.  I didn’t shoot this job myself because it was this client was referred by one of my favorite photographers!  It is rare, but it happens.  So all the photos shown here were shot by Graham Uden, a photographer from England, the same guy that we hired for the airport project!

The client who designed and produced the partitioning system is a German company.  Well, you know Germans, everything is so accurate, refined, meticulously calculated to a precise zero point zero zero zero something!  Their products, of course, are of very high quality.  Think Leica, think Zeiss!  They wanted a high end brochure for their system that they could proudly present to their high end customers.  I thought to myself, should I go on the safe  route and make a brochure all about refinements and quality, like all the other high end product brochures?   No, that would be just another brochure and less fun.  I wanted my work to tell a story, making the product looks sexy and the brochure more attractive rather than just some great interior and product shots.  After a several brainstorming sessions and quite a few late nights, we came up with some ideas and the client accepted our concept of “a feminine approach”.  How you ask, a partitioning system and a feminine approach?  How was I going to pull this off, have a pole dancer behind the partitions? Of course not… I won’t get too much into the design process that may bore you, so let us just focus on the photography.

Casting/Pre-Production

After the concept was approved we began preparations to shoot the images necessary to bring the concept to fruition.  First things first, the model played a very important role to bring out the emotion we wished to achieve.  We needed to very carefully choose the model to fit the sensuousness we were planning to bring to the product.  We originally scoured for talent from Germany as we considered the manufacturer might want to match the product with a German model, so we made a few calls to model agencies and arranged some casting sessions. However, the client thought the German faces were to angular for their product. They, finally, selected a model from the Czech Republic.

In further collaboration with the photographer and the stylist.  We scouted the client’s showroom in order to get a feel for the product and how it looked in actuality.  Graham, the photographer, came up with more ideas on where we should shoot, what we can do and how the lighting should be.  The stylist was able to get a feel for the image we wanted to portray and select the necessary clothes for the shoot.  We went through the layout page by page until everyone was satisfied that they new exactly what their task was and then prepared for the shooting day.

The Shooting Day

Early morning, at the shooting location, everyone was busy.  We only had one day for the model shooting, a lots to shoot, it was absolutely necessary to get everything right, thank goodness for careful planning.  While the makeup artist and the hair stylist were busy working on the model, the photographer and his assistants were setting up their equipment.  My designers and I  were discussing some final changes in the photo layout.  When the model was ready, we had a small meeting and went through the rundown again to make sure everyone was completely clear on their tasks so that everything could run on schedule.  We first produced the shots that required natural light and things went very smoothly thanks to the careful planning.  The model was great, poses were better than we expected, we were so thrilled with the models performance that we keep shooting till evening.

The Brochure

In the first three pages, we only used mood shots that seemed unrelated to the product. We didn’t even shown the face of the model and the only close-up was frame of the partitioning system.  Yes, we did it intentionally.  In fact, almost the entire first half of this brochure was carefully constructed as a teaser, to build up the suspense and arouse interests.

We asked the products designer to machine two miniatures of the main frame. Then we used it like jewelry on the model. The reason we did that was to give the impression to the readers, that it is a very delicate product, it is on it’s own an art form.

Continuing the mystery theme, we used the blinds of the system and lightings to create specific moods.  Readers can only see through the blinds to have a glimpse of the silhouette in the first shot. That shot was exclusively natural light from the windows.  The second shot involved a bit of action so the brochure viewers did not feel as though it was stagnant but that something was actually happening and they were encouraged to tag along on this path of discovery.   Mind you we were at the same time, showing some of the characteristics of the product in these shots.

Now you see her! Her eyes were full of speculation, expecting something… Did you notice that the colors became more vibrant, are you prepared for more?

BOOM! Now here comes more action, her beautiful dance looks as though she is celebrating the launch of this unique partitioning system!  She was a natural dancer and a very professional model, we didn’t even have music, she created her own tempo in her head and danced beautifully, simply stunning.  The models professionalism  made this great shot!  In case you are curious, we used only one key light that shone directly in front of her all other light was ambient.

The models performance was so outstanding that  we changed the center spread layout, to what you see above, after her outstanding dance.  We love this page that mixed her beautiful postures with photos of the product.  The teaser ends here, the formal introduction of the product follows.

After another double pages spread (not shown here) the bosses talked candidly about their product. Cool themed shots, right?  This was not by co-incidence, we asked them all to dress in black. That’s what art direction is for!

Now, of course we need to present the product how it’s functions.  A few pages like these were used to show how the product functions in an office.  Still, we tried to stylize these interior shots.  We very carefully considered angles and the placement of lighting in order to create this futuristic look.  On the technical side all these wide angle images are shot are using a Zeiss Distagon T*18mm/F3.5 on a Nikon D3x body.

The rest of the brochure was much more technical, explaining how the whole system worked, the materials used…etc.  We still tried to make every single shot looks cool.

The collaboration of client/product from Germany, manufacturing in China, photographer from United Kingdom, model from the Czech Republic, and, of course, me the Creative Director from Hong Kong was very successful.  In the end, everyone was happy and this brochure won me an international design award.  Did I successfully make a cold product sexy?  I’d love to hear your comments below.

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When I graduated from The New York Conservatory for Dramatic Arts one of the very next steps was getting my headshots done.  As it is with all actors, it’s a bit of an involved process.  You spend several hours going blind on Google looking for a photographers work that you like, and who are in your price range, then comes setting up the consultation and meeting the photographer to make sure you are comfortable and click with them.  Personality and comfort is a big thing when it comes to headshots, or portraits, or anything else for that matter.

Headshots are the storefront of the actor’s business.  It’s their calling card, and can mean the difference between getting seen by casting directors or not.  Actors often bring a bit of pressure on themselves to get great shots so making them feel at ease is paramount. Headshots for Broadway and film are essentially the same nowadays so you don’t have to worry about specifics.

So before I get into the technicalities of headshots lets look a bit at how they are used and what the industry is looking for.  First off there is a subtle difference between NYC headshots and LA headshots.  LA tends to have just a hint more “fashion flare”, but the overall objectives are the same.   For this I’ll be focusing on NYC headshots, as that’s what I shoot the most.

There are generally 2 people that see headshots first besides the client (ex producer, director etc).

~Agents, are the people who are in contract with an actor to find them auditions, and are responsible for getting them to auditions that are “right” for the actors type.

~Casting Directors are the people who see all the actors’ auditions for the particular job they are casting for.  They often see tons of people a day, and often look for different things in a headshot than an agent.

Headshots in general are used as a way for agents and casting directors to meet the actors through their picture and get a sense of them and how to cast them. There are essentially two types of Headshots:

The Legit Shot: This shot is usually more serious in nature and is often composed of just below the shoulders to the top of the head, framed horizontally, it’s ok to cut of some of the head as well, they want to see the hair but it’s not about the hair.  In headshots coaching becomes of key component of the shoot. Headshots are about eyes and lips, the eyes could be spot on but if there is awkward tension in the lips it will throw off the shot as well. LA likes to do a light open mouth here and there, I say unless you’re going laugh keep your mouth closed…it’s up to you though

The Commercial Shot: This shot tends to be a 3/4 shot framed from the mid-waist or lower to the top of the head; shot vertically. It can ALSO be

framed the same as a Legit shot. I tend to shoot 95% horizontal than vertical, as it looks more like a film still, and commercial shots are usually happier, smiling shots. Just make sure those smiles are genuine, which usually involves massive amounts of wittiness

I try and get a look of great desire with a very very slight smile, sometimes no smile at all. Let’s be honest…sex sells and that tends to be the trick, getting the eyes to deliver that look of desire without going over the top. It takes a lot of work on the subject’s part as well as the photographer.  Some technical ways to achieve this is to make sure the subject is breathing into the camera, and lowering the chin slightly. When someone breathes in it automatically adds oxygen to the eyes giving them some life, and the subject should then have something going on in their mind.  This is where the subject play’s a crucial role; THEY need to be working just as hard as you.

The MOST important thing to remember in any portrait photography work, but especially in headshots…is that the camera PHOTOGRAPHS THOUGHT.  If they aren’t engaging the camera their eyes will be dead or boring…not the best way to get a job.

A few technical things:

You want to make sure you are showing them in authentic way, so no crazy makeup, not a lot of under eye eye-liner for girls (makes them look a bit older), etc.

Solid neutral colors for clothes tend to work best, and for women cami’s, and tank tops work well as it shows the neck, shoulders, and clavicle well, and these are all ways to tell a woman’s body type which helps out casting directors.

The longer focal length you use the more it removes distortion and flattens the image, which will represent your subject in the most accurate way to the human eye.  I’d say a minimum of 105mm is required and if you can go longer I would.  Almost all my headshots are taken around 200mm at f/2.8-f/3.5. This creates nice subject separation and bokeh.  It also gives the sense of the subject being in an environment, and also gives it a bit of a “film” look.

The camera likes angles, and the rule of thirds gets used a lot in headshots.  You don’t want to do a ton of posing but you can work a model into positions that work well in a tight frame and also help get that comfortable look.  Often times leaning forward, holding shoulders back a bit, placing hands on legs all this sets the body up in an “I’m engaging you” way which helps the actor mentally have those thoughts coincide with the pose.  Often achieving this isn’t as complicated as it sounds, and will happen fairly naturally with just some tweaks along the way.

Lighting

Obviously the most important thing when it comes to photography, and when it comes to people its paramount.  You can use natural light or flash or a mix of both.

I tend to like shooting outside as much as possible as it sets the actor in an environment and has the look of something you would see on film.  However, shooting outside presents it’s own challenges.  The weather has to be right, which is always the biggest issue.  Headshots have to be pretty well lit so shooting outside with no lighting tends to render pretty flat lighting with backgrounds that aren’t as dynamic as they could be, depending of course on the lighting conditions that day, sometimes it works great and sometimes all natural light is just dull.

To cope with this issue, most of my headshots now are shot using a combination of a reflector, and one SB-900 Speedlight shot through a softbox.  Occasionally I bring out a second Speedlight to splash some light on backgrounds to add a bit of punch to it.  This essentially lets you get control of the background and bring in the light on your subject, and the results are fantastic.  It also allows you to blend the ambient light with the Speedlights to create a very natural look.  You can also do some fun stuff for a bit more of a dramatic feel, which can be good for an actor to have handy.  Though more dramatically lit shots are not good as “everyday” shots for the actor, they can be useful in the sense that the actor can submit very contrasting images.

I typically shoot with a cloudy white balance and a ¼ cut CTO (color temperature orange) gel on my Speedlights.  The cloudy white balance tends to render skin tones in a subtle warm way, giving the skin a color and richness that is very natural and pleasing.  Using the ¼ CTO gel is also very important as the Speedlights I use have a very cool light temperature, so this warms the light up giving it a very natural, almost sun quality look and feel.  Under bright conditions the Speedlight is there just to add fill light and put some great catch-light into the eyes.  As the light fails is when I do a bit of the dramatic stuff.  You can also shoot with a very fast shutter speed to bring everything way down then light the subject and this alone can create some drama as well.

These little Speedlights are really fantastic for most all the portrait work I do, very portable, very powerful, and with endless attachments to soften and work with the light.  Strobist.com has some excellent articles about working with them, as does Joe McNally.  I learned a lot about using them well with these two resources and once you get the feel you learn more and more about different ways to bring Speedlights to life in a new way.

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[ We're very fortunate to have Majd Elias guest write for us today! Mr. Elias is a part of a Los Angeles-based advertising agency and lends his expertise to writing for FYP by tapping into his experience with Fortune 500 companies and sharing them with us. I hope you find this post extremely useful and enjoyable! ]

Outdoor Advertising mainly known as Out-Of-Home advertising (OOH) is made up of more than 100 different formats. In 2010 OOH was estimated to be a 6+ billion dollar industry in the United States alone. Outdoor advertising is essentially any type of advertising that reaches the consumer while he or she is outside the home. This is in contrast with broadcast, print, and Internet advertising. Out of home advertising, therefore, is focused on marketing to consumers when they are “on the go” in public places, in transit, waiting (such as in a medical office), and/or in specific commercial locations (such as in a retail venue). Outdoor advertising, (which has been in existence since the days of the Pharaohs where it was employed on stone obelisk to publicize laws, treaties, major state and national events) fall into four main categories: billboard, street furniture, transit, and alternative. OOH is utilized worldwide and consequently, every municipality, has its own applicable regulations.

There are a variety of common OOH mediums in most markets such as mass transit which mainly includes Buses and Commuter Rail.

 

Another common medium is the street furniture which mainly includes Bus Shelters  and Bus Benches  as well as Mall Panels

As for alternative OOH that covers lots of grounds, from the Aerial banners to Taxi Tops  to the Double Decker Buses  and much more in between such as mobile trucks, digital projection on a side of a building, Airport Carousels, commercial parking lots, etc.

But when it comes to Billboards they represent the core of Outdoor Advertising. They are the signs seen on the side of the streets or along the highways (image) as well as on building rooftops (image). Billboards are a part of American life, advertising for hundreds of thousands of small businesses dating back to 1835 when Posters were printed and posted on the streets to advertise a circus in New York. However, today much advertising space, especially in cities, is given to multinational consumer brands.

The most common size for a billboard is 14’h x 48’w also known as a standard bulletin . The second-most common size is a 10’6”h x 36’w also known as a junior bulletin.  The 3^rd most popular size is 12’ x 24’ also known as Poster Panel or Premier Panel. In recent years, Wallscapes also known as Supergraphics have become a very popular medium to advertise due to the sheer size of the advertising space plus the convenience of having an existing structure (commercial buildings in most cases) to advertise on vs. building a new one from scratch.

 

For the photographer this provides both challenges and opportunities. One of the challenges is that images must be taken to the maximum technical perfection given the size they will be enlarged to in post processing therefore lighting, camera vibration, and all other technical aspect need to be controlled. But the opportunity to have your images shown on such a large scale is very rewarding. Given the scope of the clients that traditionally use this medium it will be necessary to network with advertising agencies that handle high end clients that use OOH, a good tip is to see who traditionally uses these mediums in your market and then see who the media houses responsible for the creation of the OOH is! One of the important things to remember it the size and orientation of the canvases you will be working with. Firstly you have a TON of space to work with, for the most part images in portrait orientation are absolutely useless for OOH (except in a few limited circumstances), secondly, we are all aware of magazine layouts but in OOH you need to cast all this out the window, while in print you article needs to be tight and controlled due to size limitations in OOH you have a HUGE canvas, your image must be captivating yet simple enough that it can be captured on the move.  A portion of your shoot should be designed exclusively for the landscape layout from the outset as adding elements to an image originally created for portrait orientation is ineffective. Given the cost of mounting a shoot of this nature shots should be allocated to both landscape and portrait orientation images to cover all forms of OOH, keep in mind, however, that the predominant format is landscape.

From an advertising effectiveness stand point, Outdoor advertising has great advantages in comparison to print or TV. A magazine subscriber may read certain pages of the magazine, the whole magazine cover to cover or simply use the magazine as a drink coaster or recycle it without even looking at it. So the odds of an ad to be seen in a magazine are very sketchy. TV ads have been facing similar results uncertainty ever since TiVo came into play where viewers fast forward through the commercials so they can get back to their recorded content. Only Live events have higher results in reaching viewers since the commercials cannot be forwarded and the viewers are forced to watch them.

As for outdoor advertising, it is almost impossible to drive by a billboard without seeing it, unless you are driving with your eyes closed, of course. It is in your face, you cannot turn it off, and you cannot turn the page, change the channel or fast forward it. From the photographer’s standpoint, while a large number of people will see your work you will not become a household name though OOH, you will, however, become in high demand by agencies if you excel in this field.

Outdoor advertising reaches nearly every American, yet outdoor does not get a proportionate share of ad revenue.

Outdoor advertising is there 24/7 and reaches highly mobile American consumers with effective advertising messages. The current economic downturn and resulting change in consumer behavior will have a negligible effect on the reach and frequency of outdoor advertising messages. In fact, during an economy in recession, outdoor advertising, with its high cost effectiveness, may be the best option for companies looking to increase brand awareness and maintain their competitive advantage during tough economic times.

Just like any other advertising medium, outdoor advertising has its own challenges as well. Many of the popular markets are saturated with OOH making it more difficult to notice one billboard vs. another. This is a problem that photographers come to its rescue very often with their creative eye and feel for the final look of the images. Many savvy photographers execute their photo-shoots specifically for OOH. They use a totally different look and set ups than the ones they used for Print ads, TV or online, just to capture that extra essence that’s going to separate their billboards from the rest.

Whether it’s the lighting, the lens, the positioning of the product or the model(s), the accessories added to dress the set, the background just to create the correct perfect environment for that perfect shot that’s going to get blown up to the size of an 8 story building and create the glamor needed to catch the attention of the motorists and/or pedestrians

It’s critical for the photographer to be embedded with the marketing team of the brand being advertised on billboards in order to get the best results in the photo-shoots. It is by far easier for the photographer to create a concept for a billboard campaign when he/she understands the vision and direction of the brand

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[ Editor's Note: You haven't had enough of new writers, have you? Good! Because here's another one! Dylan Patrick is a photographer who hails from NYC and has maintained his own business since graduating in 2006. He's shot everything from headshots to landscapes and has a unique perspective on the business. I hope you enjoy! ]

A couple years ago a good friend of mine asked if I would be able to shoot some cocktails for the Empire Hotel here in New York City.  Little did I know what I was in for.  Of course I said yes, agreed to a fairly cheap, but decent rate as there was only 10 cocktails or so and I didn’t have to do much – just shoot away.  Having a bartending background as well, I thought it would be a fun opportunity to explore the world of hospitality photography, and perhaps get a market going for myself to compliment my other area’s of focus like my headshot, portrait, and landscape business.  I have to tell you it was the best decision I’ve made.

Now I knew absolutely nothing about shooting cocktails much less shooting hotels or anything else of that nature, but I dove in headfirst and came out smiling.   I’ve spent years behind a bar and have a very good appreciation for what photography brings to the service industry.  Hospitality is constantly in need of great photography of just about everything.  They want details, cocktails, hotel rooms, lobbies, meeting rooms, specialty events, bars, clubs, kitchens, food, and the list goes on.

Growing up I always had a appreciation for architecture, spaces, and symmetry (still some of my favorite things to photograph) and this played a crucial role in bringing composition, symmetry and details into one frame, in addition to giving that frame the emotion that draws customers in.  Don’t get me wrong – I’m not a master of this.  I’m constantly learning, making mistakes, learning from them, and figuring out better ways to do things.  I never want to feel like I have mastered photography in any way.

So, back to the Empire job.  These cocktails were made for Fashion Week, and the Empire Hotel sits right across the street from Lincoln Center where they hold Fashion Week twice a year.  The hotel, I learned a bit later, is owned by a large hospitality company that owns about 8 other hotels…lucky me.  So when the images went to corporate, they loved them, the PR firm they use loved them, and that right there got me “in”.  The next thing I know the PR company is calling me to shoot holiday cocktails for the Empire, and the hospitality company wants me to shoot one of their other hotels.

The first hotel I shot was a bit of a daunting experience.  There is a lot to shoot, and a bit of a compulsive attention to detail is a must.  Now before I go much further, most hospitality photography is pretty heavily processed in post-production, but it is still essential to get a lot right when you are there or you will pay for it later when your eyes pop out of your head from staring at a computer screen while spending what feels like days retouching.

So lets start with the rooms, easily the part that takes the most time.  Basically I walk into a room and look at everything very carefully, and then I prop the camera up (tripod is a must for most things) and start to find the pleasing compositions the room has to offer.  Then once I’ve found an angle or two, or three, depending on the room, I start looking for things that you don’t want to see.  I walk around fluff pillows and then straighten them as much as I can to avoid wrinkles, same with the beds.  This can be just as easy as rubbing your hands over it.  On some shoots the hotel will put staff members with you to be constantly ironing and starching things, but either way you will still have wrinkles to deal with in post.  I will often bracket exposures as well because you do NOT want to have to go back.  Hotels usually take rooms out of inventory for the shoot, so you want to make sure you get everything right first time!

Some technical stuff here.  Part of the reason I bracket is the same reason HDR is such a big craze.  People want to see as much as possible, so that means you have a couple options.  If you have a room that has a great view and you want to capture that, as well as what the room looks like, you can do a few things:

1. You can wait for the perfect time of day and try to get it in one shot, and do a little post work on it later (this is a good option for some rooms, and not for others it really depends on which way the room is facing, how much light comes in etc…)
2. You can bracket exposures to get the full dynamic range, then grab the ones you want and blend the exposures in Photoshop using layer masks.

Note: I probably do this the most as it provides greater flexibility, however it’s a bit more post work. Also notice that I DIDN’T say use an auto HDR program – this is just personal taste. I find when it comes to hotel rooms automated HDR programs loose some clarity and oversaturate things that shouldn’t be, they also have the potential to make things look kind of dirty.  Exposure blending (dodging/burning) in the film days is pretty much equivalent to what the concept of HDR is now.  Using Photoshop and doing it manually provides the best results for any HDR in my mind, but that’s just me and I’ll have to save that for another article J

3.  You can light the room with strobes or continuous lights so that you can shoot at a faster shutter speed (I do this as well with strobes from time to time, but it can require gelling lights so you aren’t mixing drastically different light sources and color.)

The lobbies, terraces and outdoor spaces tend to be a bit easier to capture.  Along with capturing nice wide (but not too wide – you don’t want to bend walls) shots you also want to capture intimate details and design elements, this gives the hotel things to use on brochures, websites etc.  It’s also very important to get vertical shots as well as horizontal, often verticals work well for sidebars, on websites, and pamphlets, etc.  Also look up other photographers and see what they are doing and incorporate elements to your own unique style and vision.

Now I see some of you out their raising your hands saying “That’s great Dylan, but I don’t live in NYC, where there are tons of beautiful hotels to solicit!”  I come from a very small town in Idaho, but they have some nice bars, restaurants, bed and breakfasts, spa’s, even those tourist rental places where you go to rent canoes, or jet ski’s, or any number of other things.  These are all service oriented places, that chances are, could use some good photography.  Sometimes the best way is to check places out, see which ones have websites, and then check out how their websites look.  I’ve also done a couple jobs for little to no pay, just to get in the door with one place.  Often times they will use you again and again, as well as tell others within their given industry – restaurants, and bars especially.

I may have to make this part one of a two part series, as there is a lot that can be talked about, but hopefully it has given you some things to think about.  If this area is something you have never done before, like it was with me, don’t let that stop you from trying because you just never know what could happen from it. The more you know how to do, and do well, the more marketable you are.  While we are all constantly learning and growing as photographers, find those weaknesses and make them strengths, learn from mistakes and you would be surprised at the pictures you can make.  Thanks for reading, more to come!

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I’m not ashamed to admit: I’m a huge fan of Project Runway (there, I said it).  Something about watching people putting fabrics and materials together to create amazing pieces of clothing intrigues me.  I blame it on my culinary background, where throwing semi-random ingredients together to create an amazing dish fascinates me.  So, when I was approached to do a fashion shoot, I wasn’t sure what to expect – it’s not like the food or product photography I’m accustomed to.  I did my homework and made sure I read every bit of literature to get my head around what I was in for.  With this being the first kind of shoot I’ve ever done to this magnitude, it was nerve-wracking, but through the challenges I experienced, I learned valuable lessons and experienced an end result I am beyond pleased about.

I met the Tranquilista, Kimberly Wilson, after doing a previous shoot for a company that is releasing a DC guidebook that will be coming out TBD, and after reuniting at an event that was being hosted by this company, she discussed the photography for a book launch fête she was hosting (yes, she also writes books) and we talked about the possibility of also working on her upcoming clothing line launch.  It wasn’t something I’ve done before, but I certainly wasn’t opposed to the idea!  She always has a sweet disposition, and every time I’ve left her vicinity, I’ve felt at peace and, well, tranquil.  The model, Allison, works out in San Francisco (I’m jealous) and met Kimberly on a yoga retreat.  She blew my mind in how natural of a model she was – she had never done modeling before!  I was completely spoiled to have a model like her to work with!  Kimberly’s assistant was a fellow yogi, Eden, who was also a great pair of eyes to have around, as she noticed certain things before I even got to them and made my workflow easy.  I figured her clothing line would be a great step in the right direction for my business, and one step closer to shooting Michael Kors… err, I mean Heidi Klum.

You can read all the articles and publications you can get your hands on, but nothing prepares you for the challenges you face in your first clothing shoot!  Especially when you’re starting out, it’s hard to obtain some of the things you need to get going, and one of my biggest challenges is studio space.  Simply put, I don’t have any.  There are a few photographers that rent out their studio space, but trying to coordinate your schedule with theirs gets hairy, and I wasn’t able to get anything concrete on such a limited timeline (as in, only one day to shoot).  Fortunately for me, the designer is a do-it-all, and not only does she design clothing and publish books, she also runs her own yoga studio.  She had a room that wasn’t being occupied, so we converted it for the shoot with my portable seamless.  Another challenge was trying to properly light the subject.  The lights in the studio were adequate, but my single umbrella was going to make lighting tricky.  Plus, lighting products or food is completely different from lighting people!  I have used it before this shoot, so I understood how the lighting was going to work along with natural light from outdoors.  The biggest challenge was post-production: it SUCKED!  Because of my lighting, the white background turned almost a pinkish-gray.  This required a LOT of converting the background to white, which was excruciatingly painful.  Add to that the numerous photos I had to work on, it was an enormous headache!  However, now I’ve got the rhythm and technique down to make future shoots not so tedious.

I was certainly glad for the experience, but more so, for the lessons that resulted from this shoot.  I now understand the amount of time that results in these kinds of shoots, and that all of the time spent editing what was only a four-hour shoot needs to be compensated for.  With that, you must make sure that all of the terms of the agreement for the shoot are established well in advance, so there isn’t any confusion for future shoots and everything gets handled in a timely manner.  Luckily for me, she and I have worked together previously and were able to come to a mutual understanding relatively quickly, so nothing got dragged out, and we have already established terms for the next shoot months in advance.  Aside from that, more equipment is always helpful, especially to get the images that you want, so don’t be afraid to rent or borrow from a photographer buddy.  I was still starting out, so I didn’t have the connections or the equipment back then like I do now, and I know that I’ll be better equipped for my next shoot.  I’ve upgraded my camera and speed light since the previous shoot, which should make things noticeably better.  I’m still dreaming about better strobes and a Pocket Wizard, which are still out of my budget (for now – if I starve myself long enough, I’ll be able to get them), but thankfully I’ve made friends and have the hook-ups.  It’s all about networking!

The shoot was fantastic, and thanks to Eden for the help and Allison for being such a natural and wonderful model.  Because of them, the shoot went without a hitch, and we were extremely productive with a lot of great shots.  Most of all, thanks to Kimberly Wilson, who has been such a great client of mine for these past months.  I’ve had a lot of great work as a result of her, and she’s always such a pleasure to work with!  You can view her yoga and lifestyle clothing line, as well as other photos of the resulting shoot at her website: tranquilit.com. I am always surprised when I have a shoot involving something I never believed I’d get into and enjoy it beyond belief – it didn’t involve photographing food, yet was one of the most fun shoots I’ve had to date!

Next stop: Vanity Fair.

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Whether you are new to photography or an old pro, the one thing that every photographer enjoys is something unique to photograph. If you find yourself in this position, then let me give you a good place to start: Your local theatre troupes. Why? Because these groups have the items that many photographers crave to make a photo come to life: models, makeup, lighting, sets and story.

Shooting for theatre affords an opportunity for both amateur and professional photogs that is unlike anything else in the industry. Most theatre troupes are more than welcome to invite you in to document their work for free. If it turns out you happen to be good at what you do, you can easily get your name around and begin a niche service. In the field of theatre photography, there is good money to be had.

Getting Your Foot in the Door…or On the Stage

While in most cases it can be easy, getting your foot in the door can be tricky if you’re not careful. I stumbled into my post as photographer for Blackfriars Theatre, because the company was left in the lurch by their previous photographer who went AWOL. With no experience under my belt, I grabbed their digital camera and began snapping away. Five years later, after many shows and pictures, theatre photography has developed me into the photographer I am today. I was lucky to fall into my position, and you may find that there might be photographers in place; the local mom or dad, the hobbyist, or a photographer just like you. Don’t fret, as most photographers are happy to share their space with you as long as they don’t feel threatened that you are trying to steal some of their bread and butter.

Production photo from Blackfriars Theatre's production of Our Leading Lady

Most cities and towns have several theatre groups that put on many shows a year. There’s a lot of work to be had for those that are willing to put in the effort, of getting your foot in the door. A good quick way to find out what is going on in your area that might afford you the opportunity for theatre is to get your finger on the pulse of your local entertainment scene. Pop open the local paper, hop on the internet and Google, pursue Facebook groups. Become friends with actors and directors, and before you know it you will find yourself with a plate load of potential photog food du jour. Once you have chosen what areas you want to look at (Theatre photography can also extend into shooting film, dance, and bands but mostly you just want to focus on the former) you begin the courting process. This starts with getting introduced to who runs the troupe or production. Get to know them well.. Learn what they’re about, what their goals are, and what type of material they are producing (past, present and future). Most importantly during this process is to find out about their photo needs are, if they have any. Whether they do or not, this is when you pop the question to see if they will let you in as a photographer. If you are new to this, let them know the reality of the situation; that you are growing your portfolio. If you are a pro, you may do the same or offer them your services. Most will jump at the chance for their masterpiece to be caught on film, whether or not they want to pay you. This is where getting your name out there helps out.

Production photo from Blackfriars Theatre's production of Same Time Next Year

Every Photo Has a Story

There is a reason I believe theatre photography to be a prime place to get your footing as a photographer, and that is, resources. As mentioned previously, there are no shortage of benefits to shooting on location, on set, or on stage. But above all these physical resources is the intangible, priceless resource of story. I am a firm believer that in order for a photo to really stand out, it must always tell a story for it to stand on its own. The greatest thing about shooting in this arena is that the story is already there waiting for you to capture it on film. The important thing to remember is to capture the moments. Don’t just shoot to shoot. You have real, live models performing in front of you, breathing life into their characters. Get it on film.

The side benefits of shooting on stage or set is that most actors wear makeup, because they are under lights. So you can have wonderful, dramatically lit sets and actors, and all that is needed is for you to step in do your stuff. You don’t have to bother with creating characters, and giving them something to do. No need to worry about lighting, makeup, hair, and set pieces. Simply get in there and shoot. Learn to take photos in a different, albeit ”theatrical”, setting. Learn to setup your camera and shoot from the hip,  capturing photos  that only you can get. What I have found is that the best photos just happen. It becomes the collision of so many forces working together as one unit.

Publicity photo from Blackfriars Theatre's production of A Wild Party

Every Story Has Two Sides …or more

Mostly everything I’ve discussed deals with the meaty part of theatre photography, meaning production shots. There is however more than just popping in and taking shots during their production runs. Most theatre groups rehearse nonstop for a month (meanwhile building the sets, costumes, et al.) then open their show till it ends. In the world of theatre you can be involved at any point, but most theatre companies like it if you are not taking shots when they have a live audience. They also provide the opportunity for behind the scenes shots, and promotional or publicity shots. I spend most of my time in this industry dealing with publicity and production shots. Behind the scenes shots are icing on the cake, and stuff that let’s the outsiders in on the life behind the lens or off the stage.

Publicity photo from Blackfriars Theatre's production of Shipwrecked

Dealing with publicity shots is entirely different than working on production shots. In taking production shots you may go in, setup your camera, prepare for the action and fire away;, In shooting for publicity it has its own mad world to contend with. If you are not a professional, this is the one area that takes all the elements and brings them together, and helps you to forge your path as a photographer. You may work with the director or producer who has their vision of what this project is going to be, but has laid it in your hands to make that vision come to life. You may at this point find yourself with no lighting, minimal sets, no costumes, and very little believable story from characters who have yet to be refined and brought to life. It is up to you to take these elements and create something special.

Here is the best advice I can offer: Breathe, and don’t forget to think outside of the box. If you are on the stage, you may be able to get the lighting designer to throw up some lights for dramatic purpose. Discuss beforehand what the director may want, to afford you time to gather things together. I have found it necessary to use what you have available; while working at theatres I will frequently steal set pieces and props from other shows, to get what I want. Sometimes I will take the actors and go walking, or meet somewhere that embodies the vision of the piece. That may mean you can find yourself in a park, or in the dungeon-like basement of a church. Use what’s available, and never be afraid to let things happen. Most of my best publicity shots occured because of the unexpected items that gave the photo character. The same can be said for film work. A couple gels, filters, and some portable lights, and you can shoot nearly anything, anywhere. Just make sure what ever you shoot, you shoot from several angles, and get adequate coverage, in a nice sharp focus. You will find that most newspapers and magazines will be more apt to publish your work if it is crisp and colorful.

Production photo from Blackfriars Theatre's production of A Year With Frog and Toad

Tools of the Trade

I have gone through several cameras before I settled on the image quality that is produced by my Canon 50D. For its price, it was hard to beat the quality that came from this camera. On a typical shoot I bring along two lenses; my trusty 17-85mm EF IS Canon lens and a 70-300mm EF IS Canon lens. Those, coupled with my 16gb CF card get me the coverage I need. Yes, there are other lenses and goodies I would like to use, but you will find that the fast-paced setting of shooting something live like theatre does not afford you switching lenses every couple minutes.

I find it helpful to try and catch some rehearsals prior to the shoot so that I can anticipate what shots I want to go for, where the breaks are, and where the best angles are. This way, I can plan my lens switches without needing to buy an extra body, or lose out on some great shots. In film you have the benefit of multiple takes which affords you more time. I try to stay away from wide shots when doing my theatre work. I occasionally take them only for the benefit of the theatre to showcase their sets and scenes, but the money shots are always in the action. I try to put myself in the best place to make the scene pop to life. This may mean running across the theatre, straddling seats, or balancing on ladders. Each theatre provides its own special nuances, and I find the smaller (and subsequently sometimes closer) theatres give you the better balance of shots as opposed to the 1000 seat, 60 ft wide stages.

When working indoors with sets and stages, find a setup on your camera that works best for you, I find Manual setup or Shutter (Tv) priority with a higher iso 800-1600, and tungsten balance work best. I always shoot in RAW so that I can play with balancing when I get back to the studio. You will find that having an indoor setting or starting point for this work allows you to get more consistent quality and a higher quantity of shots. I average 500-800 shots during a shoot for a 1.5 hour show, but of course this changes when you add or subtract actors or scenes.

Getting Your Name Out There

The biggest part of being a photographer is simply getting your name out there and getting work. You should already have an online portfolio, and you should already be using Facebook and Flickr to your advantage. I know I do. When getting your name out there, and when in the process of working with theatres it is important to remember to always get your photo credited. My photos have been used in a magazine, our city newspaper and local papers many times over. They also post most of their articles now on their websites as well, giving your photo that much more exposure. Having your name attached anywhere it is used will help other theatres and interested groups find you easier. Any promotional material used by the theatre should have this as well, especially if you are doing the work for free. I am huge advocate, and constantly hound newspapers to get the credit in there, and to spell the name correctly, because if you boil it down, it is advertising. Its your piece of art going on display, so don’t be afraid to take the credit. If you are afraid to take credit, then maybe you should think twice about being a photographer.

Displaying your work in an online portfolio, and Facebook is nice, but having a site like Flickr to post and get feedback is a great tool at advancing your self in this industry. Below are some links to portfolios (shameless plug of my own portfolio and Flickr page), and Flickr groups that should interest you if you are looking into this niche of photography.

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I chose these photographs for one reason: the color MADE the shot. When looking through the different portfolios, and I saw a great picture with a lot of color, I would ask myself if it would still have the same feel if the color wasn’t there. With these, the answer to that question was NO. Enjoy.

Photo by: Roc Herm

Photo by: Olivier

Photo by: Michael Creagh

Photo by: Graphistolage David

Photo by: Florencia Mazza

Photo by: Cámara Oscura

Photo by: Ashburn Eng

Photo by: Susan Anderson

Photo  by: Orgut Cayli

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This series was shot by Andrey and Lili,  found on the Behance Network.  It was shot in a show window of a local boutique. The cloudy, dramatic effect was created by a smoke machine.  Some retouching was done to add gentle shades to enhance the flowers. Other technical details found below.

Camera: Canon 5D

Lens: 24-70 L

Exposure: 1/60, f4

Flash:  Falcom 200 ff

About the Artists:

Andrey Yakovlev was born and grew up in Izhevsk city, Russia. He has taken up photography since 1980. In 1990 he took 2 awards in all-Russian contests. In 1991 according to possibilities of perestroika he set up his own studio and started to implement his creative ideas: photography in glossy magazines, photo-exhibitions, shootings of video clips, and organization of model school.  He is a three-times laureate of prestige award “The Best in Profession”. Family tandem Andrey-Lily was put together in 1998. In 2006 Lili took the First prize in XVI Moscow International Festival of Advertising.