Actors - Your Headshot should reflect YOU!

The mad cool Nicolette from Aligned Stars Talent agency Atlanta.   Christian Webb Photo

 Okay, so you're an  actor about to get new headshots.  You tell your photographer that you want your "new" headshot to be completely different so you can get other roles. Sounds okay yeah?  I mean, no one wants to be type cast right?  WRONG!  Let me explain.

During my Mastering The Headshot workshop, we were fortunate enough to get a few actors from a local talent agency in NY.  One of the actresses stood at about 5'1" (if that) and had a tiny frame and  could play 15 years young even though she was 25.  She had huge doe eyes and a perpetual look of pure innocence on her face no matter what she was doing.  Of course though, she came in and wanted the students to shoot her to make her look "BAD ASS!"   Now, let me just say that yes, I think some versatility in an actor's headshot is fine.  You may want to reflect a maximum of 2 looks. Those looks usually being the more dramatic vs friendlier, more commercial.  Dramatic however doesn't mean going the distance to look total opposite to your normal look.  You might now be asking "well, why not? I'm an actor yeah? Shouldn't I show range?"  No. Not really.  The best headshots are ones that reflect how an actor looks in real life and captures some of their character.  Shooting the girl mentioned above for example to look like Lara Croft wouldn't serve her any good when she shows up to casting looking like Mini-Mouse. (both gorgeous ladies of course!)  I want my actor's to walk into a casting and be the same person as in the headshot that got them into the room  in the first place.  

There are some actors who can play on that line between both bad ass and more subdued innocent.  But if you naturally look like the super bad ass looking, rough, tough character type in person and then try to make yourself look like a soft, sweet, boy or girl next door type, this is NOT a good idea.   Some may ask "well, how does someone get different roles?"  The answer: THEY DON'T Just kidding.  Look, as an actor you need to truthfully analyze yourself and KNOW your type.  You have to know how you're going to be perceived in castings and do your best to own your type.  That's YOUR brand.  That's how you will market yourself.   It doesn't mean that you can never get cast as a complete opposite to your  "normal" look.  It happens.  There are many factors that go into that.  Early on in your career, you may not have the option to play against your type as many A listers do later in their careers.  Also, if you just simply get great shots that reflect who you are,  later, if you're talented enough you can  audition and campaign for roles that you normally wouldn't get.   

So, keep it simple.  KNOW WHO YOU ARE!  KNOW YOUR TYPE and BE YOU. Make sure your photographer knows WHO YOU ARE prior to your shoot. This is essential in getting great headshots and will ensure that you're getting shots that will ultimately get you called in again and again and again!  

Mastering The Headshot - Teaching a Workshop

   Setting up for the day.

When Chris Smith of Global Photo Adventures sent me an email asking if I'd like to host a workshop on Mastering The Headshot,  I thought "Me? You sure you've got the right guy?"  While I'm pretty confident in my work, I never thought to put on a workshop of my own and never suspected anyone would actually invite me to do so.  It seems that everyone with a camera these days is hosting a workshop.  I really didn't want to be in that crowd as again, I figured "who am I?" and just figured I was happy doing what I was doing.   Chris assured me that I was the right guy.  He had been following my work and belongs to some of the same photography groups I belong to and apparently,  noticed people following and liking my work as well.  So,  all of that out of the way and with Chris taking the helm as far as setting it all up,  I whole heartedly agreed and when the time came,  I found myself in Atlanta all set to teach people what I do when it comes to headshots. 

After arriving in ATL and dropping off most of my gear at the hotel,  Chris and I headed over to the location where the workshop would take place,  Photoplex Studios.  There we me the studio owner Mike Noa who gave us a tour and spent some time discussing the studio and some of his experiences in business as well as photography related matters in Atlanta.  Photoplex is an amazing and pretty large space with multiple studios for shooting and every amenity imaginable.  While we loved the studio,  much of what I would be teaching would be location shooting.  So, Chris and I headed outside and scouted a few locations that would serve as great backgrounds. (this in itself was one of the main lessons to be taught in the days to come.)  

DAY 1:

Finally got to meet the folks who actually signed up and committed to spending 3 days with me.   All incredibly cool, gifted and really passionate people which made my job that much easier.  We started with basic introductions and I bored them with my brief bio and a random Power Point slideshow I had put together. ( just figured, hey, I need something like that for a workshop yeah?).  Before long we got down to business and we all headed outside where everyone worked on finding their backgrounds and setting up gear.  We were fortunate to have an actress, Nicolette Goetz,  sent over from local talent agency, Aligned Stars. After some instruction on gear set up and getting things dialed in with set ups,  I spent time coaching a bit more on technical adjustments and then, most important....working with the talent and coaching.  Within a short amount of time and after discussing some random tricks here and there,  everyone seemed to be well on their way and it ended up being a great first day.

DAY 2:

   A student working my camera for a few shots. (Gotta choke up on that lens!) 

We spent some time discussing some business aspects of headshot photography and were even joined by Aligned Stars agents Patrick and Andrea who discussed headshots from an agency perspective.  Again, we were fortunate to have two of their actors join us as models for the day - Brandon Tewalt and Cashmere Bonton.  Both were great to work with and had natural presence in front of the camera.  After shooting both in studio and outdoors,  we spent some time going over some of the headshots the students shot.  After some critique and a feedback session,  I did a live edit for everyone to go over the retouching work I do for headshots.   The rest of the day was spent shooting and by this time,  everyone was truly on their game. 

  John working with Brandon in studio. 

                                            Brent working with Brandon on location. 

  Studio set up. 

DAY 3:

   Pointing out something there on the tethered capture. 

   Cashmere working the smiles and expressions. 

Our final day together started out going over the students "homework" assignment which was having them retouch/ edit their own shots.   After, I spent some time discussing some more business related aspects and marketing approaches.   Finally, we finished out the workshop with everyone shooting and having fun.  Again, we were provided with some great actors from Aligned Stars - Marcus and Erin. 

All in all, after my initial bit of anxiety on how this workshop would play out,  I left feeling incredibly good about the three days and extremely satisfied to know that I was able to help in bringing my students, fellow photographers and new friends to a new point with their work and helped to up their game.  It was an honor and a privilege for me to be there in the first place and I'm truly grateful for the trust given to me to pull this off.  

   With Nicolette. 

Thanks again to Chris Smith of Global Photo Adventures for making all of this happen.  Many thanks to Mike Noa, Photoplex Studios,  Aligned Stars Talent and their actors as well as special shout out and thanks to  the incredible make up artist we had on hand for the three days Samantha Gunn.  A true talent and simply badazz cool!  

And of course,  a really special shout out and "THANK YOU" to the photographers who gave me the opportunity to work with them:

The Best Headshots? Best Headshot Photographer.

Ava Raiin, NYC 

As an actor,  you need a headshot.   So you have to find a photographer.  Naturally, you'll tell yourself that you need to get the "best headshot" you can get. (hopefully you're saying that!)  So with so many photographers out there shooting headshots, how do you actually find "the best?"  What is the the best?  Who is the "best?"  I've had this discussion a few times with a fellow photographers/friends where we talked about the very subject of "best headshot photographer!"  What does that mean exactly and how do you know who the "best" is?  Well, I think I've figured it out and the answer is....

Well, it's not that simple really.  But let's see what we can come up with.

Here's how I see it - There's no such thing as "the best headshot photographer" or the "best headshots!"  There are headshot photographers that shoot headshots and then there's "the BEST headshot photographer for YOU!"   What that means simply is that out of the many choices of photographers an actor can choose, some of them may not be right for any number of reasons.  Pricing may be one factor.  A young actor studying theater and waiting tables at night, barely making rent and bills may not have the budget for "the most expensive" headshots.  For them, the best headshots will be headshots they can afford.   However,  this doesn't mean going out to specifically find a bargain basement headshot photographer.  The first consideration should always be QUALITY and professional level work!  Without out a doubt,  you should treat your headshots as a necessary investment.   A truly professional, dedicated actor knows the importance of a great headshot and how it will serve their career.  They are not looking for the best price, they're looking for the best headshot.  So what to do? 

Jeff Morgan, Atlanta.  Landscape orientation, 2 light cinematic set up with my usual,  "blue" theme going on. 

Start by finding the go to professional photographers in the business and work your way from there.  You'll soon find that even with the variety of styles offered by the top headshot photographers,  there are a few things that are consistent when it comes to their work.  For example,  they'll shoot PROFESSIONAL level images.....meaning - clean, clear, well focused, well composed, sharp images.  The retouching will always be PROFESSIONAL level and look clean and natural.  ALL of these things matter!  Let me repeat: ALL OF THESE THINGS MATTER!  I can't stress this enough to you!  If you spend $1,000 on a headshot or spend $99 for the "all inclusive bargain" headshot...the photography has got to be ON POINT!  Out of focus images - NO GOOD! The eyes aren't sharp, clear, in focus - NO GOOD!  The retouching has you look like your face is melting and is way over smoothed - NO GOOD!!!  You will simply have to get new shots all over again!  

Kara G., NY

Let's discuss pricing more.   For the most part, you'll find that there is a pretty general price range when you get to the top industry leaders.  The price fluctuations won't be that extreme so you should expect to pay what the "average" standard amount is in your particular region.  Most markets will range somewhere between $300-$800 depending on the packages and such.   Truth told,  if you find a bargain headshot photographer offering "value meal" plans....and they're $200 cheaper than a truly professional, solid photographer with a real reputation in the business, you're better off just taking your time to save up the extra $200!  You should NOT be thinking of your headshot as some random thing you need to just get out of the way and do.  You shouldn't be thinking that any decent shot will be okay.  You shouldn't be lured by cheap pricing gimmicks.  The reason why you're probably going to get better work, better quality at the higher price ranges is simple:  Those photographers have experience and you're paying for that experience. They have the technical skills to deliver solid, high end shots and they know what they're doing.  They're not just talking a good game.  They've been in the game for some time and have proven track records.  Even more,  they are consistent and their work speaks for itself!   Often times, a photographer who is just starting out and looking to build their business and compete will come in the game and offer the "super special" all inclusive deal simply because they haven't reached professional level status yet.  They don't have the technical skills or experience and they are just learning.  That's fine. Everyone has to start somewhere.  But that's NOT who you want to shoot with.  That's like hiring a dentist or doctor still in med school.  Maybe they know a little something something but is that the risk you want to take?  Even if they're decent or okay at what they do,  their overall level of professional work won't measure up upon examination. 

Allen Redmond,Atlanta

Now let's talk style.  While there are some basic similarities to a headshot,  there are many photographers with different styles of lighting and set ups.  Some shoot exclusively in studio while many shoot exclusively on location.  Some do both.  Some use natural light only while others may use strobes/speedlights or a combination of both.  The BEST headshot is going to be the headshot that fits the style that YOU like and want.  Or, perhaps your agent/manager recommends a particular style for you.  It's also true that certain markets can have or favor different styles.  Regardless,  a great headshot is a great headshot whether it favors the particular trend of one region/market.  (L.A., NY, ATL) or not.  Something you absolutely MUST understand and keep in mind is this:  There's a difference between a good headshot and a GREAT headshot!!! You have to know the difference and you have to be committed to enough to your career to know that it does matter! 

And this is Jeff shot in natural light, portrait orientation.  A completely different look than my normal look.  But....still, clean, clear, focused and a natural retouch. 

Another consideration and perhaps an overlooked one,  is making sure that the photographer is actually BEST for you regarding comfortability.  When searching for someone to shoot your headshots, it's important to get a sense of the photographer's personality and their way of working.  Checking referrals, reading their info on their website,  asking around from others who have shot with them before can help in making the decision as to whether a particular photographer is BEST for YOU to work with.  It's not uncommon to find a photographer who has decent work yet, they don't work well or "play nice" with people.  Or perhaps they're personality is too zany, over the top  or just the opposite, too drab and boring.  Making sure you find someone you're comfortable working with is a critical part of getting the BEST headshot that will serve you well. 

My shots, my style...the way I light, compose my subjects and all may not in fact be right for you if you prefer a different style.   But as far as photography goes, all of the elements you should be looking for are present in my work - clean, sharp, well lit,  professionally retouched, contrasty images that "pop" and stand out. 

Above all in conclusion, the quality of photography should really be of highest consideration.  A headshot photographer's work should most certainly live up to the industry standard as far as lighting, composition and overall professional look. Take a look at their website.  Look through all the portfolios.  Are ALL of the images great or just a few here or there?  Often times, that's a sign of an amateur just starting out and building.  They knock a few shots out of the park every so often but their level of consistency just isn't there.  Look at their retouch and their final images.  Are they professional level or sloppily retouched?  Do the faces look too smooth?  Again, is EVERY image professionally done or just maybe a few?  Just keep in mind that spending the most, doesn't guarantee the BEST either,  but spending very little more than likely won't be good.  Most times there's a reason why you'll pay a premium for a particular person's work and most likely, that photographer's work is probably solid.   And yes, often times, you get what you pay for. 

YOU HAVE TO EDUCATE YOURSELF ON HEADSHOTS AND STUDY THAT PART OF YOUR BUSINESS!  

Bottom line is...please....for the sake of your career....DO NOT RUSH the process!  Take your time! Do not just jump at some random cheap deal to save money.  At the same time, don't think spending a ton of money is going to get you the shots that you want.  Inspect the work of ANY photographer, get feedback, examine everything, ask around and then start to narrow down your options to make a choice.  In the business of headshot photography, with so many photographers to choose from,  a bit of research, shopping around and really taking your time will turn up plenty of options and plenty of great photographers.  Any of which may in fact just be....the BEST for YOU! 

Let me know your thoughts, experiences and feel free to LIKE or SHARE if you found this post helpful! 

Actor's Headshots - Selecting The Best Shots

Julia- This is a shot that the client choose.  While it's not a bad shot,  I had many reasons why I would not have chosen it myself.  This is the retouched version.

Once a headshot session is completed, how much input does the photographer have when actually deciding on which images are "useable" or "best" for the client's purposes?   I have had a few people inquire as to whether or not the ultimate decision is up to the client.   Sure,  of course it is.  Well, sort of.    As the client paying you for your services, at the end of the day,  if they decide that their favorite shot is that one shot where they blinked or the focus was off and a moth flew through the frame,  that's their choice.  If they want to send that shot out as their main headshot,  so be it.  They paid you, you did the job and that's that.  Or is it?   There are a few things to consider when it comes to the decision of which shots are best and many of these decisions not only have impact on the client but also have direct impact on you, the photographer and your business.

When photographing an actor for a headshot,  most of my concern is making sure that I get the client to give me the expressions and looks that'll truly showcase who they are and will best suit their needs for getting work.  So it stands to reason, that when I'm reviewing their photos after the shoot, I'm looking to find those particular shots that achieved those goals.  Once the initial review has been done and the "throw away" shots have been eliminated (out of focus, client blinked, moth flew through the shot, etc.),  it's time to start analyzing the shots on a deeper level.  Outside of the technical aspects of the photo,  what I'm looking for primarily are the shots that convey personality and character.  I'm looking for shots that would definitely make a casting director or agent stop and take a second look.  Some of this comes from experience working with casting people and agents and some just comes from studying the craft in general.  All of that said,  here's where it gets tricky.  You send the proofs, via whatever your methods/arrangements are and the client does their review.  They get back to you and choose 3, 4 or whatever photos that they like and....(here it comes)....the images they've selected have you saying "what?!" Now, I'm writing this assuming that you DIDN'T sit with the client and go through the images together and offer your advice.   Personally, I like doing it that way when in studio.  It's part of the process as far as I'm concerned and part of my responsibility as a photographer to help them see and select the best shots.  But getting back to the issue and where problems can arise.

RAW image, pre-retouch.  I haver many reasons why I don't think it's a great shot.  I prefer a stronger pose with more confidence. Here, she seems to almost be leaning away.  Is it terrible? No, she's still cute, good looking but there are so many other images that were better.

Most people see themselves in photos and immediately see what they DON'T like about themselves.  It's perfectly normal, natural to do so. Everyone does it.  We're all narcissists to one degree or the other.  If a friend snaps a group photo with you at some event, the first thing everyone does is ask to see the picture.  Then, everyone immediately looks at themselves to see how they look.   When going through headshots,  a lot of people are not looking at the photo in terms of what makes a great headshot but "how they look" and what they like or don't like about themselves.  They're seeing all of the issues, flaws or things they don't like about themselves each time they look in the mirror.  We're all pretty much conditioned to do so.  This is why it's critical to really make sure to discuss with clients what makes a great headshot. It's important to build trust and be able to convey to them that you have their best interests at hand and that your perspective is completely objective.  Obviously you want to pick shots where the client "looks" great, but it needs to go beyond that.  What do the eyes say?  What does the expression suggest?  Is the client's position, pose in the composition flattering?  These above all things make all the difference.

On top of serving the client's best interests,  it's also beneficial to us as photographers to be sure that the "best" work is being put out there.  In my example above regarding the client choosing a "bad shot",  if that shot goes out there and is circulated, obviously everyone who sees the shot is going to inquire "who shot this?" (probably with a look of disgust or while laughing their ass off!)  And of course.....having negative feedback on your headshots can ruin your reputation and  is counterproductive to your business.

Take time to really understand the headshot business and what the casting agents and all are looking for.  Most of the relationship with a client is about communication.  From the initial booking, through the actual shoot and most certainly after the shoot.  Really work to make sure your clients trust your decision making process and guidance.  It's not always guaranteed that they'll all listen to you, but it's definitely a responsibility owed to each and every client that pays to be in front of your lens.

Shooting Actor Headshots - Some questions

I've been receiving a lot of wonderful feedback as of late from various enthusiasts and professionals within the photography communities I'm a part of.   First,  I'll say it's an awesome feeling to receive the amount of positive energy and love from so many people I don't even know!  Even more awesome is that many are professionals that I admire greatly!  With all of that said,  I've also received a lot of inquires relating to my work and how some of the photos are shot.  Questions ranging from my set up,  how I work during a shoot and what my post processing involves.  So,  I've decided to take a few of those question and answer them here on my blog.  Now, my blog receives very little traffic! lol.  I've yet to figure out how to make this work and I spend little time focused on it.  However, it's easier to  write such long winded posts here and then, share via my other social media outlets.  (all of which I'm no where near mastering either!)

Okay, so today's question(s) comes from a photographer in London named Nina.  It's regarding the shot posted above.  Here's her original question(s) as it appeared on my FB:

1.) How much instruction to the clients when it comes to posing, expression and such?  

A LOT!  I  can't stress that enough!   Many people, including actors are not comfortable sitting down for a headshot.  As a result, they tend to stiffen up and also, have little idea of what to do    with themselves.  Most haven't studied posing and photography either and are not                       conscious of the fact that slight movements of their head, their body angle can change an           entire shot.  After make-up / hair is done and they first get in front of the camera,  I spend a         good five minutes or so just discussing the nuance of movement and different angles.  I talk       about what I'll be telling them throughout the shoot and help them to understand why I'm           coaching them as I am.  One quick example -  I tell the client to sit as they'd like, natural but         as they normally would to have their photo taken.  Just about EVERYONE sits upright and             lift their heads, chins and lean back and away from the camera.  I take a quick shot.  Then, I         instruct them to drop their head, drop their chin some and lean in slightly toward me.   I take that shot and show then show them both pics.  They're AMAZED at the difference and it helps for the rest of the shoot.  With regard to expression,  it's probably THE single most important thing during the shoot.   It takes A LOT of work, A LOT of coaching and A LOT of communication to get what you need, what they need.  Sometimes,  you get people who just....get it....and they're great with bringing a range of emotions and different looks.  They're fun, dynamic with their looks and extremely versatile and know how to work the camera.  Sometimes though, a lot of times, you get people who have one maybe two looks in their arsenal and THAT'S IT! You have to spend time getting them to open up and to feel comfortable enough to go through ranges of emotions.  For the most part,  it's all fun!  It's just knowing how to talk, have fun and relate to the clients.  Often times, you have to go above and beyond to get them going but hey, that's all part of the magic!  

2. )  Camera alignment:

I try to stay pretty level with the client.  There are times when I do get slight angles from above based on how much I have the client leaning in toward me.  I usually make adjustments in my stance and such to accommodate the movements though.  I spend a good amount of time dancing around and shuffling my feet/stance!  I don't like extreme angles from above and definitely not from below!

3.)  The variance in blur between background & subject - is it achieved or modified in post:

I shoot at an aperture of 3.2 with a 70-200mm lens zoomed all the way out to 200mm so everything blurs.  This plus the fact that my clients are not sitting against any particular backgrounds outside is how the look is achieved.  I do absolutely nothing in the post processing regarding the backgrounds.  If anything,  I will occasionally need to clone stamp, crop out or blur random blurred items or distracting elements but other than that,  the shots are as is when they come from the camera.

So, hope I've shed some light on things and answered the questions thoroughly.  "Thank You" to Nina for the question and hopefully others will find this post informative.

~ Christian

Kids Photography! The hardest subjects to photograph?

Prior to focusing 100% of my business on headshots, I photographed a lot of children.  It just made sense as my two sons are in the business and I work with the children's divisions of a couple of agencies.   Children make awesome subjects and provide a lot of fun while shooting them.  However,  the challenges getting good shots can be tricky!

A photographer friend emailed me recently about some project he's involved in photographing children.   The photos he sent me were supposed to be "candid" photos of the kids.   The photos were fine but he was upset as they weren't technically good and didn't look as if a professional photographer shot them.   Well, they're "candids" yeah? So it doesn't matter right? Wrong!  Candid photography doesn't mean bad photography.  Especially if the person shooting is an actual "photographer."   There are tons of candid moments caught by photographers that are great shots.   If we're talking about the casual user, a parent, non-photographer snapping a few iPhone pics of their kids, then it's not that serious.  But, if like my friend, you're a photographer and have an actual assignment (paid or not) that requires you capturing some great images of children,  then read on.  Here are some tips for shooting the always active, always adorable little people of the world we call,  kids!

To start out with,  if you've taken the time to be a photographer and sell yourself as such,  you most certainly should KNOW your camera!  Know it's settings and know how to use them in various situations.  Whether you're shooting kids, animals, a landscape or whatever,  you should be well versed in the basics and have a good grasp on your camera's capabilities.   If you're a casual shooter who may want to step up your shots some and have invested in a dslr,  the following should be a good starting point for you.   With that said, let's move into some basics that specifically relate to shooting kids.

1)  SPEED-  Speed is everything when shooting fast moving kids!  If you're shooting with a dslr, you'll want to put your camera into  SHUTTER PRIORITY mode. (check your brand of camera for selecting this mode.)  What this essentially does is allow you to set a shutter speed you need and the camera will set the correct aperture for a correct exposure.   If you've got kids running around, playing, doing sports, you'll want a pretty high shutter speed to capture them in motion and get clean, crisp shots. Experiment a bit until you get a speed that suits what you're doing.

2.)  LIGHTING -  That should pretty much go without saying for any photographer as lighting, is everything!  With your camera in Shutter Priority,  your exposure will take care of itself. However, you still need to be mindful of the ambient lighting.  If you're outdoors on a nice sunny day,  you'll be fine.  Even on an overcast day (great days to shoot!) you'll pretty much have no issues. Look for evenly shaded areas and avoid "speckled shade"....like shade coming unevenly through the leaves on trees.  You'll end up with spots of highlights and uneven lighting on your subjects.   However, if you're shooting indoors in low light, things can get tricky.   Depending on how fast your lens is and how well your camera's ISO performance is, you'll need to really pay attention and make some tweaks.  Assuming you're using no flash and just keeping things, casual and....candid......You'll want to look for the light!  Windows, skylights, doorways, overhead lighting etc.  When you do find natural light, like sun coming through a window, be sure to stay mindful of HOW that light is coming in and how it's spreading.  You don't want to get a kid running in front of a window but a huge highlight of sun washes him out and blows highlights.  Look for sources of diffusion as well.  A window with harsh sun beaming through it may be great but if there are some sheer curtains hanging, try closing them to get a nice, soft, even light.

3.) WHITE BALANCE -  The color temperature of a photo can make or break it.  Different lighting has different temperatures.  Make sure you're mindful of your camera's white balance setting.  Most dslr's have preset white balance settings that you can choose depending on your environment.  Daylight or Cloudy/Shade setting for outdoors and  Incandescent or Fluorescent for indoor lighting. You can also just leave the setting on AUTO WB.  It's a good idea though to get used to knowing the different types of lighting, their respective temperatures and how they'll effect your images.

4.) FOCUS - There's probably waaaaay too much to get into here regarding focusing.  It can get pretty complex.  Safe to say that you'll most likely want to be in auto focus mode AF.  Depending on your camera, there are several AF modes and configurations to consider.  Nikon has three auto focus modes:  AF-A (auto), AF-C (continuous)  and AF-S (single).  AF-S is for a subject that is stationary while AF-C is for moving subjects.  For children running here and there and constantly moving,  you'll want to shoot in AF-C, Continuous Mode.  In this mode, the camera will recognize that you're shooting a moving subject and it will hold focus on that subject as it moves.  (while your shutter button is half pressed.) (check your camera manufacturer for details on it's auto focus mode settings and how they work.)  Nikon's AF-A mode will automatically switch between AF-S and AF-C depending on what the subject is doing.  How you select these modes and how they're activated can be a matter of preference.  You should most certainly study your camera, become familiar with the modes and get used to how they work.

At the end of the day,  in both cases above, these are supposed to be "candid" shots yes? Not photoshoots.  That said, I'm not implying that you "set up" your environments and shots.  It's about just being mindful and prepared in your environments and knowing your subjects. In this case,  energy filled, never at rest kids.  Preparation, even in spontaneity is everything. Sounds odd yeah?  But as a photographer,  preparation is everything.  Having the correct camera settings ready to go and understanding how to use them will ultimately help you to capture those spontaneous, precious and candid moments that would otherwise be missed or captured poorly.  Without question though and above all,  let kids be kids and have fun capturing the joy!

Mark of a professional

Christian Webb Photo NYC, Headshots

Andrew has been in the business for 30 years.  It was no surprise then that when he got in front of my camera for his new headshots,  he was dead on with his posing and quite comfortable.  A few pre shoot directions and some coaching regarding my emphasis on head / chin positioning was all that was needed and he got it right away!  When he showed up,  he looked as if he just finished running a marathon.   He was scruffy, hair a mess and even had nicked himself shaving and was bleeding a bit here and there.   Now, all of that sounds like a mess yeah? However,  Andrew's look, his casting range tends to be the rough, older, everyday type of guy.  He brought along a few t-shirts, a jacket and it all worked.  I think if I had shot him with a fresh haircut and shave, it would have been great but with less character.   This is what it's all about - Knowing your client.  Knowing their type and how to best represent that in their photos.  Had a great time and because of Andrew's comfort level and experience in front of the camera,  it was a breeze of a shoot.

Actor's HEADSHOTS - DEFINED

Christian Webb Photo NYC, headshots

I came across one of those comical memes the other day on Instagram that read: "Headshots, I see headshots everywhere!"   With so many people needing/wanting headshots for a variety of reasons and so many photographers shooting them,  I thought I'd do a quick post about "what a headshot is exactly."   I'm going to focus mostly on headshots for actors as I figure that when most people think of a headshot they think of actors.  If you're an actor, your headshot is one of the most critical tools to your career. Before getting a new one, it's important to have an idea of what a headshot is exactly.  Your headshot should be an accurate representation of you that allows others to see you and consider you for a particular role.   The key is not to try and play a role in your headshot  but to simply play YOU.  If you're the shy quiet type, girl or guy next door, your headshot should reflect that.  On the other hand, if you're the vixen or hunk next door, then your shot should reflect that.  Just don't get headshots that make you look like the exact opposite of who you really are simply because you want to go out for other types of roles.

Now,  let's talk about how headshots have changed over the last 10 years or so.  Prior to the explosion of digital photography,  headshots were shot on film and were pretty standard:  portrait orientation and in black & white.   In recent times most headshots are the exact opposite: landscape orientation and in color.  The reasons for the change from b&w to color is pretty much because of the lower cost of digital over film.  As for the orientation,   just as our home televisions went from a "square" to the more theatrical rectangle (widescreen),  the headshots these days just seem to look more...well....theatrical when presented in landscape orientation and overall, that's a better look for actors.  It allows for casting directors and whomever to see the actor as they would on screen.   This of course, is not hard science.   Do people still do b&w, portrait orientation headshots?  Probably not so much b&w and the orientation is just a matter of choice but in my opinion,  landscape is the new preferred standard and quite popular.

My old headshot in black & white portrait orientation.

Here's my "old school" acting headshot from awhile back. B&W / Portrait orientation.

Okay, so with that out of the way,  I'd like to get into more specifics about the actual "shot."   I have seen photos labeled as "headshots" and they're full length body photos or three-quarter shots.  The full length "modeling" shot is in my opinion DEFINITELY NOT appropriate for a headshot.  The three-quarter shot, that's more a matter of taste.  However, I will say it's not the standard these days and it's not the best shot for an actor.  A headshot should be exactly what it says - A shot of the actor's head!  Okay, well, not just their head.  The best shots work from about chest level up.   I personally like to produce headshots that are pretty tightly cropped and in close.  I think it's best to put the actors eyes, smile, personality right in your face!   When casting directors and such are pursuing hundreds of photos, they want to come across your shot and be immediately drawn in.   A three-quarter shot does not offer the same connection.  On the other hand,  for corporate shots or a real estate headshot,  the three-quarter will usually be fine and is pretty typical.    Again, as with the previous information,  this is all a matter of opinion and quite subjective.   There are a few other considerations regarding a proper headshot like wardrobe choices and whether indoor studio shots or outdoor location shots are best.  Either work and truly, it's just a matter of taste.

DMack Corp

                                         Above is a 3/4 shot I did some time ago.  This doesn't really work for a headshot.  More a corp/real estate shot or even LinkedIn profile shot.

Something else to address when it comes to headshots, is the type of headshot an actor requires.   There are two basic shots - Theatrical and commercial.   The theatrical is more, leading man/leading lady shot that tends to be dramatic and usually serious.   A commercial shot is more....fun and will usually showcase the actor with a big, bright, welcoming smile that says "hey, I can sell toothpaste and Toyotas!   It's not that a theatrical shot can' t feature a smile, it's just the type of smile and the type of energy the shot conveys will be slightly different.   I'm writing all of this from the perspective of a photographer that shoots headshots.   Which leads me to the next point.  With so many photographers out there and so many claiming to do headshots,  it's critically important to make sure you're actually hiring a HEADSHOT photographer to shoot yours.   A photographer that only shoots hotels and real estate interiors may very well know how to take a picture of someone but it's not their expertise.  A person who shoots fashion models of course can shoot people (sometimes, lol.) , but again, the specifics of a headshot, the nuance and understanding the process is something that takes time, practice and a dedication to that one specific genre.    Just learning to coach actors to get the best out of them for their shots is completely different than directing the  facial expressions and poses of a  model.   Understanding the positioning, angles and subtle changes in head tilt and position are what a seasoned headshot photographer will offer.   Not to mention the proper lighting and quality of the overall image.  You want a photographer that's seasoned at getting the very best out of you as an actor to convey who you really are and what roles you're best for.

Christian Webb Photo headshots NY, cinematic headshots

Headshot from recent session with a New York actress Kayla.   Color, landscape and pretty close crop.

So in closing, if you're pursuing headshot photography, really take the time to understand what exactly a headshot is and for what purpose(s) such headshot(s) may be used for.  Understand the differences and provide your clients the understanding even when they don't fully comprehend the differences themselves.  Don't be surprised if a client doesn't have any idea what type of headshot they need or what makes a great one.   That's what they come to you for!    It's a huge responsibility shooting actors headshots.   Their pictures are either going to get them in the door or....not.   Sometimes, it's truly just a matter of having the RIGHT shot that says enough about the person.   If you're an actor in need of headshots,  take your time, understand what makes a great headshot and research photographers before putting your money down.  If you find a photographer that's a "Jack or Jane of all trades"  you may want to think twice and find someone who truly knows their craft and has the experience.  If you're taking yourself and career as an actor seriously at all,  find a HEADSHOT photographer,  NOT a photographer that also does....headshots.

Connecting

Never been to Rockaway Beach before.  Ended up there with my son for a photo shoot he was doing.  (some shots of that in a coming post)   After the shoot was wrapped,  I grabbed my camera and got a few shots of him myself.  As we were leaving the beach,  we spotted this man on a bike, watching us.  I asked to take his picture and he was  quite happy to oblige.  Nice guy.  Cool bike.  I am finding more and more that I absolutely love connecting with strangers via my camera.   There's really nothing like it.  Especially the interesting ones.  Not just their look, but their stories sometimes and the conversations that get struck up.    After snapping the portrait shot, we said our goodbyes and he rode off down the boardwalk.  Once again,  had to get that shot.   Glad I did.  As I looked at the shot in post, I thought....Here he is, headed toward that clock in the distance,  the future, his future.  How much time does he have?   Guess it depends on how fast or slow he pedals along.   Same for us all yeah?

NYC NIGHTS - Street portraits

Took lil' bro' out last night to work on his photography. Teaching him about the constantly changing lighting conditions at night...and finding/using available light when shooting street portraits. Here are a few I managed to snag myself, including one of my apprentice! lol!  He got a bunch of great shots as well and had a BLAST meeting and hanging with people downtown. (stay tuned for his blog to see some of his work! ) #NYC #NIKONNIGHTS

Sunflowers & The Man

On my walk in Washington Heights this past weekend,  I came across a small bodega with a rather large assortment and display of flowers up front.  The sunflowers trumped all others and were truly a beautiful sign of Spring and great days to come. The man attending to the flowers was deep in his work when I took the time to ask his permission for a photo.  "Si" he said and continued with his work as if I wasn't there.  But then, out of nowhere,  knowing I was there,  camera pointed,  he suddenly put a flower up to his face, playfully hiding behind it and giving me a grin.   I laughed of course and thanked him for letting me bother him.  Wasn't until I uploaded the image later that evening that I appreciated his sense of humor.   Below is another crop.  (Nikon d800, 50mm)

A hint of Miami

I must have passed this building a million times.  Each time I'm uptown in Washington Heights for a haircut, I drive by and see it.  Yesterday,  I had some time on my hands while waiting for my barber.   So, camera in hand, I walked the streets a bit.  I ended up strolling St. Nicholas Ave and found myself on 179th St. standing right in front of this monster of a housing project.  I believe it's called St. Nicholas Tower.  I've also heard Gateway Towers.  Whatever the name,  it's a hard building not to take notice of.  It stands alone there on the block and looms over all.  Thing is, as many times as I've passed it,  I've never really stopped to actually LOOK at it.  Taking the time yesterday, standing there beneath it,  it struck me that this building seems fit to be in Miami.  As I pointed my camera up and looked at the pastel colors painted on the balconies I saw a chic coolness never imagined all the other times.  The irony of course is that it's clearly far removed from the glitzy, overpriced, super pretentious glam of Miami.   It's a low income housing project on the gritty streets of NY.    I'd like to think that perhaps those colored balconies help those in the neighborhood and the residents who live there think of the beauty of life and provide some smiles and joy at times despite their circumstances.   If of course,  they just take the time to stop and look.

This is the b&w version which I definitely like because of the pattern and contrast.  But of course,  the colors are what makes the building.    (Nikon d800- 50mm lens)

Photography Q&A - Zack Arias

Question:  Who is Zack Arias?  Answer:  I won't go into too much on Zack Arias.  You either know, or you don't.  That said, whether you do know or don't, if you're fortuante enough to stumble upon his book, you'll never forget ZA and how instrumental he may be to you as a photographer. ("And if you don't know, now you know...!" Couldn't resist that. My bad!)   Whether you're an amateur, a budding enthusiast, a newbie just starting out or a full fledged working professional photographer, this one book serves as a bible of all things photography.  I say that not to put Zack in the stratsophere of photography gods and suggest that he's so above us all, but rather to say the exact opposite.  Yes, he is a photography god to many, but most important,  he's as real as it gets and this book reflects his down to earth, mad cool personality.  It's Zack being Zack and being so far removed from that upper echelon realm of snobery that makes the book so damn good.   Q&A serves as a fundamental guide to all things never really discussed on most blogs, classes or other photography books.  This is a straight, no nonsense, raw colleciton of information that covers so much of the in between questions related to photography that many books can't seem to explain clearly or either ignore outright.   While it strives to get to the more nitty gritty and reality of what's necessary to make it as a photographer , there's also some technical info sprinkled  throughout along with  some gear porn to satisfy those seeking to know the tools such a master like Zack is currently using.  What Zack knows, and what he will undoubtedly make you know, is that the gear isn't it.  The technical stuff isn't it.   There are images throughout and detailed personal stories related to his career and life.  He'll talk with you, not to you and by the end, you'll wish the conversation hadn't stopped.    Truly A no nonsense, straight talk, inspirational and educational approach to photography.  No bs! No long drawn, condescending, preachy lectures.  Just real questions from many who want to know and real answers from a pretty cool, highly respected dude that does know.

Available on Amazon

Holiday portrait shoot!

I've never had the pleasure of shooting any type of holiday photos for anyone.   All I thought about was feeling like one of those Sears or mall photo store operations.   That said,  I had a great time shooting the Delacruz holiday portraits.   I couldn't pick a finer family to photograph.   Jose & Elizabeth along with kids Victoria and Mateo have to be some of the loveliest people I know and are dear friends.    For a minute there,  we were thinking it may not happen due to the weather.  We were originally scheduled to shoot Friday night but my schedule that day was hectic.   A snow storm was on the way for Saturday and Elizabeth thought perhaps, we'd have to cancel Saturday as well.  No way!  Bit of snow wouldn't stop me from handling my business.  So, after a long day of my own,  I packed my "Stormer" up  with some gear and trekked out into the snow.   They only live about fifteen minutes away so the trip wasn't too bad.  Upon arrival I was treated to some delicious food and wine. (a truly acceptable fee for this photographer!)   Jose decided he would handle wardrobe and styling and his commitment to said job was both outstanding and hysterical to say the least!   Some great music by "DJ Elie' and we were ready to go.   Kept it all pretty simple and just captured traditional portraits of the kids,  husband and wife and of course,  the beloved family dog Benji who actually sat in for me for a minute at the start while I tested the lighting.  (see solo shot of Benji below!)   Well,  eventually the fun had to end.  The kids got tired and the wine ran out!  Got the shots the family wanted and all went well.

And the star,  Benji!

What makes a photographer?

 

Everyone has a camera these days yeah?  Whether it's a high end, low end, mid range DSLR, a digital compact camera or a camera on a mobile device.  Everyone and anyone can pretty much shoot photos, upload and tell their stories,  whatever they may be.   So, are all of these people actually..."photographers?"  Well, yeah, sort of.  And not exactly.  What exactly is a photographer?  Well, here's what came to my head when thinking on this:

"Everyone thinks they're a photographer,  until they actually try and become a photographer."

Yeah, that's how it came to me and I think it makes sense.  Let me explain.   Taking photographs, of any sort is a mechanical process. "Click!" "Snap!"  Boom.  An image is captured.  (yes, I'm over simplifying the process here but I'm just keeping it basic.)   Add the artistic element to whatever subject chosen and it becomes...well,  art.  Subjective of corse but,  who's to say what is and isn't art.  Each photograph is that one person's capture of life.    So many mistake the ability to take a picture with actually being a photographer.   Add to that,  the fact that just about everyone has a camera,  and you have tons of people calling themselves photographers.    I drive a car.  I drive fast sometimes but I'd never say "I'm a race car driver" would I?  I like to cook and I cook very well (just ask my wife!)  but I don't say "I'm a chef."   Perhaps it's all just nit picking and a matter of semantics but there is a reason why I bring this up.  A lot of aspiring photographers make the mistake of thinking that having the camera, maybe a light or two (if that) and having some sort of desire and vision to be a photographer is essentially all that's needed to actually be a photographer.   Maybe they have an idea and maybe they have some artistic sense of what they want to do.  More than likely,  they even have some rudimentary sense of photography and actually CAN shoot in manual mode and understand many of the basics when it comes to shooting.  BUT, still,  a photographer this does not make.   (did that sound Yoda like?)   To truly head down that path of becoming an actual photographer first requires that desire to study/learn everything one can about the craft and dedicate to a constant learning process.   Even beyond this, and most important,  is experience.  A person can shoot a hundred selfies or shoot a few friends here and there and still, their experience can be lacking.   A person can read, study online and take courses and still not be a photographer.    Most of my learning and my best moments have been my worst moments.  Being on a set,  on location,  in studio...wherever and having those "uh oh" moments.   Forgot my pocket wizards.  Forgot my memory cards.   Left a power cord.   Forgot my spare batteries.  Left a particular light modifier home.  Something breaks.  A random camera setting is throwing me off.  My time is cut short by the client.  The weather acts up.  There are tons of potential issues and problems and how someone deals with those problems and manages the issues is what makes them a photographer.  At least, in the professional sense.   Some may call it all paying dues.  Putting in the work.  All of those experiences and those mistakes will serve to make you a better photographer.   Knowing how to deal with those mistakes and what to do in any given situation is what separates a photographer from a person who likes to take pictures.   Is there a bit of snobbery here?  Maybe.  I think many photographers are sometimes annoyed with the idea that there are people out there who get themselves a camera,  make a business card,  put up a half ass website and then run around calling themselves "photographers."  They sort of undermine the actual craft and the real work that goes into what real photographers do.   It's not easy.  Not if you're doing it right.     I think my point with this post is more about reaching out to those people who actually WANT TO BE photographers and taken serious.   I want to share what I know and have learned.   I can't emphasize enough,  it's not the camera.  It's not a business card.  It's not having a website.  It's not photographing people every now and then.   It's constantly working on a project.  Constantly shooting.  Constantly learning/studying and more important,  putting things into practice.  It's MAKING MISTAKES and learning from them.  It's about investing in and mastering your equipment.  It's mastering your craft by any means necessary and staying committed.   All of these things combined with vision, time, patience and passion will serve to make you a photographer.  Or, at least someone worthy of being considered a serious photographer.

Miss Dominican Republic - Yaritza Reyes

About a month ago,  I had the good fortune to photograph Miss America Nina Davuluri.  A few weeks later,  I found myself in the company of the lovely Yaritza Reyes,  the current Miss Dominican Republic.   Hey,  I may be onto something here with beauty queens!   Anyway,  Yaritza was in the states for the first time to get her visa for travel to Moscow where she'll be competing in the Miss Universe pageant.  After her day of interviews and such ended,  we got to spend some time with Yartiza.   We ate dinner and had a lovely time with her in our home.  Later, we spent some time in our great city of New York where she had some fittings to attend for a fashion show the next day.   Seeing this beautiful young lady, all of only 19 years old, her first time in New York was fascinating.   She was mesmerized by the city and you could see the whole world in her smile as she marveled at everything around her.  It was late by the time we returned from the city.   We popped a bottle of Champagne to wish Yaritza well on her journey and to congratulate her on her success so far.  Even though it was past midnight,  she was gracious enough to me get a few photos of her.   We truly wish her all the best!  This year,  will be the first time I actually tune into the Miss Universe pageant and watch with all eyes on and rooting for Yaritza to win!   When she does win,  of course I'm hoping to add MISS UNIVERSE to my portfolio!

Miss America - Nina Davuluri

When I got the call asking me if I wanted to shoot the new Miss America Nina Davuluri,  I thought "Let me guess, a media frenzied event with a bunch of other photographers somewhere right?"  Turns out,  it was an exclusive interview for entertainment web-site THZ (The Hot Zone).  Exclusive.   Which just meant host Jason Robinson and myself as photographer.  I said yes of course and soon found myself nervous.   She's not just Miss America,  she's the first of Indian descent.  A fact that caused a lot of uproar for some.  Those ignorant few still out there with their racist, ancient, semi retarded perspectives on what being an "American" means.   Nina represents ALL that's American so, for me, shooting her was much more than just shooting any Miss America.  She's a part of history.  A ground breaker and quite significant to Americans and to her Indian heritage.    We shot at a  restaurant/lounge in the city called Pranna.  A spacious,  absolutely gorgeous place.  I had about a 15 minute time slot with her and wasn't too sure about what if any restrictions were in place regarding the shots I could take.  In my mind, if I had my way,  I very much wanted to set something up with her sitting down,  scoffing down a HUGE cheeseburger with a basket of fries and a Coke on the table!  Oh and of course,  a HUGE slice of apple pie on the table.  All things "American!"  Maybe even get her to wear a fitted Yankees cap!  Well, that fantasy came to an end.   Wasn't going to happen. So,  I did a pretty basic set up  using 2 lights.  I had maybe 5 minutes to shoot  her before she was off to her next stop.  We shot in the lounge upstairs which overlooked the restaurant from above.  A huge chandelier of all glass and illuminated round bulbs hung in the middle of the space and I wanted to have the lights in the back.  I think it came out pretty nice.   Below is a shot of my  assistant for the day prior to having the 2 lights on.  Just metering for that background and adjusting shutter speed.

Nina is absolutely beautiful and incredibly nice.  Was truly a pleasure working with her albeit for such a short amount of time.   We did discuss perhaps doing the "All American" shoot sometime in the future.  So,  who knows!    Fingers crossed!

Below is a shot of Pranna owners,  Payal and Dajiv Sharma.   Many thanks to them for letting us use the space.   Pranna is located at 79 Madison Ave. at 28th St. New York.

Shooting the messenger

Sitting in SoHo, smokin' a stogie and this man appears in front of me.  He begins to....read me...sort of...in some psychic way.  Was interesting at first.  I played along.  Being a NY'er of course....I figured, this is a hustle of some kind and at some point, he'd want something.  I let him continue.  He read my palm and said all sorts of magical things and then said a prayer.  He told me of great success to come and that I needed to do certain things.  I marveled at some of what he said.  He seemed to know certain things and sensed much about me.  Then,  he scribbles something on a pieces of small paper, crumbles it up and puts it in my palm telling me to close my hand.  He then asks me to name an animal.  I say, a lion.  He then says pick a number between 1-47.  I pick 12.  Another prayer and some more spiritual talk and he then tells me to open the paper to see if the fortune he sees for me and the energy is indeed true.  I open the paper and it reads: Lion,  12 and has a symbol or two scribbled.  I couldn't believe it.  Now,  I'm thinking to myself "this guy is obviously a street magician of some kind. How the hell did he do that!?"  But, really, his energy and his overall wishes for me and the peace he seemed to project,  made it all good.  He did of course then ask me for money.  He was thinking $60, $80.   I had six bucks in singles on me.  I just assumed he wouldn't take a credit card.  After handing the money,  he wanted to give me a spiritual stone of some kind which he indicated was "the lion's eye!"   Thing is though,  he asked me to give him something for it.  A trade of some type. I honestly had nothing to give him.  All I had was my camera bag and my camera.   So,  I said "let me take your picture.  I will send it to you and also send you  some other type trinket."   He agreed to let me take his picture quick.   I didn't get the lion's eye stone but it was all good.   Honestly,  that made my day.

Photography Gear - How much do you need?

There have been tons of debate regarding real photographers vs “fauxtographers.”  The iphone and assorted other camera phone using people usually getting lumped into the latter category.   I’m not going to get into that debate.  All I’ll say is this:  I think an image is an image, regardless of how it’s made.  You either like it or you don’t.  An image either provokes an emotion and has an effect on you or, it doesn’t. i dont' necessarily think that what type of camera or what brand or how expensive it is matters.    Period.  With that out of the way,  I want to get into a gear discussion here.  A quick blog regarding what it is you’re using and how much importance is placed on that gear.

John Lennon said “Give me a tuba and get ya’ something out of it!” ( Not sure about the accuracy of that quote, but Jack Nicholson in the Departed quoted it and I figure hey,  it’ll work here too.)  Point being that you don’t need a $3,000 camera body with a $3,000 piece of glass attached to it to make great images.   A simple point and shoot will do the trick if you’ve got the desire to take pictures of any kind.    That said though,  if your goal is to be a photographer, a serious photographer and you take the craft series,  there comes a point where you need to invest in that craft and purchase the right gear.   What is “the right” gear?   It’s really relative yeah?  What’s right for one may not be right for someone else.   In essence,  you want the gear that’s going to serve YOUR purposes as a photographer and your needs.   Example:  If you’re setting out to do wedding photography, you may want a macro lens to get really close shots of the rings.    You might also need a super-fast lens to use in low light situations such as  inside the church where most often,  flash is not allowed.   Add to that,  if you plan to do a lot of low light photography in general,  you may want to invest in a camera body that’s capable of producing usable images at high isos. (Nikon d800, Canon 5dMkIII etc.)

Regarding lighting,  maybe you want to shoot mostly in studio.  Some strobes and a variety of light modifiers would be part of your set up.  You could start with just one lighting set up but, over time,  perhaps you’ll want to expand your creativity and allow for more options by having a 2, 3, 4 light setup and a good amount of modifiers.  Speaking of which,  how do you plan to trigger those strobes?  Going to need a set of Pocket Wizards or other system for triggering flash.  What about location stuff?  Going to need a decent speedlight to start using flash off camera and a bit more creatively.    Do you want to shoot landscape?  A good wide lens might help.  Some ND filters maybe.  How about a really solid tripod?

I can go on and on here but I think you get the gist.    It’s not about thinking that having some piece of gear or expensive equipment is going to make you a better photographer.  It’s about recognizing the limitations of not having the right gear for what YOU want to do.  Overall,   I think if any photographer wants to take themselves serious, be it for pleasure or profit,  they’ve got to invest in themselves and their gear over time.   Funny thing is,  most photographers with passion find themselves spending all their dough on gear anyway.  It’s like crack!  Taking yourself serious and wanting to get better at what you do sort of naturally leads you to wanting more gear anyway.  There's nothing wrong with that and it's part of the process.   If you're not investing in yourself, your equipment and business,  then you're truly not looking to be serious.

So long as you’re buying gear for the right reasons, it’s all good.  Just never feel the need to buy the latest, greatest new gadget, light, lens or camera simply because you think you have to have it to improve your photography.   Understand your work, your goals and evaluate what you have and what you need, then, invest accordingly and make your gear count!

On Location - Chasing the sun

Had a blast shooting at one of my favorite outdoor locations in the city.   We were down on the cobblestone streets of the meat packing district -Gansevoort St.  Great time, great people and an awesome crew.   Call time for the shoot was 11am for the first model and then the rest were arriving at 3pm!  Yikes!  I was trying to get everyone on location by 7am!  Got ruled out.   So of course, I had that brutal bright sun high in the sky to deal with.   Fortunately,  most of the day was spent in the shaded section of the street.  We were finishing up a few shots of Janine and I realized it was getting late and the sun was now at that lovely point in the sky,  setting in the west, casting a beautiful glow as it made it's way out.  Looking west down Gansevoort St,  the light was shooting right up the block and looked awesome.   I wanted to get Janine over there asap and do some shots.   My photo assistant Dave Mack began to break down gear and Janine went to change outfits.   We headed down street which quickly narrowed and was flanked by construction of all kinds on either side.  Watching the light, I yelled out for Janine to quickly get in the middle of street.  I did a quick test shot exposing for the ambient light and then had Dave get ready with a Nikon SB-800 to light Janine from front.  The first test shot (above) had me amped!  It was EXACTLY what I wanted- That gorgeous, golden rim light with her blonde hair.  As we're just about ready to get into it an fire off with the flash,  a car comes down the street and we all move out of the way.  We get ready to shoot again and another car comes.  Then another.  Within seconds it seems,  I lose the sun!  Huge clouds completely take away my light.   Bummer.   We waited a bit, thinking the sun would return but no such luck.  Lost it.  If only we had moved west sooner.  All good!  I loved this shot immediately,  even without Janine being lit from the front.   Below, is a shot when we lost the sun/rim light and just have the flash.  Not bad, but really wish we didn't lose that sun!    We've got a another shoot with Janine soon on the beach.   Will have plenty of use of that setting sun and golden hour of light.

Model: Janine Leishear