I must admit I have my reservations about this concept. I have no doubt that people still listen to the radio. But many would switch stations when commercials come on, plus now radio competes with cell phone use. God forbid people pay attention to the road LOL! Like any form of advertising, it requires frequency and persistence before it captures the attention of your audience. So buying a few spots would probably be fruitless. It would need to be often and not spaced out far. Which would get expensive quick! Also the better and more catchy the ad, the better it’s received by the audience. The demographic,station format, age of the listeners and type of music helps determine the clientele you are going after. Like for wedding photography, it would be most effective to target a fairly young audience as the majority of those types of clients.  Time of day or night the ads are run would also make a big difference as to whether or not you would effectively reach your target audience.

I could still see businesses like plumbing / home repair, entertainment venues, restaurants, etc. doing well as a result of radio advertising. But photography is a visual field, that people don’t need frequently, like they do food. There’s no visual presentation to aid the audience or to motivate them to pursue you or view your work. So I would have to hope that people would write down my info, spell it right if they want to type in my site URL etc. Or are in a position to even do it when the commercial is fresh on their mind. These days people relate better to something they can easily click on, as well as see. Hence my efforts to get better search engine rankings for phrases like Nashville wedding photographers, Nashville headshot photographers, Nashville portrait photographers, etc. People are also being careful to get recommendations from people they know and respect, which is very smart. I am thankful to have most of my business as referral or word of mouth. I just do not see radio advertising working well for my type of business, but am trying to make an informed decision. Thoughts and experiences on this subject are welcome.

Before I bought mine, after much comparison, I realized Epson was the best choice, with ultrachrome ink. I bought the R2400 a little less than 5 years ago, after being unhappy with the Canon i9900 I had. Big difference in the black and whites, and the separation of dark colors, no more getting blobbed together! And much better archival quality / fade resistant. I still use it sometimes, it prints up to 13″ wide, sheet or roll paper. For more frequent printing, or larger printing, the wider format ones, in the 78 / 7900, or 98/9900 series are better suited for regular use. They are of course much more expensive, but in the long run you would save on ink. Those larger printers do not like to sit for long periods of time, at startup the ink will drink it’s way down. So the more regular the use, the better and it will pay for itself. Also if you are using roll paper, you’ll deal with a lot of paper being wasted, but purchasing a one thousand dollar plus RIP program will help greatly with the process.

So given the scenario you are a fairly large volume print facility, those investments are worth it. In the case of the occasional user, it wouldn’t be. My 2400 gets moderate use, and definitely serves the purpose with portfolio printing, I like that convenience…..also for impulse purchases…..customers at my studio who want a few prints to take to their spouse or family, etc. enables me to get that sale, as opposed to having to order them through my lab. For large volume orders, I’d order them through my lab anyhow. They do amazing prints equal to or better than mine, and there is no printing or trimming to deal with, which for a large order takes lots of time…..like say for a wedding album. So for me that balance makes sense.

Another thing to keep in mind is the color management. All the color profiles / paper type icc profile, color space, etc. must match to get accurate color in the prints, etc. The paper type I use is my profile, Photoshop manages colors, printer color management turned off. It’s easy to get multiple profiles fighting one another. Of course a custom profile is best, but this is another thing to keep in mind before buying a printer, if it’s worth the expense, headache, and time…..there are several great labs who are reasonably priced and ship fast. I’m still glad I have my printer but I’d be inclined not to replace it if it broke, when I can still profit from prints from my lab, and not spend the time, or buy expensive paper and ink.

Sorry for the rant in the last article about how bad Yellowbook fails at customer service LOL…..but their foul deeds needed to be exposed. One beautiful thing about the internet is we all have a voice. I provide the best of customer service, and at least expect a reasonable attempt at it when I’m a customer somewhere. Now then….Back to the something worth talking about….. photography!! The image below was taken in my living room actually. There wasn’t enough time to warm up the studio for this impromptu shoot….so we stayed put for this simple but unique concept. First we will talk about the setting.

To the model’s right was a window with slightly overcast conditions, but a nice soft light….to the model’s left was an off white wall, that provided a small amount of reflection, but I wanted to add some more fill light. I placed a white round reflector on that side, catching light from the window and reflecting it on that side of her face enough to show detail on her face, but the window side was overpowering enough to provide the proverbial key light, and the reflector provide the fill. The camera was on a tripod of course. We started off with a 2 second shutter, but decided to go slower because we wanted to eliminate the movement trails, and capture the “ghosting” known as multiple exposure. So we went with a 4 second shutter. This provides unique challenges….the tripod and the shutter button finger must be steady, the model has to be still except where we wanted double exposed…..therefore requiring rapid but robotic movement.

After metering, I shot it at f13 because the longer the shutter stays open, the more light is let in…..therefore requiring a narrower lens opening / fstop to provide proper exposure. Because the light was more dominant on her right side, I had her head turned facing away from the window for 3 seconds, then with a quick movement of her head her face was turned 180 towards the window for the remaining one second. This prevented overexposure on the side where the light source was more prevalent, as opposed to the time being even. I had her stay very still and keep her body straight towards the lens the whole time (body never moving throughout the shutter being open, or else the body would have had the blurs) when the double exposure of her head/ face was what we were after. Usually you would calculate shutter speed by the time it takes a moving object to pass through the frame of your camera, but in this case, her body stayed in the frame the whole time LOL! 4 seconds seemed to be the magic number here. Another random tip, I usually use manual focus for these types of shots, because I feel it give me better control, especially since there will be a moving subject and I want to see where my focus will be when the model moves, once I lock it in, this tells me where I want the model to begin. I hope this makes sense…..questions or comments welcome!

You’ll rarely see a rant like this here from me, but I promise at least some of this will be entertaining, and almost belongs on the Darwin awards! Especially with me outing a company…..but these people earned it. I advertised with YellowBook (Not the real yellow pages) from 2005-2008, bought a small block ad under photographers and a basic internet listing (which those doofus’s never fixed the lack of a hyperlink) But No other complaints until the final year, even though it was pretty useless to advertise with them, but we all know that there are no guarantees with advertising as far as results.

The sales person came by for me to renew the advertising contract, this would have been over 2 years ago. Seemed like a good guy but was new with the company. The contract was for a certain amount. Signed it. Well…..I started getting a bill for double that amount. I talked to several different idiots who worked in their customer service department, of course after dealing with automated service, and never getting a person with a clue……finally someone explained to me that the billing cycles for the print and internet services overlapped one another hence the double amount certain months. I told them this never happened before, and this wasn’t what I agreed to. I called the salesperson and told him I know he didn’t do this intentionally but it’s up to him to fix this, because I was ready to show up with a postal service worker and an uzi, LOL. Nothing. Nice guy, but useless. After months of this I finally had the internet service from their website discontinued, after dealing with several unhelpful people.

They called me to try to get me to renew before the 2009 book came out, told them I had a bad experience with them, and not to think of calling me again. Well, they called last year, told them no but didn’t bother getting into details. This other guy called today and told him the same thing, and to immediately remove me from the list. He said he was from the corporate office and asked what the issue was. I explained and he was defensive, insisting they did nothing wrong, and I must have been confused. My words in return were not kind, of course, LOL. I told him no one looks at the phone book anymore, you work for a dying breed and yet are trivializing my issues? Great customer service man! This part is rich….he then said he’d remove my name off the call list. Thank you, that would be nice. THEN said he’d remove my listing from the book and site, since I obviously didn’t need them! I burst into laughter and he got madder…..I told him, you blazing moron, all I have is a cell phone and I haven’t advertised with you in 2 years, so why would I even be in there anyway? LOL! This was a first in a while a telemarketer hangs up on me. I would never advise anyone to deal with them. If this saves one person, I’ve done my good deed for the day haha!

I’ve found people have appreciated us capturing little details they may or may not have seen or noticed, but were glad we got it, to compliment their wedding photos. It could be a chair in the sunlight, or the gazebo, archway, flower in front of the chapel, street view, field or flower garden on the premises, candles, even the dress / shoes by themselves. This is one reason I generally get there an hour or so before scheduled to shoot anything else, familiarize myself with the surroundings, look at the light, where the sun is, shapes, contrasts, colors, textures, etc. Then spend some time capturing what I see as interesting. If I peak my head in for the rehearsal for any reason, that’s another opportunity to scout the location and think of photo ops the next day, which to me is even better when I can sleep on it. I will share a few cool things I was able to capture as an extra of peoples’ weddings

I have been to quite a few workshops, each one was quite different, some better than others. There are some great workshops out there, but also a lot of hacks who don’t know an fstop from a stop sign giving their crappy workshops. My preference is Santa Fe Workshops, because of world renowned instructors and the curriculum / structure they have, but that’s an expensive ordeal LOL. But you get what you pay for…..that may not be feasible for many, but that’s just my own preference. I’ve selected workshops based on my connection to the photographer’s work, and what I wanted to learn from them. I think that’s a good starting platform. This may seem obvious but I’ve heard of people lured in by an eloquent play of words and promises of all this knowledge from the workshop, and the instructor’s work being secondary, with mixed results. I think their work needs to be a primary factor. Not only that, but it’s also a good idea to get a basic review from others who have attended their workshop to better gauge their method and effectiveness or their teaching abilities.

The next thing to familiarize yourself with is the payment and cancellation policies (I mean if the workshop is canceled due to lack of enrollment or other unexpected emergency) Some would want a refund, others may be ok with rescheduling. Either way, important to know. Also, being familiar with workshop structure and what will be taught, if there is critique and open Q&A, etc. Also will there be shooting there? How is that structured by group, etc.? Many get all excited about a specific model being there, which is a nice perk and nice networking, but don’t take your eye off the prize. If you are going there to learn, it is what it is…..a nice bonus. If you’re going there to shoot pretty models and don’t care so much about course matter, then attend a group shoot and don’t waste money on a workshops when the primary function should be to learn. In the end, multiple people sharing models in the same setting, is hardly unique and valuable portfolio material. It may serve as a boost, if you are starting from the beginning, but the knowledge you gain should help you use creativity of your own to get those results on your own shoots.

Also be familiar with the model releases they provide, and if additional compensation to models is required even to get a non commercial release signed. That would make for a different price point. In fact, the worst workshop I ever went to, I didn’t understand specifics about it being structured that way, but it was. Never to make that mistake again! LOL! Bottom line, you have to know what’s important to you, and know if your needs can be met by attending that workshop. And if they will teach what you want to learn there, within your budget (be realistic about the budget though) I feel it all starts with passion of the instructor’s work. Lots to learn, the sky’s the limit!

I’ve had my Pocket Wizard transmitter and receiver (studio lighting radio slaves) to eliminate the need for cable syncing / having camera hard wired to the master strobe, for about 6 years now. At the time there weren’t many alternative products out there, especially of any quality. Sure, they’re expensive. About $350 for the pair. Nowadays there are cheaper alternatives that work well, like the Elinchrome Skyport and the Alien Bees cyber commander, etc. Therefore some shooters don’t see the value in paying extra for Pocket Wizards. However, they have far better range than anything else out there. And are very reliable and durable.

Let’s put it this way….mine have had lots of use in 6 years, been to probably 15 different states and 3 different countries in my camera bag, and without a doubt have been dropped by accident a time or two. Ok, maybe more than that LOL. They’ve seen action in the New Mexico desert, the shoreline in 2 different states, my studio, location advertising shoots, weddings…..never an issue. Batteries last a long time too. Recently my receiver quit working after leaving the switch on in my bag since the last shoot, even with new batteries….I was thinking oh shit, now I have to send it in for repair and be told I need a new one (well they do offer 25% discount for out of warranty unit credits if unrepairable.) But was pleasantly surprised, for $75.00 they fixed it, and sent it back to me, all in a 9 day period, weekend included, from the time I shipped it to them! That says a lot about the customer service they have, as well as a great product. Yup, they’re worth it. www.pocketwizard.com

I will address the types of headshots I do, though there are other types. Standard “just because” portrait / headshots. I do my best to bring out the personality of the person in the photos. Capturing their best angle and expression, often by talking to them and getting into their element where they feel comfortable….I guess it’s a tidbit of psychology. I also try to find their best personality and facial feature and bring them out together in the photo for more impact. Retouching should be subtle…..fixing some flaws is fine, taking away skin texture, tacky.

Modeling headshots are to be very dynamic. Capturing the eyes, skin, makeup, hair, all the features that make them a model. And the energy and mood that best fit their genre of modeling. As with any headshot, the lighting compliments the mood. This is what sells them to agencies and casting directors, so they need to be accurate yet flattering. If the model’s look changes, they need new headshots. Alot rides on these headshots, all the more reason not to settle for cheap. It’s obvious when people take shortcuts with bad headshots or makeup / hair. Heavy retouching a no no, if it looks nothing like the model. You get the idea about my idea of retouching.

Actor and recording artist I treat similarly as far as technique. The mood captured I base on their look, sound of their music, and acting work they want to be known for. Like if someone is very funny, I like a good light mood in the headshot. It can even go dark and soulful for opposites. Also depends on what they need the headshots to say, based on the specific needs of the project.

Corporate headshots I go for driven, confident, determined, yet friendly and approachable. No one wants a nasty rude realtor, yet they shouldn’t be all giggles and showing 5 inches of cleavage either, LOL! You want someone who is serious about their job and image, yet caring enough to be sensitive of the customer’s needs. A photo can be the factor that makes or breaks the deal. So again, doing it well is good. Many people in this realm do not like their photos taken, so it’s best to put them at ease, talk with them briefly about what they do, and get them to loosen up a little that way…..and be efficient, not take up too much of their time. Specific technical tips are covered in last article. Applying the sciences that make a headshot successful is what separates a photographic artist from a snapshot taker.

We in Nashville are finally enjoying sunny conditions above freezing! Just got done with an appointment this morning, and washed the car (The blue hornet JFP mobile haha) and today want to talk about headshots! Headshots are a world of their own and are more challenging, and revealing than standard portraiture since the emphasis is one one area…..their face. They tell a story of a person’s face and character, and features (that they may or may not want revealed)  There are different moods and features than can be captured depending on whether a corporate / business headshot, actor headshot, commercial headshot, model headshot, etc. Later I will discuss what I am going for in each of those types of headshots.

The first thing I do is look at the person’s eyes, cheekbones, nose, jawline / overall facial structure, and look at it from multiple angles to determine my lighting setup and composition / angle I use when shooting. THIS helps wasted shots, and trail and error which wastes the client’s time as well as yours when editing through them. A job done thoroughly makes for efficient appointments and happy clients. Some general tips about different face structure. For a rounder face, it’s generally best to shoot from above. This lengthens the face and reduces chin / neck fat etc. For very long faces, it’s better to shoot from a slightly lower angle and maybe from a slight side angle depending on the facial features of that subject. Another thing to keep in mind are people with tall foreheads, it’s better to shoot from a slightly lower angle as well, and not use a wide angle or standard prime / zoom lens, but rather a longer prime or telephoto lens without wide range. For someone with thinning hair or bald, it’s best to not use a hair light, and / or use a scrim to diffuse light. Or even use a white foam core board or reflector to reflect enough light to that area to avoid light falloff which isn’t good either. The object is to avoid blown highlights and skin reflections which distract. If one eye on a person is slightly larger (more common than you think) turn the smaller eye towards the front some. Nose….avoid nose shadow if the nose is large or uneven, shadows with dramatic lighting can be used if controlled. If a nose is crooked, it’s best to shoot into the bend of the nose. Shooting down from an angle will only exxagerate that feature.

Now then, that covers some basic fundamentals. Let me know if any other specific things you want to address, or want me to address. That said, I generally recommend longer lenses for headshots. Wider lenses tend to distort, especially for that close of a range. My favorite headshot lenses are the 85mm and the 70-200 f4. Even a lens with a wide range like a 28-200 which will probably be variable fstop will have wide angle distortion. Below is a simple headshot taken of a new model, not even in my studio, but rather my living room….the weather was so cold that day I’d have had trouble warming up my studio in that short of a time frame…..she was right up against the wall. 1 beauty dish at close 6 foot or so range….top of dish about 3 inches above face level, undiffused,  from about a 25 degree angle from her left, as I was looking towards her. A gold reflector (I usually do not use the gold end but she was pretty fair skinned so that helped LOL) on a stand about 4 feet to her right, as I was looking at her. That helped with fill and bounce. Very simple setup but it was all that was needed. My lens (Canon 70-200 f4) was directly under the beauty dish, very slightly lower than her face, because she has a fairly long face, but an overall good face to work with.

We all know intimacy and closeness between the couple being photographed is most important to bring out on camera, whether at a wedding, bridal or engagement session, or anniversary portrait session, etc. Sure, you can help create the mood, and let them feed off your energy, but it’s about capturing what is there with minimal interference. Capturing real love and emotion is what makes that type of photo successful, over a posed and forced situation. I recently did a search for kissing photos for other Nashville wedding photographers, some very creative work around here, I am honored to be in the running with the good ones! So by looking at not only my own work, but also of others, I think the strongest kissing photos are with a smidgen of distance between their lips/ faces.

I always make sure to capture all stages I can of the kiss the bride photos, but in my opinion, when they are engaged in the full kiss, their faces often look smooshed together. Though I do capture it, and the client usually likes having some of those as well. With the right angle and exact timing, it’s best results can be had. From a photography critique perspective, here is why I think the “almost” kissing photos are often stronger and I go after that as well when shooting. You can better see the emotion and intensity on both their faces, and in their eyes…..you can see their heads tilt and they have each others’ undivided attention. The magical moment of intimacy and anticipation, many things can be running through their minds during that split second, like the calm before the storm. The world could be caving in, and that would be the furthest thing from their mind. THAT is the emotion that needs to be captured in the photos, that the viewers see when they look at them! That’s why I feel there is an advantage to seeing their faces…….not that one way should be done instead of the other, I am just stating some of my criteria for image critique. Here are a couple examples, you can see that anticipation and I think it creates a powerful mood and impact to their photos. I hope for your thoughts and discussion to make this topic even more fun.

Like many people, I have been in trouble with credit card debt etc. before and I have to tell you, it’s a lure and a trap, and really takes away from your life. Credit is a good thing if used smartly. But the credit card companies are really raising society, especially people in their 20′s. It’s always easier to spend money you hadn’t yet earned…..and in theory it can sound good to do to get what you need, or “consolidate” bills. But unless you get 0% or close, interest and have a plan to pay it off before interest accrues, it’s not very desirable. Revolving interest will swallow you whole before you know it, and just because credit is given, doesn’t mean you can afford it. The problem is once you are in debt, it’s much harder to get out. Experts tell you that you should have a liquid emergency fund for emergencies and necessary purchases, etc. 3-4 months income in case of a disaster. That’s not easy to build. In fact when I first got out of credit card debt before, I was putting together a plan to build up that emergency fund…..then came the emergency surgery my dog needed. I had no choice but to use a credit card. It can all be a catch 22……BUT that very example taught me that it’s better to build that emergency fund even as you are paying off debt, as well as contribute to an IRA. Because if you wait until your main objective is accomplished, victory could be short lived, if you aren’t prepared for the next unexpected thing. The whole idea is when you get yourself out of that trap, you’re DONE.

That is why I am attacking that debt, as well as taking a certain percentage of my income and placing it into my emergency fund. I don’t have it built up to where it needs to be yet, but it’s a good start…..hey even if you have one thousand dollars, that is a thousand dollars less debt you’ll have if you had nothing saved up! And that covers many of life’s emergencies. My point is you have to start somewhere and keep moving. I already feel like I am gaining at least some traction knowing I am making strides with the remaining debt, and building my savings, just knowing it’s there makes me feel more relaxed. But the hustle continues. It’s about sacrifice and being ambitious. I am far from rich or fortune 500, LOL but am enjoying the success I do have. I get that from networking, providing a great product, and great customer service. And spending time working and being content with that, knowing that’s how things get done. Sometimes in life you have to do things you don’t want to do, or put more time in than you normally would deem acceptable, in order to reach your goal. Those willing to do it succeed if they work smartly…..those who think it will eventually come to them, generally starve. Many people have been hit by the economy, some harder than others, but like with anything else, the determined survive. Just as I believe it’s important to shun negative people who take away from you, or ignore the media who pumps society full of fear and negativity, part of living an enjoyable life is to regain control of your finances…..I’m not done yet but feel very good about the progress, and can already feel relief. Debt is a headache. Preparation is smart.

The last model safety topic I addressed why escorts are absurd and useless LOL!! This is more about how to save wasted time, etc. Especially if you’re working with a newer photographer, make sure someone knows where you’ll be, and that is a good safety procedure, especially if references are limited due to time in the business. A good thing to do regardless of who you are working with really. Ok the safety part is over. I know you are excited to shoot and create as you should be. If a particular photographer’s work isn’t the direction you want to go or you don’t feel their work could benefit you, say no thank you, and no other explanation is needed……don’t be a yes person and then not go or follow up, that’s lame. Be professional and don’t waste peoples’ time.

Now then, before booking the shoot, discuss what you will be shooting, and if in studio or on location, get a theme and basic idea……discuss what you are expected to bring. Discuss timeframe of the shoot. The last part is critically important, here is why. Many newer photographers who only used digital especially, have a tendency to over shoot, and not know when it doesn’t benefit anyone to keep going. Or have the sense to know when a model fatigues and they are shooting the same crap over and over, resulting in a bunch more crappy photos. Not saying everyone does this, but it’s a common trait of a newbie, it happens. But in most cases, limiting your shoot to 3 hours or so is more than ample. Some people would have no trouble milking it for a whole day, and for the model, nothing is gained from that, as opposed to sticking to the allotted amount of time. Always have another commitment after your shoot. If your shoot runs from 10 A.M. through 1 P.M. make it known to the photographer that you were going to eat and shower at home after your shoot and get ready for another shoot at say…..3:30. I’m not suggesting being a clock watcher but rather be conscious of your time. Going over 20-30 minutes is one thing, but if you have a prior commitment after them, it is a good way out from being detained all afternoon. Now it’s only fair, if you are managing your time at the shoot, be on time for their shoot. Another shoot, dinner with parents, whatever. In the end, your shoots will be more productive.

And a Happy New Year to everyone, 2011 is in the house! Thanks for a great 2010 as well! Besides losing one of my dogs, it was a good year! And Oscar, my rescue Boxer is doing a great job keeping Roxie and me company and is making his place here very nicely! Every year I’ve been in business, new and exciting things have happened….this year, besides making new contacts and clients, and continuing to build my portfolios, there has been some really positive change to the business side as well! New company logo, completely new direction with the new business cards, merchandising with tshirts, custom holiday cards and calendars, etc. Not to mention the start of this blog which I wish I started sooner, but I guess there’s a reason for every timeline, things have a way of happening when they need to LOL!!

As far as changes and developments for this year, I already have some in mind. I will be spending more time networking with other local business owners and service providers, and local forms of advertising. As well as hopefully better search engine results. I will also be working on improved customer presentation tools, like sample wedding albums, and side by side comparisons of my lab prints and others. The idea isn’t to trap or force portrait and bridal clients into buying more through me, but rather offering it as a service at a price they can afford….it took me a while to make the right connections to be able to come up with those solutions. Many people these days can’t see past digital media, this way they can see the depth and importance of printing, and better understand the product they will be receiving, and have better comparisons to decide what suits their needs. And it creates a more powerful impact for my own work and how it’s perceived. Stay tuned, more to come!!