Boldly immodest

This was a shoot that I really don’t normally do. Almost all of the people that I photograph I would qualify as normal-ish but in some way exceptional. My subjects tend to live their lives based on what they know/skills or their talents rather than their image. Scientists, artists, maybe the occasional athlete, business people. They are not necessarily uncomfortable hanging out with me and being in front of my lens it’s just that they don’t do that sort of thing very often. Their experience could be a bit off if not handled well on my end. It’s important for me to make them comfortable with me and my goal is to make an image that speaks truly about them as a person while being interesting enough for the average person to want to learn more. “Who is this fellow? … Huh, particle physicist,  … facinating” That sort of thing.

I know from years of experience that asking my subjects to do funny things or to take any sort of direction the way that you would expect to do with say a professional model just isn’t going to work. They don’t know how to interpret my even simple directions such as “turn you shoulder more to me and lift up your chin a bit” will be wildly exaggerated and require me to walk over and physically pose them like a human Gumby Doll. Again making them feel awkward. So, yeah I don’t do that sort of thing very often.

Then I got this assignment and I knew that it would happily be the opposite of my usual procedure. Shinesty makes outrageous clothes for outrageous people. Therefor I knew that their president and founder Chris White would be up for whatever I came up with.  When a subject asks me “what do you want me to wear” and I think that they have a good sense of humor I will reply “Do you have a chicken suit? Ha-ha-ha! Right, just wear what you want” But with Chris I said, go get stupid. He knew what to do.

I got to work: there was a huge American Flag in the waiting room and a crappy couch. I moved some things around and boom! There was my frat house scene, perfect for Chris and his ensemble. The lighting had to be as unsubtle as Chris and Shinesty are so my main light was my 5 foot soft silver parabolic umbrella placed directly behind the camera.

That’s it Chris, more sleeze … more sleeze, make your grandma embarrassed.  Perfect!

Mise en place

Mise en place (French pronunciation: ​[mi zɑ̃ ˈplas]) is a French culinary phrase which means “putting in place” or “everything in its place.”

There was a discussion over at The Online Photographer where they were talking about their difficulty of losing memory cards. This baffles me how anyone who takes their photography seriously would be so sloppy with things like the management of their memory cards. No offense intended but it makes me wonder how people work/live without having put much thought into how they want to regularly accomplish repetitive and important tasks. I am not the most OCD person by any stretch. I’m pretty loose with most things that frankly aren’t that important. My doG you will never see a photo of my insane desk or you will be certain that I’m a mental case. But when it comes to my photography I have attempted to have methods for everything that I do.

It started with a column that the late great, and hugely inspirational to my budding photographer self, Galen Rowel wrote back in the middle 1980’s about how to work with these newfangled automated cameras. He talked about how different it was to go from his lovely all manual Nikon FM2 bodies to the then space age N8008 and F4. Remember them? All the buttons and functions and information in the viewfinder was confusing and overloading. Being also a pilot he likened the experience to the difference from flying Visual Flight Rules, VFR, to Instrument Flight Rules, IFR. VFR is when you have a nice clear day and you can see for miles and it’s just like, eh, taking walk at 20,000 feet. La-de da! What a nice day for a jaunt. VFR is when you can’t see where you are going and rather than looking out of the window you are watching all of your dials and gauges that tells you where you are, where you are going and what the conditions out there are like. A pilot under VFR can fly in total darkness, fog what have you and safely get to their destination without really seeing anything. But to do that you must learn to trust you instruments.

One of the points in that column was that you need to know what instruments are important and when. Looking at all the information from all the instrument makes things harder. You need to know what to do and when to do it. He ended up saying that much of our new camera technology is lovely but always necessary. That it’s better to be an automated photographer who has important functions internally automated than to rely on external automation, the camera, to do the thinking.

I totally got it. Galen was talking about training yourself to produce systems of thought and behavior to work subconsciously so that your active mind can focus on more important things like framing or anticipating the moment. From that I began on finding everything that I could about my photography, and frankly other elements of my life, that were repeating and find methods of making them efficient and then purely habitual. For instance, I don’t have to think about packing any of my bags when I head to a shoot as I always pack them the same way regardless of what I taking. All situations regardless of load out have a standardized packing scheme. You can give me one of my bags in total darkness and I can quickly find what I’m looking for. That’s 85mm or teleconverter or remote release is always in the same place.

Thus mise en place. A chef spends time before service prepping everything that they need and putting each ingredient in a particular container in a particular place so that when an order comes in everything is ready and at hand. Shallots? Chopped and in this bowl here. Basil? Chiffonaded and right here. Squab? Cleaned, prepped and in the cooler at their knees. If they had to run around looking for stuff and chopping away to get things ready for your steak au poivre, you’d never get fed as the kitchen would be a tangled mess of panicked cooks.

Maintaining my files, used to be film – again remember that?, is no different.  Have a system, always do the same thing and you know what’s going on.

So back to the “where did my memory card go?” problem that started my dissertation. If everyone had the simple method of:

  • Make photos
  • As soon as you get home/office/base of remote operations offload all images to two + locations while applying all relevant ITPC data about the files
  • Only after verifying that all files are safely off the memory cards, format the cards in camera to be ready for the next shoot
  • Put the clean cards back where they are stored

Then you will never lose cards/files so long as you always do that above process.

You should also:

  • Use a labeler so that all of your cards have your contact info on them so that if you drop the card somewhere and it is found it can be connected to you. You should also do this with all your photo gear!
  • With same labeler put a singular and incremental number of the card for reference. This is important in a number of ways. First if you are having issues with a card you can easily know that “card #4 is giving me problems and may need to be replaced”. Also if you have a long shoot that spans multiple cards you know which ones you have used. Always start the shoot with card #1.
  • Accept that you need multiple cards for a host of reasons i.e. you shoot with more than one camera, it’s a long shoot, cards go bad …
  • Keep your cards that are not in the camera in a protective case and that case should not be black. If it is black, as my Pelican card case is, then put a big stripe of brightly colored “Hey dummy! I’m over here!” tape on all sides so that if you drop it you can easily find it. My tape is an obnoxious fluorescent yellow. I put it on all of my caps and small black photo stuff. Never lose them again
  • When cards are empty have the cards in the case with its identifying number label facing up and when they are full that side down. Thus you can easily tell by looking at the card holder the condition of your cards

So my stuff looks like this:

As a working pro I often come back from a days shooting having shot on 2+ bodies and created thousands of files that may span 6 or more cards. I don’t use huge cards because I don’t want to have a card failure and lose files that way. I often travel for multiple days of shooting and that could create files that easily span a dozen cards. If possible use cameras that have two card slots and set the camera to create backups on the second card. That is one less way to lose files but of course more cards to keep track of. But regardless have a method that works well and stick to it.


What they don’t tell me

I have no problem admitting that I’m a bit of a behind the scenes (BTS) junkie. If you are in my office you will regularly see, if not the news, some sort of tutorial or BTS video playing on my secondary screen while I’m working on something else. This is because I want to not only be learning constantly but about all things possible. What has been really bothering me is that when photographers post BTS videos they so often forget to tell us anything substantial. We get “here’s our location, here we are laughing while the model gets her makeup done, check out my cool shoes, check out this neat motion swoop we did with the video rig which almost shows my lighting setup, here are some artsy frames of stuff that doesn’t really show us anything except for how artsy we are, here’s a clip of me gesturing to the model and fade out to my logo” … all in 93 seconds. I’m sorry folks but what the heck does that tell me, a fellow photographer about how you work, any maybe more importantly: what does it tell a potential client about what you are like to work with? Not a whole lot.

The intent of these sorts of promotion pieces, because that’s what they are, is to inspire people to hire you. Otherwise they are nothing other than frippery to stroke your fragile ego. Now don’t get me wrong, there are some photographers who do it right. However I’m usually having to watch one two second section ninety eleven times to see that one important, to me, thing that is glossed over. BTW it seems that almost always when a BTS is posted by a major magazine, Vogue, or company, name of importance, they post the most meaningless and content less versions of this. I mean if you are going to post a video of Annie Liebovitz on set with Robert DiNiro how is it possible to not show us or tel us anything interesting other than “yeah that’s Annie and Bob”?

What I want to know is: why did you do what you did? More importantly when the subject is a person: how did you interact with the subject? I sometimes get the internal thought process but I never seem to get the photographer/subject communication. I more than anything else want to hear how Annie and Bob chat and what directions she gives him. I never get this! There is never audio from the actual shoot that means anything. Instead we get upbeat music and not the voice of the supposedly important person in the video: the photographer. I even watched a BTS where all the models were briefly interviewed and glowed about how wonderful it was to be shot by “some big name dude” but we never heard a word from the photographer during the entire video. How is this possible?

I will give a nod to Peter Hurley. Since he is a headshot shooter and is a major instructor these days he knows that his interaction is a critical aspect of what he does so he is very good about including his interaction with the subjects. Him aside the rest of you out there need to don a mic and let us in! It’s the subtlety of interaction and your personality that in many cases is going to clinch the deal of you getting that job. Your folio says that you can shoot. You as a person, and a BTS is a great way to show this, says what it is like to work with you.

Just a thought for ya!

Pic o’ the day:

This is why I always have a camera in my hands. I had just arrived at the location and was walking about getting a lay of the land to plan out my shoot. My handler and I stopped and I looked down. There was Ricky standing in this green tape box with green shoes. Click!