READY FOR YOUR CLOSEUP?
How do I prepare for a shoot? "The readiness is all” as Hamlet
once stated. One word: Preproduction. With quite the colorful
array of cameras on the market capable of the unthinkable, one
thing they are not is a magic wand. Quite on the contrary, with
the high-resolution capabilities of today’s digital cameras, there
is nowhere to run, nowhere to hide. Seen the news lately? The
young, skin-perfect news anchor caked in makeup who was not
there twenty years ago is now on every channel. Light bulb…
Preproduction is essential. Great photographs are not accidents!
Be in the physical shape you want to be in: skin, hair, under-eyes
and so on and so forth. Rest is essential. Thought-out wardrobe.
Give yourself plenty of time to arrive at the studio.
What should I wear?
Wardrobe is more than just a V-neck shirt or a silk blouse. The
clothes you put on say a mouthful and in a still image speak
volumes. Ask yourself this: “What am I looking to achieve with
my photographs?” “What adjectives do I want to conjure up in
people’s minds?” and go from there. No pattern or color should
outshine you, the subject and keep Moiré at home. What is
Moiré? It is a pattern artifact created by two patterns too close
to each other for the sensor to decipher between them thus the
camera creates a third maze-like, criss-cross pattern. Rule of
thumb: bring more, not less – at least three options for every
‘look’ you are trying to achieve.
Makeup?
As important as your wardrobe is, the gravity of makeup takes
the cake – for men, women and children. Attention is not
concentrated on lashes or eye shadow but rather the evenness
and tone of the skin. Even if a subject is free of blemishes or red
patches, color variations are almost always present and it only
takes a still frame to intensify them. Complexions may have
varying undertones of greys, greens, yellows or reds – colors
the camera records and that can be a hastle in post to correct.
There is a reason that even supermodels boasting flawless
porcelain skin never step in front of a camera without the help
of a makeup brush.
Do you shoot digital or film?
We shoot both. Film is a lengthier more complex process and
requires additional steps for the client (lab work, processing,
digitizing etc.). For more info please take a look at the
‘Digital vs. Film’ section of the website.
How long are the photo sessions?
For headshots, roughly thirty minutes of shooting time per
look. Makeup and hair – from one to one and a half hours.
More extensive shoots and on-location shoots vary depending
on project. But regardless of type, it’s best not to have
anything else scheduled on the day of your shoot specifically
prior to.
How many images per ‘look’?
We shoot until we get ‘the shot’ but as a generality:
Digital - 50 to 100 exposures and Film - 1 roll (36 exposures).
Retouching?
In a world of pixels, putting an image through post has become
second nature. Most of us assume that pictures, regardless of
quality, have been ‘worked on’ to a certain degree. But how
far is too far? How perfect is too perfect? And what is the
quality of work being produced? Post-work should always be
done by a professional. The goal - to achieve realistic results
while enhancing the overall impact of an image.
Depending on our workload retouching can take up to four
weeks but generally within one. For digital, images are selected
by the client and corresponding numbers are emailed. Images
are retouched and emailed back as high-res files ready for print.
Film rolls must be processed and scanned by a professional lab
(Normal color processing and high-res scans preferably TIFF
files). The client brings the scanned images on CD, the files are
copied, the images retouched and emailed back as high res jpeg
files ready for print.
When do I receive my pictures?
When shooting digitally, images are received immediately
after shooting. The client must bring a hard drive, flash drive
or USB stick (with a minimum 8 GB free space per ‘look’).
Hard drive must be formatted for a MAC. If a drive is not
available on the day of the shoot, the client must schedule a
time to come back on another day. We do not use online
galleries, iPhones or Dropbox. If the pictures were taken
on film the client will receive the film rolls immediately after
the shoot however they must be processed.
NATURAL VS STUDIO.
“Let there be light!”
A scientist would most likely describe light in terms of energy
called electromagnetic radiation, how light travels through space
in tiny bundles called photons and how the magnetic field around
these photons fluctuates from its maximum positive to its
maximum negative strength; but the photographer describes
light in terms of brightness, color and contrast. Lighting is the
language of photography.
Natural light: God-given, beautiful and, as he intended, very
forgiving. The bigger the light source relative to the subject
the softer the quality of the light. And you can’t get much
larger than the sun! But in truth, the sun, because of its distance
from the earth, appears as a very small circle in the sky and
thus can create bright highlights and dark, hard-edged shadows.
Unless looking to achieve this specific affect, diffused light,
such as the light created from an overcast day, will result in a
much more flattering light for the subject – soft and revealing.
Similarly, open shade created by, for example the shade of a
building or a tree, has similar results. The light wrapping
around the subject enables the photographer to shoot from
almost any position without the light on the subject changing.
This “wrap-around” affect however makes the light
non-directional. Thus while illuminating your natural radiance,
us mortals, specifically the photographer is at the mercy of the
big guy in the sky and has limited leverage to control, bounce,
redirect and shape the available light.
Studio Light: While the science of light is always the same
whether working with natural or artificial light, a
photographer’s level of control is greatly increased when
working inside a studio. Harnessing the power of the sun in a
controlled environment allows a photographer to become a
painter. Using light as his paint and the subject as his canvass
he/she can define, chisel, soften, accentuate, manipulate color
and create mood. What does this mean for the client? In the end,
studio images have a finished, magazine-worthy quality that can
be easily manipulated in post to create the results the artist has
envisioned.