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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.

Ameena comes from a small town just on the outside of London, United Kingdom.  She will be 21 years old this September, and will have been with FYP for two years and a few months by that time. She currently lives in Bristol, in the south west, where she is in her first year of studying photography at university.

Ameena is a prolific writer and has published numerous articles about different techniques and genres in photography at FYP, but at the moment she is responsible for the ‘Weekend Photo Focus’  and ‘Weekend Photo Find’ which are published every Friday and Monday. She also publishes a monthly interview with notable professional photographers, which goes live on the 30th of every month (look out for this months featured photographer).

Her style is still in its developmental stages, and therefore very experimental. Portraiture is her strongest area, as well as conceptual photography, which is mainly due to her participation in the 365 project (in which she attempted to take a self-portrait everyday for a year). As well as that, she has a great love for creating surreal and dream-like images, especially as sometimes she gains inspiration from her dreams which can be very vivid.

As well as portraiture, she loves to photograph landscapes and different cultures, this stems from having relatives all over the world and being quite well-traveled as a child because of it.  One day, when she can afford it, her dream is to go traveling and discover all the hidden gems of the world,  just to take photographs.  Ameena also has a growing collection of film cameras, and loves to expose roll upon roll of black and white  film.

Recently, Ameena upgraded her dSLR from a Nikon D60 which was cherished and loved for many years, to a Nikon D7000 which was bought because of its greater range of features but also because of its ability to shoot video, which Ameena hopes to experiment with in the near future.  Her favourite lens is also a recent purchase, a 50mm F1.8 lens, which she fell in love with as soon as it was affixed to her camera.  Ameena loves to use it for her portraiture photography, and self-portrait series as it provides gorgeous depth-of-focus, she is rapidly developing an affection for prime lenses.  It was also the perfect lens for a recent series she did based on the cinematic style for a university project, which she also did an article on.

Ameena was introduced to photography in an unusual way; before she was given a digital camera for her 14th birthday, photography as an art had never crossed her mind.  She took her new camera with her to local gigs that she attended fortnightly with her friends, and started taking photographs of the bands that played.  Eventually, she was asked to take photographs for the company that held the gigs, so that they could show them on their website.  She did this for about three years, and during those years her skill in using a camera developed, and her interest became a full-blown love affair with photography, which to this day has not dwindled, nor does she expect it to.

As mentioned before, Ameena is in her first year, studying photography at university, and intends to become a famous and perhaps rich photographer one day, photographing for the likes of Vogue and I-D magazine.  Writing for FYP has given her the technical skill and desire to become part-journalist and to also has allowed her to pick up a variety of other skills to add to her collection and therefore up her value as a creative.  When she started university, Ameena decided to take it a step further by seeking clients and hopefully have the chance to work with real models and establish her name in the industry.  Yes, it is a slow process, but everyone has to start somewhere, fortunately for Ameena it is paying off slowly because  in December 2011 she did her first ever fashion shoot in which she shot some brilliant photographs, and had a great experience at the same time.

You can view Ameena’s most recent work on her Flickr and Facebook page, and her portfolio here. She may also be contacted by email to a.rojee@hotmail.co.uk.

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[ Editor's Note: Some items in this posting maybe considered NSFW ]

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.

This week spotlight, Eric James Leffler, hails from Walnut Creek, CA. His style ranges between fine art, portrait, and wedding photography.

Despite the genre, Eric is never without his main camera – A Nikon D700. If the 700 should fail him for whatever reason, he carries a D90 as a backup.

Eric’s len’s choice is a Nikon 24-70/2.8, which he fondly refers to as his “workhorse.”   Wide enough to handle most of his city and landscape work, yet versatile and sharp in the studio.  It’s also a great lens for low light situations.   A self proclaimed “sucker” for compression and bokeh; Eric also carries a 70-300 lens, which also serves as a secondary.

Eric prefers working with natural light, on location, when circumstances permit.  When shooting landscape and city, he will occasionally use bracketing in the event he wants to tone map or some manual blending.

An off camera flash/strobist is always standing by for indoor portrait work, night shots, or a more dramatic effect during the day.  When it comes to ultimate preference, Eric refers to natural light as his “happy place.

Adobe Lightroom 3 is Eric’s go to software for file management and the majority of his editing process.  Photos requiring additional polishing find their way into Adobe Photoshop CS5 and onOne Photo Suite software.

Diversity is key when it comes to the shoot.  Boredom can set in quickly, so finding a new location, concept, or subject is what drives him.  He is also inspired by the city;  San Francisco to be more precise.   A Bay Area native, Eric still finds something new every time he heads out for a shoot.  Another inspiration is the water as it relates to his beauty and fashion photography.

Inspiration also comes in the form of other photographers, and Eric has his list.  He enjoys Jaime Ibarra for his fashion work, Chase Jarvis for his adventurous side, Hoffer Photography’s wedding work, and Thomas Hawk for his ability to see art in just about everything.

Turning to tips and techniques, Eric suggests focusing on post processing and file management, and Lightroom is the tool of choice.  Eric would also like to try underwater photography someday, and would love to get into pro sports as well.

Be sure to check out more of Eric’s work on Facebook, Google+, and his personal site.

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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.

Chris Gronde was born outside of Chicago and raised in Indianapolis, IN.   He spent seven and a half years serving in the US Navy including two deployments on USS Ronald Reagan (CVN-76) in the Western Pacific and a deployment as part of Counter Rocket Artillery and Mortar Team 2 in Baghdad, Iraq.   He met his wife and fellow photographer Brandy while on board USS Ronald Reagan where they traveled the world together and then when Chris discharged from the military he and Brandy got married and moved to Washington DC where she is now stationed and still on active duty.  As a well versed IT professional, Chris became a government contractor for the US Navy at the Pentagon where he now works.   He was pursuing a degree in IT, but was not very motivated about it.  Although he is good at what he does, it was just a job to him and not something he wanted to devote that much time to.  His wife and friends spent some time trying to convince and then twisted his arm and got him to change his major to Photography.

Chris, the member of the dynamic duo who contributes to FYP,  writes about the ever changing wedding photography business as well as photography education and his experiences in getting a formalized degree in photography.  If you want to shoot weddings you have to love weddings.  His wife Brandy eats sleeps, and breaths weddings.  If she’s at home on the couch, it’s because she is probably watching the wedding channel. You have to keep up with what’s trending and relevant in weddings and wedding photography.  If you don’t keep up and stay fresh in your shooting style and show off their details and their fashion in a way the bride wants they will quickly find a different photographer.  Chris tries to let you know what to look out for and the things to keep in mind if you really want to jump head first into this business.  There are a growing number of people with entry level DSLRs out there passing as wedding photographers and at one time Chris admits he was one of them, but he didn’t shoot a wedding until he was sure he was ready and he wants to make sure if our readers want to shoot weddings they are as ready or more ready than he was.

Chris describes his style is a “Naturalistic Dramatic Portraiture”.  Naturalistic meaning that although he and Brandy encourage posing, they don’t really pose.   Brandy is phenomenal at encouraging movement and placement.   Instead of placing your hands and tilting your head, she’ll just ask “can we get a kiss?”, “Hold her close”, or “Now, pretend you two love each other.” (That typical gets a nice laugh or smile).   The subject does each movement the way they naturally do it and it looks like there is no posing at all.  Dramatic means we’re telling a story, but instead of journalistically we tell the story you want to tell.  When Chris was a child, a wise man once told him, “Never let the truth get in the way of a good story!”  Also, it means that the photos are enhanced either through framing, effective lighting, or post processing to add drama and create a striking photo that is worthy of being treated as art; something worthy of being in a gallery or hanging on your wall.

Brandy and I both shoot Nikon.  Chris’ weapon of choice is the Nikon D300.  It’s a very sturdy body (He’s been known to drop cameras out of trees), shoots quickly, and has very low noise at high ISOs. Brandy’s favorite is the Nikon D7000.  It’s currently the Boss of the midrange DSLRs for Nikon. High megapixel count, dual SD card slots, and the best video Nikon provides are some of its key features, as well as being small and light enough for her to hold up for 8 hours of a wedding.  His favorite lens is probably one of their most inexpensive.  The good ol’ 50mm f/1.8. If you’re going to shoot weddings you need a quick lens for those low light situations and it has such a great bokeh.  Brandy is the details person so if it’s a Macro, it’s her favorite lens, anything to capture those remarkable ring and shoe shots the brides love so much.

Chris’ interest in photography started at a very young age.  Since his first experience with a  110 film camera he borrowed from his dad to take to the circus as a child, he had been in love with photography. It grew as a hobby and became his passion.  Ironically, while serving in the Navy, he met a woman who shared that passion!  From 110’s to her first 35mm Vivitar, Brandy has always loved capturing memories. While overseas the dynamic duos first date was spent taking pictures together at Disneyland in Hong Kong, China with the Nikon D60 that she bought Chris for his birthday. They traveled the world photographing everything they could. After Chris’ time in the Navy was up, Brandy and he got married and they were not too impressed with their experience with their wedding photographer. The pictures were decent, but they had to direct the shots and the photographer just wasn’t personal about it. It was just business.

After their own wedding experience, Chris and Brandy opened Gronde Photography in April of 2010.  They had finally found their calling.  Although Chris maintains his IT job, his career and his life is photography.  First and foremost they are wedding photographers, but they also provide family, maternity, boudoir, senior, and newborn portraits.  Occasionally when they need to feel so inspired they help young models with their portfolios or do some fashion or editorial style shoots.  Their resident makeup artist Victoria Barth is always happy and available to stand in as a model for them. As far as writing for FYP, Chris and Brandy met Patrick Onofre through Union 206 Studio of which they are all members.  Patrick offered Chris the opportunity to tell his story and share his knowledge through Fuel Your Photography.

There are many places online to view their work.  The first of which is their main client website.  You can also read Chris’ personal blog, Gronde Photography: Behind the Lens.   Some of their editorial and fashion work can be seen on 500px.  If you want to see sneak peeks of what they working on right now, please feel free to “like” them on Facebook and follow Chris on twitter @grondephoto and Brandy’s twitter @photog_princess.

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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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[ Editor's Note: This week's Indie Spotlight features the first piece by Hafez Kamal, who hails from Malaysia and joins our team with his knack for discovering new things about the world around him. Though he spends his days as a security consultant, Hafez has a genuine passion for photography, which shows in this week's Indie Spotlight. We hope you enjoy Hafez's discoveries! ]

They say ‘beauty is in the eye of the beholder’ and photography is about immortalizing that particular moment in a frame for others to see. This week’s featured photographer who has been a happy resident of Austin, TX (USA) since November 2007 has a different, yet unique take on Portrait & Art Photography.

Jaime considers himself more of a human behaviorist than a photographer. Armed with his trusted Canon 5D MKII coupled together with a 50mm f/1.8 lens, Jaime would do most of his photo shoots in natural / available light – only to use artificial (studio) lighting if necessary.

“There *must* be a palpable connection with the person in front of my camera.”

Point-of-fact, until/unless he makes that connection, he will not even pick up his trusted camera – “It is a deal-breaker”

Jaime strongly believes that anyone can learn how to take a photo of a pretty woman, wearing a pretty dress, standing next to a pretty tree; but without that connection, without a narrative, the photo is a lifeless disappointment.

“Learn how to interact with humans on a more personal level”. The people in his photos are not simply looking at the camera. They are reacting to the person *holding* the camera.

There is a *universe* of difference between these two things.

Once he has taken the shots he wants, the real work begins. It is not uncommon for him to spend an entire day in post-production for a single image. He has spent a week (or more) in post-production on several of his art pieces.

One such example is the book cover shoot he just did for Simon & Schuster Publishing. The shoot itself was over 16 hours and it is going to take 7-10 days in post to complete.

He was often told to possess an unparalleled patience.

Everything he does today is something he calls a ‘happy accident’.

Opting to learn everything on his own way, defined by his unwillingness to read the instruction manual.

“Just pick it up and learn as-you-go”.

Jaime does not believe in any photography ‘rules’; he believes such rules can and will imprison him, creatively.

Jaime admires artworks to the likes of Jacqueline Roberts and Patrick Demarchelier .

Official Website – http://www.ibarraphoto.com

DeviantART – http://jaimeibarra.deviantart.com

YouTube Channel – http://www.youtube.com/user/ibarraphoto

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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.

Kerron Riley, is a Fashion & Lifestyle Photographer based on the twin island Republic of Trinidad & Tobago, who has also been privileged to photograph Queen Elizabeth II, the current President of the United States of America Barack Obama and other world leaders.  The holder of a photography degree from The Maryland School of Art, Kerron quickly became known for a unique photographic style that was as complex and as beautiful as his mixed heritage.

Early in his career his photo documentary style shot him to prominence setting him apart from his contemporaries because of the crisp and poignant use of photography for storytelling.  In 2011 Kerron’s photographic work landed him a nomination for Caribbean Photographer of the Year.  Kerron is ambidextrous when it comes to cameras and shoots with both Nikon and Canon he finds it difficult so say which ones he likes more but thoroughly enjoys using both his Nikon D3XS and his Canon EOS 1D Mark II.

His favorite lenses are prime lenses and he most enjoys shooting with his 85mm f/1.2, which his primarily uses for fashion and portraits. Most of the time when natural lighting permits he shoots with no supplementary artificial lighting and his 85 mm lens wide open to its maximum aperture of f/1.2.  In Kerron’s own words  “I feel like I can almost shoot in darkness”.

Kerron’s work flow changes depending on whether he is shooting fashion or lifestyle.  For fashion photography, he usually uses a beauty dish as the lighting source or a complement of strobes enclosed in soft boxes.  For lifestyle photography he shoots a bit differently, tending to us no flash whatsoever in order to give images a natural tone feeling  For post production he uses Apple’s Aperture with a little touching up if Adobe Photoshop CS5 if required, he tries not to  do much editing in the lifestyle genre because he wants to stay true to form.

Kerron wishes one day to try his hand at underwater photography. He has  always been fascinated by this last frontier requisite with new, undiscovered things.  Ironically, he is somewhat challenged in the respect that he can’t swim and as he said, he feels as though he would drown in a foot of water in the bathtub, so it is a work in progress.

Kerron suggest that as a photographer one should stay up to date with current trends and technology innovation, it helps you to keep your style fresh!  Secondly, he says “rules are made to be broken,  so do not be afraid to take risk and play around.  Push your models to get the maximum potential and don’t be afraid to be harsh when needed.  Always take your time and be aware of the surroundings before you take a picture.  Visualize the photo first.”

Kerron says he devised his own  unique editing techniques by trial and error.  Truthfully his way of editing is far  different from what is now taught, he bases this on the fact that he learned graphic editing software as a graphic designer which he did for 10 years before becoming a  professional photographer.

When asked to name 2 photographers who inspire him, Kerron said he has great regard for the works of his close friend Calvin French and also Herb Ritts, of Ritts he says “this style of fashion photography excites me”.

Recently Kerron spent time exploring the rich flora and fauna of the Caribbean and Latin American Jungles and also documenting a sustainability research project on a native tribe of the Amazon rainforest. Despite Kerron’s experience his main passions are in the discovery and development of new talent and making extraordinary images from ordinary things.

Kerron website: www.kerronriley.me
Kerron’s  Facebook fan page: Kerron Riley Photographer
Scorch Magazine: www.scorch.com
Havens Swimwear www.havenswimwear.com

Offline, Kerron’s work can be found in: Scorch Magazine, Profiles 98, Caribbean Bell, Tell Magazine , Mentality, Metro, Discover Trinidad and Tobago guide book, Carnival Scene, Tribe Carnival Magazine.

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[ Editor's Note: For today's feature, we're proud to host a wonderful guest article by make-up artist who hails from Trinidad & Tobago. His line of work is impressive and he offers a wonderful and a much-appreciated piece about working with talented Make-up Artists such as himself. Enjoy! ]

We live in a world where “Independence” is highly revered, but “Interdependence” is the best bet to maximizing one’s potential in the photographic arena. Model photography is never a “One-Man Show.” The final product that graces the magazine would have included an artistic collaboration of the photographer, Make-up Artist (MUA), Stylist, Hair Stylist and sometimes an Art Director and for bigger projects, the list can go on to include a wider range of artists e.g Lighting Assistant, Assistant MUA and additional Hair stylist.

If photographers are the memory keepers, then the MUAs are the ones who bring the “memory” to fruition. It is therefore imperative that all persons involved on a shoot be aware of the concept and the desired goal. This will not only save on time and money but make the entire experience more productive for all.

It is beneficial to photographers to have a basic understanding of the makeup process and its power to change a models look. This will help in giving clear instructions and also in having a basic idea of how to achieve the look required.

Let’s start with some fundamental knowledge of makeup through the application process.

1. Consultation – The model is asked about allergies to any specific products or ingredients that are contained in some makeup products.
2. Moisturize and Prime – The face is moisturized to nourish the skin and keep it supple and then primed with a Face Primer to smooth out fine lines while allowing the makeup to last longer without fading.
3. Concealer – Used to lighten any unusually darker areas, usually under eyes, corners of nose and corners of mouth as well as any other dark areas. As well as disguise acne scars and skin blemishes.
4. Foundation – Used to even out the skin tone or even alter it to a different complexion altogether.
5. Powder – Used to set the foundation. Without it the face would look very oily and it would be difficult to add upcoming powdered products and blending eye shadows and blush.
6. Highlighting/Contouring – The higher planes of the face e.g. nose bridge, top of cheek bones, middle of forehead and cupid’s bow (middle of upper lip) basically anywhere light would usually hit on a face first is Highlighted bringing those features forward. The areas where a shadow would naturally be cast such as the sides of the nose, below the cheek bones, jawline and the temple (sides of forehead) would be Contoured or darkened so that it can recede. This method is used to achieve dimension on the face so it doesn’t look flat.
7. Eyes –Played up with eye shadows, eyeliner (gives definition to the eyes) and mascara for the eyelashes, Eyebrows are also filled in. Eye shadows come in Matt, shimmer, crème and even as loose pigments ( pigments are coloured powder and can be used in many different ways e.g. as an eye shadow, mixed with a liquid, it can be an eyeliner or placed on lips as a lipstick) It should be noted that anything with a shimmer or frost will reflect light.
8. Blush – Used to bring balance to the face since typically the main features: eyes and or lips are usually played up. Blush can also be used to further contour the cheekbone, giving the face more definition or be used on the apples of the cheek to appear “flushed” as one would look naturally when blushing, hence the name “Blush”.
9. Lips – Lining with a lip pencil makes it more defined then filled in using either a pencil or lipstick and sometimes topped with a lip gloss, depending on the desired look. There are different formulas with regard to lipstick also, matte (which gives a flat non shiny finish) pearl (which has some shine to it) glossy lipstick as well as others.

The images of Ashleigh below show the results of makeup as outlined above.

Comparing the “before” image on the left to the image on the right, one can see how concealer and foundation have diminished the darker under eye area and freckles. Very natural contouring and highlighting takes her nose from being undefined to being more pronounced. While her eyebrows had a good shape, they were filled in a bit, the entire eye area pops now, with the use of eye colours, and false lashes. Her cheeks were given a slight contour and her lips are now defined and highlighted with a flesh tone lipstick and topped with a bit of gloss to add fullness and luster.

There are times when a shoot will require a model to have more than one makeup look. It is best from a MUA’s point of view, to start with the more basic of the chosen looks first and move toward the more dramatic looks as the shoot progresses. This way it takes less time to produce the desired makeup application as the MUA can either build on the existing look or even if the look is very different, removing element or completely removing makeup and starting over is not a lengthy and tedious process. Professional MUAs are distinctly aware that time is precious any shoot, especially on an outdoor shoot where the intent is to capture the image with specific natural lighting. The images above of Ashleigh were shot on the same day and just an hour apart, also in the order it is represented here. It was far easier to move from the first look in the middle to the more dramatic look on the right and saved on precious time as we were working outdoors and with natural light.

Good lighting is integral to a shoot and in getting the ideal shot. Artificial lighting can be used to cast stronger shadows to further enhance the overall look. Using Soft lighting and light diffusers can soften the overall look on the model, further enhancing the makeup look. It is a good practice for the Art Director, photographer and MUA to review the images as shooting begins to ensure the desired look is being captured so that lighting or makeup can be adjusted.

The images below are good examples of how makeup and lighting can transform a model. Ethan (the male model) is featured in both images with very different looks, the first being an edgy and strongly contoured look to strengthen his facial features. The specific makeup together with the intense lighting makes the image match the vision for that day. Consultation was key in achieving this objective. Then there’s the image below where his makeup is very natural and soft with a flushed cheek and the ideal soft diffused lighting, bringing a vision of calm and serenity we all set out to achieve on that day.

Some shoots that can be quite lengthy and makeup can start to look extra dewy and shiny on the model, especially under constant lighting. Lips can get dry and lose their luster due to exposure to lighting and wind.

The makeup should look the same from the first frame till the last shot is taken. One should be especially careful in this regard because editorial images and catalog spreads use multiple images that weren’t necessarily taken in that order or not even within close timing from each other. Even though the MUA should be monitoring the model during the shoot to ensure the makeup remains constant, in the interest of time the MUA may be prepping another model and may not be able to monitor the model as closely as they would like. Having the photographer constantly assess his makeup needs for the model would be of great assistance,, two pairs of eyes are better than one, especially when one pair is seeing the representative image in the camera.

The images below of Karina were taken at various intervals during the one hour shoot and her face has a consistent look throughout the entire process.

There are times the appearance of the model in person does not translate on camera, with certain features either appearing to be minimized or becoming pronounced. It would be great if the MUA (and Art Director if present) were to be allowed to see how the images appear on the camera or better yet on an external monitor. I recommend this be done as soon as shooting begins so that the MUA and or the photographer can make any alterations or additions before the shoot progresses further.

At times photographers and or the Art Director may give very specific instructions based on their vision and what they wish to accomplish. Sometimes, however, it is better to apprise the MUA of your complete vision and purpose of the photographic work so they can offer their best professional opinion on achieving the goal spot on. In short consultation and an atmosphere of open communication is the best way to have a productive overall experience. Knowledge of the MUAs process and an creative plan open to input will certainly enhance your future photographic endeavors.

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Wanna go to Maui?

A two-day photography workshop, hosted by Jake Garn and Ryan Muirhead, is being held in Maui, Hawaii, on June 6th and 7th, 2011.  The two are covering a wide-range of topics, spanning from controlling your light, simplifying your approach, posing and positions, working with a styling team, post-production and the digital dark room, choosing the medium that works for your style, and even self-promotion in the modern world.

So, what’s included when you sign up for the class and pay your fee?  You will get two days of instruction, demonstration and hands on shooting experience with professionally styled models, the opportunity to photograph at least two fully styled models – one in a natural light setting and one in a studio light setting – and they’re currently working on permits and logistics to possibly do a beach/ocean shoot as well.  The fee also includes models (with a limited model release), professional stylists, location fees, lunch on both days) lighting  and equipment rentals, a full color book to take home, and a CD with video photoshop tutorials.  Sounds like quite a lot for two days’ worth of shooting with professionals!

You will have to find a means to get to Hawaii and find a place to stay, however there is a group rate of $325 at the Fairmont Kea Lani Resort, which is the site of the workshop.

They are limiting the number of attendees to no more than 12-14 photographers, so act quickly!  For more information and details about what each course will teach, check out their site at www.garnmuirhead.com.

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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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This post contains artistic nudity that some may consider, NSFW

Model photography is an art, traveling and model photography is a whole different kettle of fish. Not being on your home ground may make you feel uneasy but with some careful planning you can overcome any obstacles real or perceived.

The Movement – a New York dance group shot in Federal Circle, New York City!

The Five W’s

Who, what, when, where, why and how? Answer these questions and you are well on the way to having a successful shoot. Planning is the most important part of any shoot. The old adage applies if you fail to plan you plan to fail, it really is true! I’ve seen many a shoot be bungled because simple obstacles have fouled up a shoot.

Model:  Irene shot in a room at the Luxor in Las Vegas, Nevada, USA

Who?

Who are you going to shoot? Choosing the appropriate models is key. You have a couple of choices, of course if you are working with an agency they will source and supply models for you to shoot. However,  if you are working on your own you have to source your own models with the resources on the Internet you can utilize a site such as Model Mayhem to source models. You have a couple of choices here also, you can either shoot Time For CD (TFCD) a common arrangement between photographers and models where you supply the model with copies of the images for their use as compensation for their services. Alternatively, you can pay the models for their services. In my experience if you are going to do a TFCD arrangement you should opt to source more than one model for a shoot as at times some models are not punctual or don’t show up.

Model releases are an important protection for photographers and should be executed prior to any shoot. A special model release should be executed for anyone under the age of majority. Model releases should generally, allow photographers to use the photos at their discretion, allow photographers to edit photographs and be non-rescindable. Model releases should also clearly state the compensation for the models services and have the signature of the model affixed along with their printed name and address.

Models:  Dennys and Paris – Holiday Inn, Saddlebrook, NJ USA

What?

You should have a concept of your shoot beforehand; this helps you to formulate the shoot in your mind so that you make sure to have all the necessary supplies to have a successful shoot. It is important to know what you are shooting so you have a suitable location. When you have your concept in mind you then shoot with a purpose instead of just randomly. Take your props along, ask models to bring shoot appropriate clothing.  Shooting a model just because they are attractive is a common fault as may gain you a reputation of being a Guy with a Camera (GWC).

Models:  Carla, Alexis, Mark and Paul – Blue Trees Resort, Orlando, FL USA

When?

Shooting times are more important for outdoor shots than indoor shots, if you are using artificial lighting you are free to shoot at any time. If you are using natural lighting you must conform to Mother Nature. Use popular weather sites to find out what climate is like what time sunrise and sunset are so that you don’t  travel to a location to find unsuitable conditions. Choose suitable times that are conductive to models being able to make the shoot in addition to yourself if you have to travel to a location. If you are flying in to shoot be aware of possible travel delays you can check the reliability of any flight at FlightZoo.  Travel arrangements are important and you should have contingencies when flying, if you are driving you have more control of your own destiny, carefully check Google maps for commuting times between all locations. I highly recommend a GPS also, I program all my locations into mine before I leave home!

Member of The Movement dance group in Federal Circle, NYC USA

Where?

When you have a concept of the outcome of your shoot you can then select an appropriate location. Indoor shoots can be done in a studio or an adapted studio, outdoor shoots are best done outside instead of trying to simulate the effect. If you are shooting with an agency they will source a studio for indoor  shots or the location for outdoor shots. If you are shooting with your own personal concept this responsibility now becomes yours. In my own experience I’ve found that a hotel room makes an amazing studio and there are no travel problems in getting there as it is already your hotel room. Residence Inns or similar properties are great because you have your own bedroom and also a separate living room which makes a perfect studio, including a kitchen if you want to simulate shots in a home. If you don’t have this facility in your location, make sure you source a hotel room with 2 queen beds because when it comes to time to shoot you can literally flip one bed onto the other so that you have more space in your room to shoot. The curtain at the back of the room makes a perfect backdrop but more importantly it makes perfect place to hang your own background on with the application of a few clips or even hairpins. Contacting the hotel directly can also be very fruitful, I’ve done this for various hotels and properties such as the Hotel Diva in San Francisco gave me carte blanche for the entire property, they excel at rolling out the red carpet to accommodate virtually any guest request. For  lighting you should carry a couple flash heads, I carry 3 Nikon Speedlights and a SU-800 Remote Commander and they are sufficient to overcome any lighting situation (although I use Nikon primarily, I believe the best choice of equipment is the one that works for you, I also own Canons and Olympus and use them all). You can utilize these on backdrops or even using the armoire with a couple of translucent reflectors wedged between the ceiling and the top of the armoire at 90 degree angles with a remote activated flash placed on the inside to form your very own softbox. However, if you are shooting outdoors in a location that you are unfamiliar with be sure to do your research online, I’ve personally used Opacity, choose unusual sites, nothing ruins a shot like having a tourist like image as your background. Do you legwork on the internet before you even leave home for the shoot.

Models: Wilber, Donna and Jorge – The Diva Studio, West Palm Beach, FL USA

Why?

Why are you shooting? Answer this question and it will help to make sure you have asked the model to  bring the correct clothing for the shoot (if this is not the responsibility of the Agency/Stylist) in addition to seeing if a Make Up Artist (MUA) is required. MUAs can also be source using online resources such as Model Mayhem.  Possible scenes you may shoot are: fashion, haute couture, swimwear, lifestyle to name a few. Swimwear models need to have a suitable body for other models you may be able to use a model that does not have an overused gym membership. For all models the face is important, source a model that is conductive to your purpose.

How!

Shooting persons is has it idiosyncrasies.  If you are shooting on location not only do you have to be a master of shooting the type of location but you must also be a master humorist and psychologist.  To get  the most captivating images you MUST engage the model, they must have not only the concept of your image but they must also get feedback from you as you are the only one that can see the viewfinder unless you are shooting tethered and displaying the images live on a PC.  You should look all around your viewfinder for spoilers in addition to making sure that the model has the ideal post and expression.  I’ve found that instead of telling models “smile” you should have a repertoire of humorous jokes to tell (avoid politics, religion and off color jokes).  You must do all this while having control of your camera so it is important to know your camera well.  Model photography is like a fine dance, you must have a symbiotic relationship with the model to evoke the best results.  It is like a fine dance and you will often have to mimic the pose you want to achieve while operating the camera.  Making that connection and giving feedback will improve your images tremendously.  Practice with a friend or a family member.

Models:  Alice and Chris – Foul Bay Beach, Barbados West Indies

Wrap up!

With all the above elements addressed the next most important thing is production of final photographs.  Models are always excited to see the final product and you should give them a date that you can   reasonable process the images in. Under no circumstances should you provide the RAW images to the model and only provide them to the agency if expressly requested. Providing RAW images to models shows that you have no pride in your work. You should edit the photographs and provide only those images that you truly feel show the quality of your work. Don’t feel overwhelmed, you’ll realize that the process of model photography provides a few more issues than any other type of photography, inanimate objects do not have egos/feeling so you need to be a capable photographer in addition to a psychologist. I’ll leave you with the 3 most important words in model photography: plan, plan, plan!

PHOTO CREDITS

Photos listed from top down.

3 “Model:  Edric Hunter’s Point, Queens, NY, USA”

6 “Model:  Carla – Blue Trees Resort, Orlando, FL USA”

8 “Model: Manfred train depot near Saddlebrook, NJ USA”

9 “Models:  Wilber, Donna and Jorge – The Diva Studio, West Palm Beach, FL USA”

11 “Model:  Alexis – The Radisson San Juan, San Juan, Puerto Rico”

13 “Model: Wilber – Train depot near the Davie Blvd Tri-Rail stop in Fort Lauderdale, FL USA”

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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.

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I have been working in the camera department of motion pictures since I was 18.  I didn’t start shooting stills seriously until about 2006, but I loved it immediately and have been pursuing it ever since.

I always try to create a relaxed environment.  I like to joke around on set a lot. Sometimes I end up ruining my own shots by making the model laugh but it’s important to me that everyone has fun.  I also like to make the most of everyone’s talents.  If I am working with someone whose artistic ability I respect I try to stay open to their interpretation of the concept and take the best parts into the final image.

I currently shoot almost exclusively with a Canon 5d Mark II and L series lenses.  I prefer to shoot with primes whenever possible.  I love choosing a lens and then making the shot, as opposed to fiddling with the zoom while trying to think about the concept.  Zooms are such a double-edged sword to me.  They are obviously inherently convenient but they end up being a distraction.  If I can fiddle with the frame I do, endlessly.  In the past I have shot with various Canon SLRs both film and digital as well as a Hasselblad 501cm.

I work with as many as three assistants and a full team of hair, makeup and wardrobe people. I think the most important thing is to have the appropriate number of people.  Having too many people around is a distraction, and not having enough help can keep you from getting a shot. I generally shoot about 200 images per 4 or 5 I am going to use.  This generally comes from being open to interpretation of the concept and trying a few different things other than the shot I have in my mind.  Some of my favorite shots have come from setting up the shot I wanted and then walking around it to see what else was there.

My inspiration often comes from song lyrics.  I love the somewhat vague yet powerful emotions that incredible lyrics can both contain and produce.   My favorites to draw from are AFI and The Smashing Pumpkins.  Other times I get inspired from finding a particular piece of clothing or a certain prop.  I try to keep my eyes open for additions to shoots anywhere I go. Richard Avedon’s In the American West inspires me constantly.  Not so much in subject matter but in concept.  I feel something from looking at almost all of his images.  The simplicity and effectiveness is just amazing.  I also love the work of Sally Mann and James Nachtwey.

My biggest challenges I face are accepting that I have all the tools I need to do almost anything I need to.  I love reading about new gear and thinking how I could use it instead of buckling down and getting the most out of what I already have.  I think this problem applies to a huge amount of photographers both amateur and professional.

For those of you who are beginners, two really important things are having something to say and then mastering the technical aspects of photography so that they don’t get it the way of the art.  I totally believe in experimentation and chance occurrences but I think it’s ridiculous to use them as a substitution for knowing the fundamentals.

Ryan Muirhead Photography

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