Alright I know I posted a link to one of Peter Hurley's videos recently, but this one is better. Or in any case, it is quicker and cleaner.
It's not all about the jaw, but you can generalize from that. What I mean is, this kind of simple trick says a lot about attention to detail, and how little touches go a long way when it comes to putting you on camera. It's not rocket science. It's about taking care to do the job right.
Do you want your head shots to be good? So do we. And we work to make it show.
Thursday, September 12, 2013
Wednesday, September 11, 2013
An Actor's Approach to Shooting Actors
If you're going to shoot an actor, aim for the heart.
Haha, seriously. As a long-time performer in front of and behind camera, I know myself and I know the people I'm used to working with. Shooting photography one-on-one does not differ from establishing a relationship with a new woman (or man, in qualifying cases). Your conquest will be timid, at first. Or maybe not. There are all kinds of performers and people, after all. But generally speaking, when a new person walks into your studio they are counting on your professionalism in not screwing them (at least not on the first date). You have to make them comfortable.
And really, that's the first and most important rule in taking an individual's picture. Group shots are one thing. Landscape photography might as well be an entirely different profession altogether. You don't ask the setting sun to relax and try a bigger smile. When you take your pictures back to the lab you may be using the same editing tools, and more objective viewers may approach an image of the California coastline the same as a girl glowing against a green screen, but ultimately the products are measured and manipulated in their own way, and serve a completely different function on the market.
I was gifted with a naturally deep voice that has a calming influence on my clients, and for that I am grateful. You may not have that. All you have to work with is your personality and a few basic rules of thumb.
You are expected to take control, so have it and maintain it. Know what you want your subject to do, where you want them to stand, what position they need to take to get the best lighting. Know what you're doing in advance.
Don't make your model stand around all day because you didn't plan the shoot properly. Time sitting or standing around the studio while you're still obsessing over lighting configurations is time for your subject to second-guess themselves, get bored, tired, hungry, and uncomfortable. Don't do that to them or yourself.
One thing that I do that seems to help a lot is to show my models the images of themselves as we go. It's easy, can lighten up a shoot, and with technology today allowing for instant monitoring from the back of your camera, there's no reason not to.
I suppose I could go on on the subject, since I think it's a strong suit of mine, but I'd better leave more for future blog posts...
Haha, seriously. As a long-time performer in front of and behind camera, I know myself and I know the people I'm used to working with. Shooting photography one-on-one does not differ from establishing a relationship with a new woman (or man, in qualifying cases). Your conquest will be timid, at first. Or maybe not. There are all kinds of performers and people, after all. But generally speaking, when a new person walks into your studio they are counting on your professionalism in not screwing them (at least not on the first date). You have to make them comfortable.
 |
| Proof of acting |
And really, that's the first and most important rule in taking an individual's picture. Group shots are one thing. Landscape photography might as well be an entirely different profession altogether. You don't ask the setting sun to relax and try a bigger smile. When you take your pictures back to the lab you may be using the same editing tools, and more objective viewers may approach an image of the California coastline the same as a girl glowing against a green screen, but ultimately the products are measured and manipulated in their own way, and serve a completely different function on the market.
I was gifted with a naturally deep voice that has a calming influence on my clients, and for that I am grateful. You may not have that. All you have to work with is your personality and a few basic rules of thumb.
You are expected to take control, so have it and maintain it. Know what you want your subject to do, where you want them to stand, what position they need to take to get the best lighting. Know what you're doing in advance.
Don't make your model stand around all day because you didn't plan the shoot properly. Time sitting or standing around the studio while you're still obsessing over lighting configurations is time for your subject to second-guess themselves, get bored, tired, hungry, and uncomfortable. Don't do that to them or yourself.
One thing that I do that seems to help a lot is to show my models the images of themselves as we go. It's easy, can lighten up a shoot, and with technology today allowing for instant monitoring from the back of your camera, there's no reason not to.
I suppose I could go on on the subject, since I think it's a strong suit of mine, but I'd better leave more for future blog posts...
Wednesday, September 4, 2013
The Art of the Headshot
This is essential viewing for anyone who wants to understand the art of making people look good with your camera.
Don't ask why, just watch it.
Diversify Your Portfolio!
What look do you want?
We can provide it.
On thing to remember when going out for your first head shot shoot is to bring a change of clothes. In fact it's that kind of think ahead that indicated readiness to adapt on any set, video or photography. If you work in Hollywood, it's a good habit to get in to.
And as far as head shots go, you're going to want to have some flexibility with the end product. We can give you that, but you come in to it as well. Bring your look so we can enhance it. Bring your makeup, your wardrobe, your props, your attitude.
Wednesday, August 28, 2013
Friday, August 23, 2013
Step Two: Click the Shutter Button
Link to our Facebook? Why not.
I guess these posts about how we're setting things up could all be consolidated into one, but what fun would that be? Then how could I think up witty titles? Plus, I need practice hitting buttons like "new blog," so I get used to figuring out what exactly it does... turns out, it doesn't make a new post, it creates a whole new other blog! These things are maybe too easy these days.
But back to my original point. We have a Facebook profile for "John Strand Photography," oh yes we do.
In my next post, you will learn all about the fact that we also have a website.
I guess these posts about how we're setting things up could all be consolidated into one, but what fun would that be? Then how could I think up witty titles? Plus, I need practice hitting buttons like "new blog," so I get used to figuring out what exactly it does... turns out, it doesn't make a new post, it creates a whole new other blog! These things are maybe too easy these days.
But back to my original point. We have a Facebook profile for "John Strand Photography," oh yes we do.
In my next post, you will learn all about the fact that we also have a website.
Step One, Take the Camera Out of the Bag.
We're struggling to keep up with the new innovations. A website springs up every month that you have to add to your roster of things and places to be seen and heard and update. How do we keep up?
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