Everyone is a Photographer Today

Technology today seems to make everyone a photographer, with inkjet printers and digital cameras in cell phones everyone can now contribute the to the royalty-free market. Many blame the current economic state, while it should take some credit, the real dilemmas facing photography started before digital cameras in the late 1970’s when the first one-hour mini-labs entered the market, thus creating a slow, chain reaction as photographers and the photo industry today scramble for new ways to survive.

When the first mini-labs entered the market, from the Nortisu QSS systems to the smaller KIS systems, the face of photography changed. Some may argue it all started with the Canon AE-1 a few years before, but in realty, the AE-1 only forced camera manufacturers to spend more money on research and development for cameras that provided more than manual modes of operation.

These one-hour, photofinishing, assembly-line machines opened the door for a new market, initially mom and pop photofinishing labs that would evolve into photo studios (by offering passport photos and baby pictures), photo copying factories and even camera stores. The long-standing camera stores, which rarely made profits on actual camera bodies (low turn-over inventory items) and only on point of sale and peripherals products like filters and frames were either forced into photofinishing and adding their own photo studios, thus ultimately competing against their own customer—the professional photographer.

The camera stores that didn’t add photofinishing mainly went out of business. Even the larger camera store chains like Fox Foto, FotoMat and even Kodak felt the competition of mom and pop mini-labs popping up everywhere. Some of the larger camera store chains bought out the smaller stores and even Kodak purchased Fox Foto only later to sell the camera stores back to Fox Foto while keeping their main photo lab.

Soon the mom and pop mini-labs and studios faced their own attacker, the large retailers, drug stores and even grocery store chains. K-Mart, Walmart, Sears, JCPenney, Walgreens, Eckards and large grocery store chains added one-hour photofinishing in their stores. This influx of these big chains in the photofinishing industry was based on the business methodology, “if we add photofinishing and drop the prices, people will come to drop their roll of film and while they wait they’ll spend at least an hour in the store shopping and the money is made up in volume sales of all our products.”

This “cheaper” photofinishing by the same quality mini-lab machines led to the original mom and pop and camera stores not being able to compete, many went out of business while others added other services like photo studios and photo copy services.

Perhaps this was one of those milestones along with fast food burgers that sociologists will say fell into the turning of America into a “convenience based” society—we want it now!

This increased popularity of photography, fast and inexpensive photofinishing led large studios, government entities (including the military) and even large corporations and industries to invest in their own mini-labs. Some invested to save time, some to save money, but all to do it “in house” especially where privacy and control was important. Some consider this the predecessor to desktop publishing, the production of the product moving closer to the creator.

Eventually the drug stores and super markets opened their own mini-labs on location, including Walmart, Eckard Drugs, K-Mart, Walgreens, super market chains and so forth. Then as digital photography came on board, the more “pro labs” and one-hour mini-labs were forced to create “products” and provide services that would cater to digital photographers. Tons of money was invested and the return (ROI) was slow that was further hampered by better-quality and lower-priced inkjet printers that became archival—the printing began to shift to the “home-lab” or “home-studio.”

At the same time, digital cameras became like computers, the market penetration became saturated with owners and products, thus the photo industry began to hurt, combined with the fact cameras now become obsolete as fast as they are introduced, unlike film cameras known for low-turnover inventory rates.

In the midst of all this, the God’s of stock photography, the Getty’s and the Corbis’s, began to swallow up the little agencies and even larger ones like Tony Stone and the Image Bank. Then royalty-free was introduced thanks to the Internet and cheaper broadband conduits of digital traffic. As bandwidth expenses and computer costs fell, Adobe Photoshop became more popular outside of professional hands, thus photographers soon were asked by editors to provide final images with post-production, gone were the film retouchers and some photographers became image-makers instead of creators of photographs. Evan photo stock agencies require special formats and sizes of images, noise and blemish free. Long are gone the 20-slides on one page.

While many photographers are facing hardships today, many fail to realize it’s not all the cause of the economy, high gasoline prices or even the digital evolution, but a combination of many factors.

The fact is, long before the latter, many magazines, even [I]Zink[/I], have never paid their photographers as they know photographers want tearsheets in hopes of being noticed by those that do pay, like [I]Vogue[/I] and [I]Vanity Fair[/I]. The photographers who will survive are those that have known this has existed before and understand how the market is pyramid shaped–the leaders are at the top of the pyramid and it’s a tough climb.

It’s been that way even before the advent of digital, just like any corporate, military or even magazine staff structure. Some start their careers in the mailroom, very few if any start at the top, unless they’re born into family and the entity allows nepotism (think Playboy, Christy Hefner; Donald Trump and his four children; even Angelina Jolie, daughter of actor Jon Voight).

On the glamour side of photography, it’s was once viewed as a negative genre, now it’s “in.” Even the use of the word “glamour” is in. While the markets are tough, one must pay their dues and often it’s “connections” but more often luck, like in all artistic career fields, being at the right place at the right time. The “breaks” often come due to nepotism, race, religion, sexual orientation (yes it’s true), political connections and again, just mere luck, being at the right place at the right time capturing the right moment (think of a few, though not many, Pulitzer prize winners.) Actors, directors and filmmakers know this concept above very well–way before digital ever arrived. It’s often said, “Many actors even change their names and religious preferences to move forward.”

Digital photography has affected everyone, from portrait shooters to established professionals, much like graphic software programs caused many corporate executives to fire their graphic arts departments (graphic artists, typesetters, writers) because suddenly they thought they could design newsletters and brochures. Desktop publishing has killed many careers. Oh, not to mention, those same executives purchase royalty-free images instead of hiring photographers for content.

In a nutshell, whether it’s glamour, fashion, editorial, commercial, weddings, etc., the digital world we all enjoy has killed many photographer’s incomes and the survivors are barely surviving as they are still doing the same or less work for cheaper prices. Part of selling images and getting those commercial contracts isn’t always talent either, though talent helps. (see above reference to politics, religion, race, connections, luck, sexual orientation, etc.)

In fact, many of the people that purchase photography products today are not professional photographers, but those that can afford the “toys” to run their in-home studio and in-home print lab. Some have these toys just for their own family use, which also has impacted professional studios and photo labs.

My best advice to photographers today, keep shooting, keep your portfolios updated, knock on doors, send mail-outs, have a beautiful website and do a lot of praying. Digital has changed the face of the world in many ways, in fact, even the watch industry is hurting because people no longer wear watches to check the time, those that do own them wear them for fashion, as we all have “watches” and even “alarm clocks” on our cell phones. Which leads to ask, “How many people have turned off their home phones and use the now cheaper cell phone for everything?”

And if you read all of this, this far, then you have passion and are truly interested in your photography, now that’s a step up from those that just want to take pretty pictures. Just my thoughts, all the best, rg sends!

Evolution of the photography related dollars:

*Camera Stores and photo studios (prior to 1979) made the money as did a few top photographers.
*Mini-labs arrive, Mom & Pop photofinishing opens up and gluts the market.
*Mom and Pops add cameras, lenses, photo studios (think just passport photos, baby pics) etc., thus becoming camera stores with photofinishing and studios that leads to the “original” camera store declines.
*Large retailers (Walmart, KMart, Walgreens, etc.) add one-hour labs (and some even photo studios and copy stations) to keep the customers in longer, drop photofinishing prices, thus killing Mom & Pop labs and studios.
*Digital cameras arrive (digital revolution)
*Pro-labs create new products for digital shooters and the pro labs invest heavily in new equipment for specialized digital output, ROI not what expected, begin to go out of business.
*Royalty free invades, thus hurting small stock agencies.
*Large stock agencies buyout smaller agencies.
*Large agencies begin to suffer because of digital photography do-it-yourself, stock agencies change contracts, take more, pay less.
*Photo studios suffer because of DIY, print at home.
*Everyone is now a photographer, their own stock agency and are driven to save money.
*The established photographer makes less and less work is requested the market dwindles for stock agencies, photographers, labs and studios.
*Today’s main buyer of top photography products are the “haves,” that can afford the toys, the majority are not professional photographers but want to shoot and feel like when when they click that shutter.

The Many Characters of Chairs

Chairs come in many shapes and forms and are constructed from an almost limitless variety of materials. This makes them a great posing aid for models. Don’t get caught up in believing all chairs have to have four legs. While working in the Virgin Islands, I recently photographed a model sitting on a palm tree that came out almost horizontally before it rose vertically—thus it was a great chair. (Though you must be careful when sitting a scantily clad model on a tree; there can be ants or other bugs!)

Chairs are filled with character. Sometimes the chair back itself has a nice carving that accentuates the model’s pose. If the back of the chair has vertical slats, they can literally point the viewer to the model’s face—especially when the model is straddling the chair and facing backwards (which is a great way to hide the tummy)!

The ideal chairs have a solid form, unlike beanbags. They have character in their wood, steel, or even fabric, that add to the image. Additionally, ideal chairs allow the model room to maneuver her body in various poses, including the ability to kick her heels up.

If you can place a bottom on it, it’s a chair! Please don’t forget our military service members, their families and friends, God Bless! rg sends!

Study Photojournalism Techniques

Today, both fashion and glamour photographers are employing more photojournalistic styles, producing images that stand strong and often make statements. I’ve been fortunate enough to have almost thirty years of photojournalism experience that often kicks in when I’m photographing glamour models. If you don’t have this type of training, I recommend that you study photojournalistic images by looking through news magazines and observing what you see printed in your local paper.

A great book I highly recommend, old but still available, is The Picture: An Associated Press Guide to Good News Photography (Associated Press, 1989). It’s thin, concise, and lays it out like a dictionary. This book covers terms used to describe photojournalistic styles of photography, which are becoming more popular in photography today, and also helps give you ideas for your poses and styling of the set.

A term that most photographers without photojournalism training do not know is juxtaposition. In juxtaposition, a photojournalist tries to add a second element in the frame to help tell the story–or sometimes just to add something funny or even serious. In glamour photography, this can be applied by keeping the main focus on the actual glamour subject, but adding another model, sign, or element to enhance the story. Normally, this element will be out of focus to prevent distraction.

Still another term used in photojournalism is the picture story. While every image tells a picture story, sometimes a series of glamour photos can tell a story too. Normally, I approach all my shoots like a picture story and previsualize various poses and scenarios to accomplish that feat. This often includes a headshot, three-quarter shot, bust-up shot, and some type of shot emphasizing more of the back of the model.

Photojournalists are trained to get the shot in any situation–to keep their eyes open and constantly be looking for ways to tell stories through images. In glamour photography (and many other genres), these skills are also invaluable and well worth fostering.

Keep the Body Narrow and Parallel to the Camera

I always like to look at my models as being geometric
planes. If a person is standing facing the camera, the
model’s body creates a rectangle. However, that rectangle is
actually three-dimensional. If you were to measure the fur-
thest body point away from the camera to the closest body
point to the camera, you could determine the depth of the
form.

Now, if the model were to extend her arms outward on
each side, keeping them parallel to the rest of her body, the
width of her form would change, but the depth would not.
If, however, the model were to extend her arms so that one
was in front of her body and the other was behind her body,
the width of her form would not be changed, but its depth
would increase dramatically-it would probably at least dou-
ble from the original width.

It’s precisely this increase in depth that leads to a dis-
torted view of the human body when photographed through
a lens (especially a long telephoto). When working with a
shallow depth of field, you’ll also have out-of-focus hands
and arms if you focus on the face of your subject.

Imagining the model as a geometric plane helps me to
keep the plane as narrow and parallel to the camera as pos-
sible. This is critical to preventing distortion and eliminating
out-of-focus body parts. On occasion, of course, I might also
use a medium telephoto lens at a wide aperture to employ
this distortion to my benefit-but only if it enhances a mood
that I’m trying to convey.

Observing Model Leads to Photo

The Moab existing light, photographic experience continues as we discuss how observing models can sometimes lead to some great ideas or concepts in photography. In this particular image, the model, Jenni, decided to check her make-up while resting as I was off shooting model KT.

A photographer should always look around, sometimes you’ll even get ideas from an assistant toying around a photographic set or location, but in this case, what caught my eye was the reflected light on the model’s face. In fact, I even had KT hold the compact, make-up case mirror from a short distance out of camera view so it would reflect light back on Jenni. Ultimately the final image, shot in existing light with a Leica M8 digital rangefinder camera, was from what I originally observed, though I had the model standing instead of sitting on the ground.

The image was shot in existing light in the Moab, BLM Canyon Lands. Camera: Leica M8 Digital Rangefinder, Lens: Leica 21mm ASPH Elmarit, F/2.8, Aperture: F/11, Shutter-speed: 1/500th, White Balance: 6350K (Kelvin), ISO 160, Digital Media: Lexar SD 2GB Digital Film Card

For more on that shoot, visit the Existing Light in Moab page. Thanks, rg sends!

Existing Light in Moab

This is first in a series of “How it Was Done” and I begin by taking you to the Moab, Utah’s Canyon Lands. While the concept of this section is to focus more on how a photograph is created, I decided for this first article I’d provide information on an entire photo shoot that created some wonderful images, rather than just one image. More of the images from the Moab Natural Light Portfolio are available for viewing in our portfolio section of this site, so here I’ll provide a couple of images and establishing shots to give an overview of the terrain and location involved for this one-hour shoot.

First, we flew three models into Utah, two to Salt Lake City, one to Grand Junction. All three I’d worked with before. The logistics to the Moab make it challenging at times, but since I had a fellow photographer and private instruction client, Brian W., who is more attune to the area, the trip was a bit easier. Brian picked one of the models up from the Grand Junction airport while I flew into Salt Lake City, where I’d pick up the other two models and the rental car.

(Two of many photos from the location, all done in one hour! For more photos, click here!)

While there is a small airport in Moab, it’s limited in what it can provide and based on prior experience, the drive from Salt Lake City, about 240 miles, is scenic and well worth the savings of flying into a major airport than a small regional airport. Grand Junction is about 120 miles and located in Colorado, limiting the airlines and flight schedules, hence I chose Salt Lake City. It’s best if flying into Salt Lake City that you arrive early enough to claim your bags, get a rental car and be able to drive while it’s daylight. Make sure you have a full tank of gas and plan on stopping half way there for a refill just as a precaution.

Upon arrival in Salt Lake City, my camera gear case made it, but my suitcase full of clothes and essentials were diverted to Aruba by mistake, so I had to stop in Salt Lake City to purchase some clothes and toiletry items, but that’s another story in itself and I won’t bore you with it. My cameras, lenses, Lexar digital cards and accessories are always hand-carried with me on the plane.

There are the National Canyon Land Parks and the Public Lands, the latter governed by the Bureau of Land Management, or BLM. We elected to venture out in the BLM area, so as not to deal with as many tourists, in fact we saw a total of maybe 10 tourists during our three day shoot once in the BLM area. I’d also recommend a four-wheel drive truck to get to the better locations within the public land area and to have more room for equipment, model’s clothes, ice chest, etc.

(View of location from the left side)

There are several hotels in the area, but nothing 3- to 5-stars, probably the most are 2 1/2-stars, but when shooting in the BLM areas, you can count on at least a 45-minute to an hour drive, each way, which means by the time you get back to the hotel, you just need a nice bed and shower. Basically you’ll be up early in the morning and eating supper around 9 p.m., and hoping restaurants will be open that late for dinner.

Be prepared for lot’s of dust, I recommend some garbage bags to go over your equipment cases to and from the locations. There are maps, but if you know a guide to get you to top shooting spots, that’s even better. I was lucky, I had been there before with Brian earlier in the year so we had most of our photographic spots picked out and stumbled into other spots.

For supplies, bring an ice chest with ice, soft drinks, Vitamin Water, Red Bull, and plenty of water, as when we were there, it’s cool to cold at night and hot during the day. It’s important that you don’t dehydrate. For lunch don’t plan to drive off the BLM lands because you’ll lose too much time traveling, so bring snacks like nuts, chips, beef jerky, etc., to get you over while you’re in the canyons. Bring toilet paper and pre-moistened disposable cloths too.

For photography gear, besides your camera, lenses, Lexar Media digital cards and all necessary photo equipment to capture an image, you might consider battery-powered lights and/or a portable generator. I had brought a light kit and Brian’s California Sunbounce reflector with us, but ultimately chose to shoot natural, available light on this trip as I didn’t want to carry around heavy gear. Most of the time you’ll park in a suitable area and will do some hiking, so make sure and wear comfortable shoes that grip.

(View of location from the right side)

Now on to how I created my photographs at this particular location, as I decided to have the models on top of an interesting rock formation. Basically I packed light and focused on the Golden Hour as my main light source. My models, Jenni and Holley, trusted my judgment and had seen the location the day before. One problem besides the hike to get there, where I wanted one of the models to be positioned at, she’d have to climb vertically and the rock formation had an outward angle. Jenni, with outdoor hiking experience, expressed her willingness and eagerness, not to mention, the climb requires an initial long reach, of which she was capable of with her 5-foot, 10 1/2-inch height. She actually climbed it twice before I told her not to do it again, as I was afraid if she fell, it would be a destructive 50-foot fall on hard rock.

Once I had the models in place, I decided to take some establishing photographs for this blog and perhaps a future story about this shoot. I told both models that once in place there’d be about a thirty-minute wait before I’d be able to shoot, so they’d be stuck up on the rock formation in the heat and need to find a shady area to rest until I’d be ready for them to pose. I also told them that at most I’d have about an hour shooting window, so we’d work fast and they’d have to pay careful attention, as I’d be running all around the canyon and rock areas looking for various shots. Not to mention I didn’t want anyone falling off to the ground.

I basically ran around the area, avoiding drop-offs, brush, any snakes, as snakes tend to come out at sundown. I also avoided cactus in the area and basically, as they say in the Army, “humped” my gear, shooting from spot to spot as I went almost completely around the rock formation they were positioned on. I also told the models to watch out for scorpions or other dangerous creatures. Ultimately we were all hot, sweaty and exhausted, not to mention hungry when the shoot ended and to make matters worse, it began to cool down.

The plan was to capitalized on the Golden Hour for my light source as it’s a sweeter light, that doesn’t cause the models to squint as much from other daylight hours. I carried two cameras, a Canon 5D with a Canon 70-200mm F/2.8L USM image stabilized lens, a Canon 85mm F/1.2L USM lens and my Leica M8 digital rangefinder camera with a Leica 21mm F/2.8 Elmarit-M ASPH lens.

(Models get in position for the upcoming photo shoot.)

The latter lens requires a special viewfinder that mounts on top of the Leica M8 hotshoe slot and since I’d forgotten the viewfinder back at the hotel, when I’d use the Leica, I’d guess at the composition, view the LCD screen, then adjust until the image was cropped properly. Since I’d done this technique before, I never looked at the situation as a hindrance as once you’re accustomed to your equipment, it’s all a matter of gut instinct and for the most part my composition was right on when I used the Leica camera.

I stayed cognizant of the fact that when changing lenses in a dusty environment I have to let the camera sensor cool-off, simply by shutting the camera off for a few minutes, then switch lenses quickly while protecting the digital image sensor. Basically, when a camera is operating, the image sensor heats up, thus if you change lenses right away, the heat will attract dust particles in the air. Therefore, when I wanted to switch lenses on my Canon 5D, I’d turn the camera to the off position and shoot mainly with my Leica digital camera, allowing the Canon 5D image sensor to cool down. I also photographed with the Leica for my wide-angle photos since I wanted to use that specific wide-angle lens during the shoot.

I maintained a white balance on both cameras at 6,000K (Kelvin) as I always set my white balance manually in my cameras, rarely will I use auto white balance, unless it’s my kids birthday party pictures. I like to control the camera and I like to see what I’m getting in the camera as shot, not worry about another post-production step. While my cameras were set at RAW for the highest digital quality capture without compression, I know I’d rather not rely on computer software interpolation based on rounded off algorithms for the color in the images, besides, I want to know what I’ve captured on the spot and not worry about it later.

Models take a break just before the Golden Hour.

Most of my images were photographed with a 1/640 shutter speed, at around F5.6 with manual adjustment to wider apertures and slower shutter speeds once the sun began to set and lose it’s intensity. My ISO was set at 100 for the Canon 5D, but at 160, the lowest setting, for my Leica M8. I carried no tripod or monopod, all photographs were shot handheld because I wanted to work fast. Thus no light meter was used, as I tend to work off gut instinct and many years of experience, not to mention that with digital, I can just take one shot, that I often call my light check, then view the histogram of the image and make spot corrections, as time is very critical during the Golden Hour. There is no time to rely on light meters, especially since the terrain at this location makes it difficult to keep measuring the light as it changes fast during this critical hour.

Once we were done, we headed back for dinner in Moab then for a good night’s rest so we’d be ready to do it again the next morning. We spent a total of five days, two of which were for travel on this photographic journey. Ultimately, the excitement of the photographs made for a nice drive back to Salt Lake City where we’d catch our planes back home. I hope to do this trip again next year as the Moab area has so much ground to cover, it’d take months to just capture all the beautiful locations. For more of the images from the Moab, and I’m sure I’ll add more later, please go to the Moab portfolio. Thanks, and remember to say some prayers for our military service members, their families and friends, God Bless, rg sends!

Music is Family to Photography

It’s been a while, as I’ve been on the road and handling some family issues with my ill parents and more. But I wanted to finally get something posted on my blog, so I decided to make it simple–photography and music do go along sometimes.

People often ask me what does it take to take a photograph instead of a picture? The answer is simple, passion! Without passion you have nothing. In fact, you can have passion without love, but you can’t have love without passion.

With that said, sometimes I get my inspiration for photography through music, as next to photography music is my next love. Back in my younger, and I mean quite a few years ago, I used to play around with the acoustic guitar and someday I hope to strum the strings again-.-feather-lights though, and if you’re a guitar player you’ll know what I mean by that as it’s all in the fingers.

I think music is important in a shoot, one to relax the model, two to get the photographer’s creative juices flowing. To give you an idea, here’s a song that always comes to my mind and can get you in the right state of mind creatively, especially when photographing blue eyes, “Must be Doing Something Right” (click to see music video on YouTube or see video below) by Billy Currington. Next time you photograph someone, try it, plug your I-Pod in and let the music play, just make sure and keep the volume sensible so you can hear your mind create, after all, music is part of the creative family. Thanks, and God bless our troops, their families and friends, rg sends!

Still a Red Bull Drinker–Headed to Hangar-7!

Still exhausted from the Virgin Islands with only about 350 emails to answer and I’m headed to Houston for this weekend’s one-day workshop, home for a few days, then off to the Chicago Workshop next weekend. (Yes, the DVD’s are on the way, see below.) While my life is exhausting at times, it can also be exhilarating as last week I received permission, personally from Red Bull Billionaire and founder, Mr. Dietrich Mateschitz to utilize his famous Hanger-7 in Salzburg, Austria for a photo shoot.

This is rare permission that came direct from Austria.

One of the last model events held at Hangar-7 was Germany’s Next Top Model hosted by Heidi Klum, so I consider it an honor and we’re going to do it! Hangar-7 houses a restaurant, two bars, a lounge and Mateschitz’s historic Flying Bulls aircraft and more. Made almost completely of glass, the ambience is perfect for photographing models. You can see more about Hangar-7 here: http://www.hangar-7.com/#en/homepage/

While it’s generally open to the public, they do change the operating hours to accommodate private events and did I say I’m honored about this opportunity? We’re putting this together right now for early Sept., before Photokina, with some of my European sponsors.

It will be a long day today, another day without sleep and then a three-hour drive to Houston . I stayed up all night working on a proposal requested by an advertising firm for one of their top clients–can’t say much about it, but it involves a calendar, beautiful models photographed with products and the budget on this deal is amazing. The first meeting went well and I’m keeping my fingers crossed they will take my advice and sign the contracts. I might add, the client is not small, they are publicly traded on the stock exchange and they want to move forward with this just like Pirelli did in the 1960’s. I was recommended by name, and get this, by another photographer they first approached. I’ll publicly thank him later as the project is close-hold until contracts are signed–then look out!

My third book is off to the printer for proofing, soon it hits the press then the book shelves. You can read more at this link and workshops too–go here!

On those patiently waiting for the DVD, my apologies on the delays—I will be in Chicago next making sure they go out the door personally. They are coming and I hope you enjoy it is much as I did. Thanks again for your patience. While in Chicago next week we also have a two-day workshop in St. Charles, so if you want in, sign-up now, some great models and a great workshop!

On another note, look for a complete revamping of this entire website from one of the top website producing companies in the world–more on that soon!

That’s it for now, have to run to the airport to pick-up a model then off to Houston! Thanks, rg sends!

Posing a Model is Similar to Diamonds

My body aches, my shoulders, nose, ears and neck are sunburned. I’m sitting in seat 3C, legs tired, lower-back in slight pain and a few bug bites, as I enjoy another plane ride home from the Virgin Islands-thanks, Alex, Kevin, Pedro, Mark, Becky, Steve, Joe, Heidi, Jimmy and all the rest of the residents in the Virgin Islands, you help make things happen-like magazine covers and book covers!

Also a special thanks to Louis, owner of one of the most popular jewelry store chains and hotels in the “VI,” you were a great host for lunch, but letting us use your thousands upon thousands of dollars worth of necklaces, bracelets, rings and earrings was very kind and I look forward in working with you again. These great accessories, from diamonds to gold, accentuated the photographs and gave us an opportunity to sway away from the traditional photos typical of the Virgin Islands-it challenged us to think about the proper way to pose a model while showcasing precious diamonds, not an easy feat if you’re used to glamour photography only.

Posing a model is similar to diamonds however, it starts rough then ends up polished to perfection, especially when a photographer understands the fundamentals of posing (as well as, of course, lighting, exposure, rapport, etc.), and realizes that models sometimes have problems getting the required pose and look. When this happens, it’s time to switch hats and work with the subject as both a coach (giving them the psychological boost in confidence they may need) and instructor (drawing on your knowledge of posing to guide them in a professional manner).

For example, during the creation of my upcoming book, Rolando Gomez’s Posing Techniques for Glamour Photography, I began working with a new model who lacked confidence in her posing abilities for the camera. A very gorgeous, vivacious, photogenic person with a true model’s figure, but during several shoots she’d grown so frustrated that she had literally decided to give up on modeling completely. I grew somewhat frustrated, too, knowing that she was loaded with talent. In fact, I’d often let her model at my workshops and every one loved her (not to mention that anywhere we’d go, men would miraculously become photographers and want to exchange phone numbers with her).

Then, on one of our shoots where she’d given up, I took a break. I went to the store and purchased an old wooden mask. When I returned to the shoot, I walked in with it on my face, looked at the model, and spoke through it in a deep, slow voice, saying, “I am the I Can Model God.” She broke out laughing-and from that point on became such a great model that she’s featured many times in my new book. She’s even on the cover!

The mask, incidentally, became her good luck charm. Tess, the model I speak of, still carries “The I Can Model God” with her to every shoot. Call it a lucky charm.

Sometimes it just takes something for a model to believe in, or someone to believe in them. A little positive reinforcement can really go a long way. Throw a diamond into the mix, then it becomes something we can cherish forever, not a memory, not a moment, not a mystery, but a commitment of faith that it can be done-and when it synergizes, then the aches, pain, sunburn and bug bites of the Virgin Islands just become the honeymoon of reality. Thanks and God Bless to everyone, rg sends!

Photography Studios & Location

Studios are often perceived as a room were musicians, painters and photographers and other artists create their art, often in a building of some type, surrounded by four walls that isolate the artist from the outdoor environment.

In the case for photographers, the ideal studio includes at least one bathroom, a make-up room, an equipment storage area, a kitchen, and in some case windows that allow ambient light to filter in. The windows would of course have the ability to be “blacked out” for controlling or eliminating ambient light, or crazy onlookers from disrupting the “set” and shoot.

In some markets, like the celebrity market in Los Angeles, owning and running a studio is a business often not even owned by a photographer. Many pro photographers in the celebrity markets don’t even own a studio because they know certain studios cater to “celebs” and many publicists insist that their celebrity clients be photographed only in those studios for security, reputation of the studio (and sometimes studio owner), location and often just the pampering that’s required for their clients, like catering and a car wash and wax detail service. Yes even a car wash and waxing of a celebrity’s Bently is a required “perk” when photographing certain celebrity clients and certain studios can cater to those needs to ensure the photo session goes well.

Since most professional photographers don’t get the opportunity to photograph celebrities, most professional studios in the world don’t have car wash bays much less a sushi bar, but they all tend to have one thing in common, four walls that isolate the camera room or “shooting bay.” Hence the perception that a studio has to be a building of some type with walls that provide privacy when needed in addition to the security a structure offers-but I personally disagree with this perception.

I like to define a photography studio as any location, indoors or outdoors, were a photographer is in control or can control the elements required to conduct a photo shoot successfully. After all, it’s not hard to overpower the sun with flash, even on a bright sunny day. It’s not hard to scrim off natural sunlight when it’s harsh light at the wrong time of day or location when the shoot can’t be stopped or changed. It’s not hard to use reflectors, indoors or outdoors for that matter, nor is it hard to feed a crew on location in the Virgin Islands any more than in an indoor studio in Texas.

Personally, it’s all about control, if you can control your production and lighting, you’ll succeed and any location and what you make of it is your studio. Though weather can play havoc, for on location outdoor studios, it can do the same for the more dry, indoor types, besides, who wants their car washed and waxed on a rainy day? Thanks and don’t forget our military service members, their families and friends–God Bless! rg sends!

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