Rolando Gomez

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!

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!

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!

I just returned from a wonderful Glamour, Beauty and the Nude workshop in Atlanta where we had some great photographer and model attendees–not to mention one of the all-time, best, make-up artists any photographer could ask for, and like all workshops, we go for the best.

Prior to the fun and exhausting workshop, I had traveled to Palm Beach for an annual, private instruction with one of my best clients of that area. After arriving there and spending the night at a beautiful Palm Beach hotel, we did our first shoot that morning in a Palm Beach courtyard, before heading off to a wonderful resort on Captiva Island. While in Captiva, we moved locations each night before I headed out to Atlanta.

While both the Atlanta workshop and the Florida private instruction were fun and educational, photography based, they both differed in many things, from location to make-up artist budget, to obviously the group size of the photographer(s) involved. My client obviously had a larger budget, hence his decision for the one-on-one training and for flying in one of the top make-up artists from New York at a day-rate some photographers dream of achieving.

For the privacy of my client, I’ll keep the MUA’s (make-up artist) and the client’s name private, but I can assure you, the New York-based make-up artist had more tearsheets and experience than most photographers achieve in a lifetime. She came highly recommended from one of the top beauty and commercial photographers of New York, a photographer who I had introduced to my client back at the annual FotoFusion event held near Palm Beach.

Often people ask, what makes a great make-up artists and why do some, like those from New York and Los Angeles command thousands of dollars per day while others only hundreds or less per day? Well obviously the first answer is credibility, just like photography, the more credits (tearsheets, bonafide assignments, accolades, etc.) the more a creative can charge—New York and Los Angeles provide the breeding grounds for such success in credibility faster than other locations. In addition, this make-up artist from New York had paid her dues, just like the photographer of her caliber that recommended her, she had plenty of experience, she started from the bottom up too, but now she’s on top in New York.

She had gained the experience of directing, styling, and hair-styling through her career with very established publications and photographers, all an added bonus to those that hire her. Though some assignments call for separate creatives to do all the latter things, this private instruction was only limited by the passenger van we were utilizing for our driving and of course the extended-passenger golf cart on Captiva Island we rented.

Make-up artists day-rates very, depending on their base location, obviously the more expensive markets of New York and Los Angeles command greater rates than someone from hick town, USA. My client had the ability to afford the best and so he sought the best, an attitude he developed from a prior, poor experience.

While my client is no beginner, as he’s got tearsheets in other genres of photography, I have nothing against beginners working with beginners, though I highly recommend that when you can afford to move up the chain in anything photography releated, do so, it will make you better too as you can feed off someone with more experience too.

As far as the day-rate goes for a make-up artist, it all depends on the client and what that client expects the make-up artist to accomplish. I look at my A-list of MUA’s, their actual location, talent, experience and determine who is best qualified for my client while being able to meet the budget requirements.

I look at a the make-up artist’s can-do attitude and avoid those with an attitude. I look for nothing less and like my client, my decisions on who to hire come from my own previous experiences along with the goal(s) I’m trying to achieve. The make-up artist for our Atlanta workshop was as high-caliber as any photographer could ask for and she’s certainly on my A-list and she would’ve made my client proud just like the New York-based MUA, but obviously day-rates varied between the two.

Those variances were based on traditional working location of the MUA’s, their experience, their tearsheets, and their longevity of their established names. I can assure you, both have the talent my client and I would utilize for our needs—though like a patient looking for a heart-transplant would seek a surgeon with more years of experience and a bigger name, my client decided to go that course because of his own previous experience.

Much like photographers and models, make-up artists have to wait for that lucky break too, as the larger clients can afford to go with those at the top of their game, however, on occasion a chance is taken and a talent gets a lucky opportunity. It’s on these opportunities that those at the top of the A-list begin looking over their shoulders and others take notice and the evolution of rising to the top begins along with the ability to demand higher day-rates.

Passion and commitment will help bring that to life along with being at the right place at the right time and some elbow grease, but not everyone gets the luck and like a commodity, that’s why those at the top can afford to charge more—seems like a vicious circle doesn’t it? Well it can be for most creatives and that’s why some endure and others don’t.

Well I’m off to Chicago and we’re at a new location for our next Glamour, Beauty and the Nude workshop, so I hope to see you there, we have only one spot left! Thanks and God Bless, and remember to keep our military service members, their families and friends in your hearts and prayers, thanks, rg sends!

I’ll do my best to keep you posted on her success in case you miss the American Idol show, as I have a busy travel schedule, but I can assure you, Davis has beauty but more important the musical voice and talent to play musical instruments that will leave you speechless and in awe.  She deserves to win on American Idol and move on further with her singing career.  God bless Davis, her family and friends, thanks, rg sends!      (for more Amy Davis images please visit my album on her, under albums, here, www.shotcritic.com )

I’ve been working on a new site, ShotCritic.com, and today someone posted about how to distinguish the difference between editorial photography and other genres of photography, so I replied and liked it so much that I thought I’d share it here, though cleaned up from my original forum post.  

First, editorial photography normally has a photojournalistic feel to it as it tells a story, often used to illustrate a concept or idea designed around the contents of a specific publication.  Photojournalism is sometimes considered a form of editorial photography, though the distinction is that photojournalism often involves a news story. 

As an example, for magazine editorial photography for a publication like Zink, the photos would normally include models to illustrate their fashion, glamour and beauty theme while Better Homes and Garden would have images of someone working in their outdoor green house.  Both are technically telling a story editorially, but in their own proper context for an editorial feature piece.  

Often publications, like Zink, Nylon, and others have what’s called an Editorial Calendar that is divulged confidentially to their A-list photographers well in advance so these photographers can submit their editorial photos for that calendar topic to meet production deadlines, often three months in advance.  Then the editorial decision process begins. 

The photo editor/creative director chooses “the shoot” from all the editorial photographers who submitted and it’s that chosen photographer that get published, usually paid nothing but the glorification of a tearsheet.  The photographers are not chosen or rejected based on who the photographer is, more often on what the photographer shot and how well the photos match the editorial content requirement for that magazine, that month.  

These photographers, chosen or not, hope their editorial tearsheets will lead to commissioned (paid) assignments with magazines like Vogue, Baazar, Elle, W, Vanity Fair, Glamour, Cosmopolitan, etc., and often have thousands of dollars invested in their shoots, not to mention their time and any models, assistants, stylists, etc., that volunteered their work for the same tearsheets—it’s a gamble for future notoriety. 

This is how dues are paid as an editorial photographer, on the hopes to become someone like Bruce Weber shooting for Vanity Fair.  Vanity Fair is considered the launching pad for many editorial photographers including, Edward Steichen, Cecil Beaton, Bruce Weber, Helmut Newton, Mario  Testino, and Annie Leibovitz to name a few.

Remember, major magazines are putting together either their May or June issues right now, not their February issue (March and April are done and at the printer and/or pre-press) as most publications are three months out, working off their editorial calendar–that’s why swimwear fashion catalogs have photographers photographing models in South Beach and other areas of “warm” Florida during the winter months. Most publications are done months in advance.

One could argue that a Playmate layout in Playboy is editorial glamour photography, as another example, while just a sole image of a model at the beginning of a story (text) is just another glamour photo in the same magazine. 

Take this image directly below, it has commercial use, say to sell a skin product, stock use, to illustrate a story about self-esteem as an example, editorial use, to illustrate a story on, “Beauty in the 21st Century.”  Without the context of a publication, some would argue it’s glamour, some beauty, some nude, some will even say it’s a picture, not a photograph.  But it’s the photographer who was there (me in this case) that truly knows and the editor who utilizes the image in their publication that sometimes determines what category it will eventually fall under—for the record, this image, recently shot, is going to be published full-page in Sept., more on that when it happens.

Another example how editorial photography can shift is a series of images of a bride for Bride magazine illustrating her glorious wedding day to tell her story would be editorial, perhaps even mixed with fashion editorial if the story revolved around the bride’s dress and her bride’s maids’ dresses.  In the same magazine you could have a bridal shot, originally shot as that and not as an editorial shot by a wedding photographer, but then the photographer submits that image to Bride and it makes the cover, now it’s an editorial (cover-shot), not a bridal shot. 

Editorial photography is often considered a form of commercial photography, especially if the photo and accompanying story are trying to sell you something.  As an example, if the shoot was a model for a liquor ad, the shoot is considered commercial (to sell liquor), but if the same images from the shoot were used to illustrate the model and her tastes for top-shelf liquors plus to illustrate a specific story, say, “Best Bourbons,” then it’s editorial.  Take the same images and use them to illustrate the same model with a drinking problem, or young girls with drinking problems, then it’s a “features article” and the images are considered photojournalism in an editorial context.

Similarly, if a photographer photographs a romantic couple sitting on a park bench in love and places it in a stock portfolio for royalty-free stock, then it’s a stock shot.  If the stock agency sells it for the use of advertising to a condoms manufacturer to sell condoms, then it now becomes advertising photography.  If it was commissioned originally as a commercial request through an ad agency, it’s commercial.  Take that same stock image, sold to Newsweek to illustrate a story titled, “Love in America,” then it’s back to editorial (sold as commercial stock for an editorial and used in an editorial context).

There are fine-lines in photography genres, often crossed by the actual final use of the image itself.  The thing to ask when trying to determine the specific genre of an image is it for commercial value or editorial value, or perhaps both?  If the subject matter is say a fashion model shot for Victoria Secrets catalogue, then it’s commercial fashion, take the same series of photos for a story in W magazine, then it’s fashion editorial.

Don’t you love it?  It’s all up to the content, context, and usage that normally will distinguish the specific genre of an image.  Ultimately if a photographer shot it as an un-commissioned image, then it’s up to that photographer to determine if the photograph has any commercial value, or if it is stock or fits any other genre of photography.  Often images fit several genres, not just one.  

Now this blog post is so long, many would consider it an editorial in a newspaper.  God bless and thanks, rg sends!

I’ve been running around lately, conducting photography workshops, shooting commercial, glamour, editorial, sports and other photography and even lecturing at photo centers and photo schools and even working with models and others professionals involved in my shoots and I’m finding out there is one common thread—some type of “I” technology. 

From I-Phones, I-Pods, I-Touch and everything else imaginable Apple Computers has put the “I” back in TEAM somehow—it’s there, you might not physically see it, but it’s there as the synergy of the Apple creatives must be keeping Steve Jobs real happy with all their creations.  One only wonders what else is next in store for us, the I-Car perhaps? 

I’m not real sure, but for those creatives in my field, the I-Phone, I-Pod and the I-Touch are fast becoming the new “portable portfolios” for many as it’s so easy to add images into these devices and even group the images into specific folders (genres) for viewing along with multimedia functionality.  

I spent an entire week at FotoFusion often going to private dinners, lunches, and other functions watching famous photographers like Vincent Versace, Douglas Dubler and others sharing their work on their I-Folios as I like to call them—Dubler has his I-Touch and Versace his I-Phone and the presentations of their work on these smaller than printed portfolio screens were powerful. 

Think about it, as photographers when we “chimp” while shooting we’re looking at LCD screens smaller than most of the I-AppleamKingofTheMultimediaDevices  so it only makes sense that portfolios have down-sized from Brewer-Cantelmo leather photography portfolios to hand-held digital devices protected in leather cases.  I’ve seen models, make-up artists, art directors and others in the visual fields carry their resume of images attached to their belt, biceps or purse as the new standard and if you’re not sporting this new look, well you’re out of fashion (style) as they say in this world and I’d suggest you get hot on this ditch your beeper. 

While I-Technology is hot, make sure you do research and make informed, educated purchasing decisions as technology changes every Monday when the Board of Directors meet.  Thanks and God Bless, rg sends!

It’s been a busy 2008 so this blog article is a bit long to catch-up. January isn’t even over yet and when my one-day workshop in San Antonio ended the week before last, I jumped on a plane to West Palm Beach and from there I’d rent a car and drive down to the Palm Beach Photographic Center in Delray Beach, the host of FotoFusion 2008.  FotoFusion is an annual event where photographers give back by not charging for spreading the gospel of photography while sacrificing their stay away from home. 

I often feel as though I need a small tank of oxygen strapped to my waist so I can breathe at a normal pace with my high-paced schedule as this past week was no different than the prior FotoFusio.  I was able to meet, mingle and teach with my old photographer friends and colleagues including Robert Farber, Vincent Versace, Douglas Dubler, Jeff Dunas, Rick Sammon, Rick Friedman, Shelly Katz, John Reuter, Harrison Funk, Nancy Brown and many others to name a few.  We missed Colin Finley, Eli Reed and a few others, but I’m sure I’ll see them again as we all go back for quite sometime. 

FotoFusion is a weeklong event where photographers meet each January for a week, without compensation, to give back to the community with the craft that has made them who they are, photography.  Their main goal is to spread the gospel of photography, passionately, while networking and encouraging others to follow their steps through workshops and lectures as well as computer labs. 

The week at Delray Beach, Florida includes over a hundred workshops, photography portfolio reviews, many hands-on sessions, some even with live models, along with other events such as the auction of photographs donated by the photographer instructors in the name of charity.   There is even a night out on the town where they close the streets for their annual “Jazz Festival” along with the annual farewell bash on the last night for those that still are there.

My week for this FotoFusion was not too much different than last year, though less “after hours” partying was done—we missed you Colin Finley—but ultimately it was great as not only did I spend time with my mentor Robert Farber, but I enjoyed making new friends and having dinner practically every night with a private instruction client of mine along with his girlfriend and top beauty photographer Douglas Dubler of New York. 

Dubler is an amazing photographer and for the second year in a row I sat with him on a Beauty Photography discussion panel along with Nancy Brown and our moderator (add her name here) Both Dubler and Brown not only make the panel interesting, but always provide me with some great inspiration. Farber normally sits on this panel, but he had to leave early to get back to New York so we really missed his insight on this genre of photography though I joined him for his hands-on, “Beauty on the Beach” workshop and provided him with some of my California Sunbounce reflectors for his students. 

When FotoFusion finally wrapped up this past Sunday I headed back to San Antonio, arriving home sometime after 8 p.m., there, after spending a few minutes with my three kiddos that still seemed to know I was there Daddy, I unpacked my dirty laundry and threw it in the washer.  Then I unpacked my photography gear to let it dry out as some of it had gotten wet from my outdoor, hands-on workshop I had conducted at FotoFusion.  Still tired from conducting four events, a seminar, lecture, hands-on and panel discussion at FotoFusion, I knew I had no time to rest as my next flight was in less than ten hours.  I also knew I’d have to repack pack my photography gear as I was leaving to photograph a national ad campaign for a major liquor company with full-page tearsheets in upcoming issues of Playboy, Sports Illustrated and Maxim and other publications. 

Because of the tight schedule and early morning flight to the airport, I never went to sleep as by the time I was done answering emails after finishing the laundry and repacking clothes and gear, it was time to hit the shower at 3 a.m. with no time to spare.  The only good thing going on at that time was the email from Delta that my coach seat was upgraded to first-class—it pays to be a member of the frequent, live-out-of-my-suitcase flier program and at platinum status upgrades are more frequent than sleep.

 I arrived on location Monday around noon, ready to light the set, as the contract promised the set would be built, all I had to do was light it for the shoot.  Well the folks that hired me were a bit behind, so I pitched in and we spent the rest of the day building, lighting, un-building, lighting and rebuilding and lighting, using a wonderful stand-in model.  Finally finishing near 10 p.m., we had dinner then I hit the bed shortly thereafter only to wake-up up at 5:45 a.m. as the “call” was at seven for make-up and light checks.

This was an important shoot as knew I’d have to overcome the over-the-shoulder onlookers as soon the studio would be filled with the make-up artist, assistants, producer, creative director, art director, brand manager, the account executive and anyone that could peek in.  I just wanted to meet the model as we’d only spoken over the phone before though we’d never met and on an important shoot like this, with only one day to get it done, rapport needs to be established and accelerated to ensure the model will give you the look that the art director wants along with the poses needed to fit the story-boards and comps the client has approved. 

Upon arriving at the studio we found out our model, Playboy Playmate Monica Leigh arrived earlier in the morning, with barely any sleep, due to flight delays and we’d be at least 45-minutes behind.  Like all things, once you’re running late, it runs over so we started shooting closer to 11:00 a.m. instead of 9:00 a.m., but Leigh was a real trooper and never showed signs of fatigue and we wrapped it up by 5:00 p.m. so she could make her flight back to Los Angeles—then Murphy hit again and Leigh’s flight was canceled. 

She found herself having to stay an extra night and when it was said and done, after getting up at 4:00 a.m. to run by the studio to pick up my lighting gear in freezing weather, the account manager and myself swung by the hotel to pick-up Leigh and her suitcases as we had similar flight times, 6:00 a.m., though I headed to Texas and her to California. 

As I write this tale, I’ll be arriving in San Antonio just before lunch, but I’ll have not time to take a break as I have a private shoot at 2:30 p.m. of a client that first started out as a private glamour shoot that transitioned into following her first pregnancy in a glamour fashion.  Hopefully I’ll be done and home by supper time as I still have to repack as my next flight is less than 24-hours away as I head to Los Angeles with a departure time from home at 4:15 a.m. to make it time for my early flight. 

Yep, it looks like I’ll be up all night unpacking, laundry, repacking, and answering emails again.  Some might think I’m crazy, but that’s the life of a photographer with clients, workshops and book deadlines—or what I like to call, someone who enjoys spreading the gospel of photography in his own way, mine is just sometimes crazier than others.  I think it’s time to refill that oxygen bottle and I thank my Lord for refilling that bottle just when I’m running on empty.   God Bless everyone, rg sends!

Canoeing down a river involves strength, intelligence and common sense, however, canoeing of the subject’s eyes in photography, though acceptable at times, usually involves poor posing and bad camera angle. Sometimes canoeing in photography is unavoidable, but often canoeing is caused by not paying attention to detail in an image—photographers sometimes forget the eyes are the storytellers of the image.

Most canoeing is caused when the camera angle is high in relation to the subject’s pose. This high angle also causes the subject to appear shorter and heavier when simply moving the camera angle down below the model will not only help in eliminating canoeing, but causes the model to look thinner and much lighter.

Sometimes it’s the model that makes the canoeing of her eyes unavoidable in her own images, as sometimes a model will project a pose she feels makes her look sexy, designed more to soothe her self-esteem, but often the pose will appear awkward to the camera itself and it’s up to you the photographer to take the model’s pose and refine it while not negatively affecting her self-esteem.

As an example, models often bury their heads too deep into their chest thinking the pose is sexy and powerful. While the pose of the face lowered with beaming eyes may feel sexy and independent, the photographer must step in and guide the model so her head is properly positioned, otherwise the white’s of the model’s eyes will naturally create canoes underneath the eye’s iris in addition to the possibility of a double chin. While some canoeing is acceptable, too much is normally nixed by editors.

This vast river of white underneath the iris of the eye created by canoeing causes the viewer’s eye to always goes to the whitest part of the image, or the model’s eyes verses the model and photo in its entirety, thus possibly losing the intended message of the image to the viewer. Sometimes, where editors will overlook this, is when the image is more “face” than body, thus the eyes are the true storytellers here and canoeing is acceptable.

Sometimes it’s a toss-up, as the irises, especially the blue, gray, green and silver colored ones are more powerful than white, concave stripes. It’s these type of critically edited images that reveal strong eyes with a subliminal message of confidence from the subject, after all, the eyes are the direct channel to the heart.

Ultimately, the eyes are the storytellers of the image and often your subject’s personality, just like the strongly-focused eyes of a rower down a swiftly moving river that show skillful steering of their canoe, the eyes will navigate your thoughts when viewing a great photograph. All the best, rg sends!