One of the challenges of shooting headshots and portraits is communicating how you want to be seen in your portrait. This is especially difficult because, as in many made-to-order bespoke creative services, clients don’t always know what the want, but they know what they like when the see it. And the reverse is also true, where a client thinks he or she know what he or she wants, but then doesn’t like the way it turns out and wants something different.
Headshots and in-office corporate portraits are particularly subject to this conundrum because, understandably, people are very particular about the way they look – and perhaps more importantly – how they perceive themselves in images.
Not everyone enjoys having their picture taken and when asked why the answer is usually, “I hate the way I look in pictures.” A professional portrait photographer needs a thick skin because hearing this often enough can make you feel like what you do for a living is causing pain and discomfort.
Some of these challenges can be mitigated by taking extra time during the shoot to discuss the kind of look your subject is going for, presenting ideas when asked, and sharing the out of camera images on the spot to let your subject see how the shoot is progressing.
Many people hold their heads at certain angles or pose in habitual ways that doesn’t help them look their best in images. They may be adopting the “selfie” pose when it is not necessary as the photographer is shooting with a vastly superior lens at a different focal length and angle.
Alternatively, they may have some sensitivities about their body image, or really just not like the way they look which is invariably related to deeper issues. Sadly, though I as a photographer can genuinely see a beautiful side to just about every face I train my lens on, few people really believe that about themselves. (I think this is partly an effect of investing too much faith in the glossy, oh-so-perfect lives socialmedialites project in their relentless quest for Influencer status, but I digress…)
In any case, to make the most of your investment in hiring a professional photographer, open up the communication channels.
Don’t be afraid to tell your photographer what you love and what you hate about the images he or she shows you of yourself.
Ask for more or less photoshop. Images can be brightened up, toned down, shadows accentuated or removed….much is possible both during the shoot and afterwards in the editing suite so feel at ease when asking and talking about it.
Part of the cost of a portrait session includes time for dialogue and for making adjustments and tweaks if you wish to have them made.
Even more helpful, take some time before your shoot to come up with a few sample portraits of people you like and share them with your photographer.
A caveat is necessary here, however: while your comments and feedback and express wishes for an outcome are welcome, there is a dash of realism needed to make the recipe complete. If you haven’t slept, your face and hair’s a mess and you’re wearing something you slapped together last minute because you forgot it was picture day in the office, you’re not going look like you just stepped onto the red carpet.
Similarly, while many subjects feel that it is the photographer’s job to get them looking their best – it is necessarily a collaborative effort. No matter how experienced or skilled your shooter is, if you are not willing to participate in the creation of what is ultimately your portrait, you are missing out on an opportunity to influence the outcome of something you have a direct stake in.
Finally, try to enjoy the process! Taking photos does not have to feel like having a tooth pulled without anesthetics. You can laugh, be playful, indulge in a little fantasy and ideation and come up with some creative ideas for what you want to achieve.
Most photographers enjoy having time to spend with their subject and get to know them a little. It helps open up the pathways to communication and ultimately helps bring about a better portrait. So open a little, let your guard down, share and trust that your photographer has your best interests in mind always – and get the headshot you want and deserve!
Working with a makeup artist (or as it is called in the industry by its wonderfully onomatopoeic acronym MUA) makes shooting corporate portraits a breeze. Clients get extra attention and care and the resulting work invariably makes them look better in their photos and requires less editing in post. It’s a pity more portrait clients don’t request one.
While I do my best to introduce the idea, this past year I shot roughly four hundred corporate portraits in and around Montreal, but only used a makeup artist on a handful of them.
Here are some of the main benefits I see as the photographer on site leading the portrait session (and guys, don’t think makeup is only for women – men can and do benefit as well).
Advantages of using a MUA for your next corporate portrait session
Anti-glare: everybody shines. While a shining intellect, and an inner shine are positive attributes, a shiny nose or forehead is less desirable. Photographic lights tend to bring out shine that isn’t visible in normal light. A small bit of attention to those areas prone to reflect light will make the tones of your skin look more even and result in you showing up in photos as you look in real life.
R&R: having someone attend to you before a shoot helps quell nerves and can be a relaxing and enjoyable experience. It’s a small bit of pampering in your day and you can just sit back and appreciate it. The relaxation carries over into the shoot and helps you achieve a more natural look quicker.
Education: professional makeup artists (I work with a few, but recently have been working with Caroline Mégélas Pro Makeup) really care about what they are doing and the products they use on your skin. They have a professional yet intimate connection to you because they are literally working on your skin and so they are extra-careful to only use high-quality, hypo-allergenic products that you may not know about and can learn about and experience first-hand.
Of course there is an added cost for the service, but it is quite reasonable and if your session involves more than one person, the fee can be allocated across a few people to increase its value at a lower per/head cost.
If you are planning to update your company website, shoot the new team photos, or get a batch of new headshots done for your executives in 2019, consider including a makeup artist with the session. Most professional photographers will know a few they’ve worked with before and the small increase in cost will be a huge investment in making the experience a pleasure for the people you are planning the shoot for.
I was recently booked by a large corporation to shoot over 200 employee portraits in just two days. With such a high volume of clients there is no time for fussing around with fancy light setups, make up artists or even much time for banter with the subjects.
Key to success is having an onsite ally within the client who can organize the schedule and keep employees to it. These kinds of mega-portrait sessions are a way for large corporations to give a real benefit to their employees in a highly cost-effective way. (Read on or skip to the end for how to price a large portrait session).
Year-end is a good time to start thinking about planning one of these sessions for your employees. A new year is just around the corner, and with it comes the new energy of a fresh start that many people like to use to level-up their online game, update the profiles across their various social media personae, and refresh their headshot.
When booking your photographer, a few questions that can be addressed ahead of time are:
Classic styles and simple solid colours tend to work best in my opinion. While you can wear whatever you want, especially if you are ultimately receiving a cropped 8×10 headshot, you still want to make the focus be on you and not your clothes. For men, a solid-coloured, collared shirt (with or without tie depending on your company culture/intended use) with a jacket closed at the top button does the trick. Women have more options but necklaces, large earrings or other adornments can seem out of place for professional use. If wearing a necklace, make sure it hangs straight down the centre so it doesn’t look off kilter. While it’s not necessary to stick to the collared shirt and suit jacket (though it’s fine if you do), too much of a plunging neckline can look a tad out of place on LinkedIn or your in-house network. Think of where the final image is likely to get the most use and dress for that audience.
How long does each portrait take?
On these big days, you’ll have no more than five minutes in front of the photographer. That will be enough time to shoot two shots of each side. Only rarely will you need more than four images for the photographer to select from. The lighting will be the same on all faces, and though the background can change (if you are shooting in front of a window, for example, you’ll have changing lighting in the background throughout the day), so the poses should all also be consistent.
Where will the shoot take place?
Typically these large sessions are done onsite at the client’s offices or workspace, wherever that may be. The conference room or board room is best, or if the site is equipped with warehouse space, set up in there. Pay attention to wire placement of your lights (the last thing you want is someone tripping and injuring themselves) and if shooting before a window as is often done these days, place your lights wide enough apart so that they don’t reflect in the glass sparing you hours of tedious photoshopping later.
How to pose?
You will get asked this by everyone who walks in the room, two hundred times in my case recently. While I enjoy taking my time in one-on-one portrait sessions and really working different looks and angles, this luxury is not available to you, humble corporate portrait photographer. You need to get your people in, shot and out on a very tight schedule. While you can vary the height you shoot from a little (I use a step ladder), you want everyone to give you two angles, and do your best to make those who need a little thinning look thin, and those who need a little happiness boost, look happier. The real art of the portrait photographer is in these brief interstitial moments when you must connect with your subject and quickly put them at ease and make them trust you. If it helps, let them look at the shots you’ve taken of them and for the ones who seem particularly fussy, let them choose the shot you’ll edit afterwards.
How will the photos be tracked and delivered?
If you’re lucky enough to have a well-organized client, you’ll start the day with a printout of all the scheduled people each with their assigned time slot (more or less). Jot down one file number from the range you shoot for each person so that afterwards you can either rename the files, or at least have a common language with your client so that the inevitable requests to tweak this, or edit that can be done smoothly and efficiently. For delivery, while I use Photoshelter, you can use WeSendit, Dropbox or whatever large file transfer service you prefer. (Be careful with Dropbox as many clients either can’t access the site from behind their firewalls, or don’t have professional accounts and you will quickly burst through the default 2 gb limit on free accounts).
How much will it cost?
Pricing for portraits requires a political approach. The answer really is, it depends…The reason, of course, is that you, as photographer must balance out the effort with the huge volume of work you are receiving while your client is looking to leverage the volume to get a discount. Personally, I always charge a set up fee for going into an office to cover the cost of equipment usage and transport, and start from there. As I work with minimums (and you should too if you want to stay in business), the cost per head on a portrait session decreases as the number of portraits taken increases. While each portrait in post will require the same amount of work, once you are up and running in a shooting session, your time onsite will go quickly. How much of a volume discount you offer is for you to determine vis-a-vis your client’s budget but keep in mind how the portraits are being used and for whom on the client side when you are pricing it out. A CEO portrait with his or her executive team that will be shared around the world, used in media, annual reports and company wide web diffusion is worth a lot more than the cropped headshot of the first year intern who is only using the headshot for a company intranet (effectively a digital id photo).
I see a lot of really bad headshots used in corporate presentations, awards ceremonies and on team pages on websites. They are bad in different ways, and range from embarrassing to unintentionally humourous. Some of them are just clearly cropped from a photo the subject submitted themselves, probably in a mad rush to get something in place for an impending deadline.Some are selfies, some are vacation photos (you may look great in a bathing suit but that may not be your best office look) and some just an obviously out of date image.
Event photographers are a different breed of photographer than most. Where the product photographer revels in the stillness and controlled quiet of the studio, the event photographer thrives on the noise, the throngs of people, the loud music and dazzling lights. Where the conference photographer studiously captures speakers at their podiums and attendees participating animatedly in workshop and breakout rooms, the event photographer roves, looking for that single instant when a look is shared, a comment made that elicits laughter, a dancer is lost in a moment.
From a client perspective the ideal event photographer captures the full sweep of the event – beauty shots of the spaces, sponsorship elements, ambience, crowd, and importantly intimate candid portraits of individuals.
It is this detail – the event portrait – that truly captures client attention and makes one set of event photos stand out from another.And more and more often, clients are making explicit requests for these kinds of shots because they have an authenticity about them that makes the event look worth attending.
While the event standards are still requirements (speakers or hosts on stage, awards handed out, posed shots holding big cheques, etc.), what clients really love seeing is non-posed images of their guests interacting with each other, having a laugh and sharing an experience.
Without event portraiture, event coverage is merely a documentation of what happened and could easily be done using a phone and an admin level junior staffer tasked with capturing a few highlights.Such an approach would provide a set of images that document the timeline of an event – but it would lack any sense of the people in attendance and the stories they bring with them.
Faces, expressions, the way the light falls in a certain way upon a group of people, the cut of a dress, the head tossed back in laughter – these are the details and moments that define the event as it is experienced by those who attend.
Although the stage action matters, and the sponsorship signs are important to email back to the sponsors, most event goers pay scant attention to these elements. Rather they are looking at each other – at what people are wearing, who is with who, who is in the room they want to meet (or avoid) and how well the layout and design of the space (and schedule) allows for mingling and networking.
Event portraits drive engagement and really make the images captured useful to clients.Many times I’ve seen candid images of people I’ve noticed at events used as headshots or profile pictures – rather than a traditional headshot. The reason I think is obvious: people like the way they look when they are not paying attention to a camera and having fun with other people. Their natural expressions come out and their eyes, and smiles show real emotion and genuine interest that is hard to turn on on-demand when it’s picture day in the office.
When the event is all packed up and the glitter dust swept from the floor, what people are most likely to remember – and react to by sharing or buying a ticket for next year’s event – are photos of themselves, looking good and having a good time. How many table shots do you see people sharing on Facebook? Not too many I’d bet. But a well-shot images of someone captured in a moment when they were genuinely engaged in conversation with someone they found interesting is often a picture people like seeing of themselves.
And isn’t that the goal of having event photos in the first place? To engage your audience, and through them, reach into ever wider and expanding networks of like-minded people to grow the impact of your events? Event portraits are one way to help you achieve that.
When you are meeting with a photographer to discuss an upcoming photoshoot at your office or one of your facilities, using Pinterest boards can quickly bring you and your photographer’s vision for the shoot into alignment.
From a photographer’s point of view the method helps stimulate ideas and allows you to show both your experience and skills in collaborating with your client. From a client perspective, the method can help generate concepts and be an easy way to share the vision for the shoot with everyone else in the company who needs to get on board.
Why not just use your own portfolio? Of course you can add some of your own images to the mix, but by the time you are having a client meeting, odds are your client has already viewed your portfolio or you’ve been recommended to them and they assume you have the skills to do the work you are being asked to do. Using images from your body of work that are relevant to the kind of photoshoot you are planning won’t hurt – but by sharing a “Secret Board” with your client and inviting them to collaborate on it you help ensure stronger engagement from your client and give him or her the opportunity to collaborate creatively in the planning sessions – which is actually a fun part of the project. You can also include a broad range of images – some of which may just be there as a means of showing what is possible, or to get people’s creative juices flowing.
The success of an in-office photo shoot relies in good communication.
As a photographer, your job is to walk your client through a typical shoot: How long will you need for set up? Where are the best places in the office to do the shoot? What should people wear? When will they receive their photos and what’s included in delivery? And of course, how much will it cost?
Your client, meanwhile, has the double task of meeting and coordinating with you but also communicating to the employees being photographed everything you’ve explained about the shoot and more. They will need to coordinate schedules (no small feat), and send reminder-“Tomorrow is photo day!”-type emails to employees much like the notes parents get on the eve of school photo day. (This is surprisingly important: you’d be surprised at how many professionals I’ve had to photograph in morning shifts who show up unshaven, unrested and with a look of dazed confusion claiming they forgot it was photo day).
One very useful way for the client responsible for coordinating the shoot to communicate with the staff being photographed is to share with them a set of images setting the vision for what they are trying to achieve. If you create a board in Pinterest, then (ideally) gather up the employees for a brief meeting with the board projected on the wall you can quickly bring everyone onto the same page (literally). Again, this becomes another opportunity for engagement and collaboration and can be done with or without the photographer being present. It can also help mitigate nervousness about the upcoming shoot and provide context for why it is important.
In portraits especially when dealing with non-professional models (ie most of us), people actually appreciate being told what to do, how to stand, where to look and what to wear. All people think in terms of narratives. If you can show your employees where the photos being taken will fit into a story – “we’re using this photo for the header image on our careers page to show people what it’s like working here”, it helps them understand their role and also alleviates their self-consciousness.
In corporate photography you have to think about what the photo will be used for, and how well it communicates the firms’ brand and culture. A conservative lawyer’s office is not likely to have their team stand out in the street in front of a graffiti covered brick wall for their team photo (which an ad agency may well consider as a great backdrop). You can be creative with the looks you try to achieve but in the end, what matters most is whether or not the photos help – or distract – from their core purpose.
Using Pinterest boards to discover, curate and share visual ideas with everyone involved in an upcoming photoshoot helps make photo day a success. The people in the photographs are likely to enjoy the process more, and the marketing or communications team is more likely to end up with images they expect and will be able to use for their intended purpose.
Give it a try. Create a free account on Pinterest and start pinning. When you’re done you can just delete the board or keep it if you think it will be helpful again. (Just be forewarned – Pinterest can be slightly addictive and you may wind up like me creating boards to match all your interests like reading, cooking, travelling, freelancing, etc, etc…)
I love this time of year.Montreal is blessed with four very distinct seasons, if not of equal length (think 3 months of summer, 6 months of winter, 2 months and three weeks of fall, 1 week of spring). The weather turns cool very quickly, and overnight fall has arrived bringing with it, strangely as it heralds the advent of winter, a bustling, busy sense of growth and renewal as people go back to work after the summer holidays, and students of all ages head back to school.
Even if your work life is not that different from summer to fall, there is still a strong feeling of change in the air that has an effect on your psychology.
In photography, the autumn is a busy time. It is when many professional services firms do their recruitment campaigns, grooming their selected graduates for roles as accountants or lawyers, and the start of many companies year end events. As well, given the high number of universities in Montreal and related services and companies, there are many networking events, product launches and mixers aimed at helping people make new connections and build their networks.
As the leaves soon begin to change, the fall foliage provides abundant and gorgeous backdrops for outdoor portrait sessions, whether you are getting engaged, starting a new job and looking for a modern non-conventional headshot, or gathering with your extended family for Thanksgiving.
Waking up before the sun rises is usually worth a photographer’s effort because of the special quality of morning light. If you’re not an early riser naturally (which I am not) it can also be painful, but I have Maud Urbas, founder of Wellness à la Maud, to thank for getting me to Mount Royal early one morning last week to help get her image library started for the new freelance business she is launching. Maud is a Kripalu Yoga Teacher (RYT) with a background in Psychology and Communications, passionate about health and wellness and her goal is “to empower people to reach their full potential through yoga, meditation, nutrition, and creative expression”. Sounds pretty worthwhile to me and we both agreed that a sunrise shoot on Mt. Royal would be a perfect way to showcase her style and provide us with some useful images to populate her website and social media channels (must haves for any freelancer launching any kind business today).
When we got there we were surprised to find the lookout was actually rather busy. I had expected us to have the place to ourselves but not only were there a few healthy looking couples and other photographers out there before us, eagerly awaiting the sun to burn off the early morning mists, but also a few groups of teenagers who looked like they’d spent the night there partying.
Happily, aside from a few photobombs, we found a space to shoot Maud demonstrating various poses with natural backdrops of Montreal and the sun slowly emerging through the early morning fog.
We then took a little walk around, up and down some stairs, encountering more people up for morning runs and another photographer, who smiled and told us that the light was really beautiful just a little further along the trail we were walking on. And he was right of course.
We were after natural looking settings to where Maud could demonstrate simple poses that communicate Maud’s belief that yoga is for everyone, regardless of age, experience, and mobility.
Here are a few more shots from our morning session. If you’re interested in trying out yoga with Maud, you can reach her on Instagram @wellnessalamaud, Facebook, or by email directly.
Perspective distortion, technically, is a function of where the subject of a photo being taken is in relation to the positioning of the lens. People or objects positioned closer to the lens will appear larger, wider and if you are very close, the physical features of their face will look stretched and larger than life. The same thing happens with your own eyes (things closer look larger, things further away look smaller – hence the “super power ability for the infamous Head Crusher in the classic television comedy series Kids in the Hall from the early nineties).
There is, however, another kind of perspective distortion, as it relates to how people, usually women, perceive themselves in photos. As a photographer of people, men and women, I have seen the effects of a distorted perception of reality time and time again. There are many contributing factors, both intrinsic to individuals (low self-esteem, poor body image) and extrinsic from a media saturated world drenched with images of “perfect’ looking people that glorifies body types on women like Kim Kardashian as some how representative of all women.
As a photographer, particularly an event and portrait photographer, my job is to take photos of people looking their best. But at the same time, I believe I am also responsible for showing people as they are and because I look for moments when they are smiling and interacting with people that genuinely interest them, I always find angles and views of people that I believe they look great in. It’s actually one of the things I am most known for as an event photographer, and yet, there are still times when I, and I am sure all working photographers today, encounter clients who just can’t get over how they look in photos.
These kinds of people have unrealistic expectations but more significantly, they have a distorted view of themselves. They focus on details that no one else would ever notice and these loom large in their eyes, while ignoring other positive features or facets of how they are actually perceived. Rather than see themselves as most people do, they hold themselves up to a truly black mirror that distorts their self-image, and no doubt brings psychological pain and discomfort. This can of course then lead them to behave in ways that creates friction or conflict with others when the source has to do with their own distorted view of themselves.
As a people photographer, I sometimes find myself playing the role of therapist, taking my clients through a narrated tour of their photos and trying to help them see themselves as I see them, and surely most other people do as well.
I am not always successful, but I think that it does help to be told that the single out of place strand of hair you are fixating on is invisible to people you are interacting with who are almost always concentrating on what you are saying or what you are about, rather than the way your face looks.
Just like in high school, that pimple on the edge of your cheek is much larger to you than it is to everyone else around you. It may still feel uncomfortable and unpleasant even if you really are obsessed with how you look or really dislike something about yourself (and I know because I had terrible acne as a teenager) but the truth is there is no better version of yourself than the one that recognizes its flaws, works on what can be controlled, and accepts what cannot.
Beauty comes in all shapes and sizes. If you suffer from aperception distortion habit when you see yourself in photos, try to recognize that while your perception may be distorted, you aren’t.You can change how you see yourself.
Understand that no one pays as much attention to your perceived flaws as you do, and many people (not all, but they have other problems to deal with) are actually trying to see who you are when they meet and interact with you – not what you look like.
When we truly connect with someone it isn’t because of how we look – it’s because of how we make the other person feel. People like–or dislike–other people mainly because of the way they feel when they interact with them. If you are focussed on yourself and adopting stances and postures, both physically and psychologically designed to defend or protect yourself where you feel vulnerable, exposed or uncomfortable you are most likely going to invoke those same feelings in others. If you want to be seen for who you are, accepted, respected, loved even – your first responsibility is to change the way you perceive yourself so that you feel that way about yourself first. Change yourself and you change your world.
Here’s a fact that surprises people all the time when I tell it to them: more the 50% of the corporate headshots I take are last-minute rush jobs.
How is it possible, they ask, that someone could ever urgently need a photograph, let alone a headshot? Believe me, I used to wonder the same thing, until I started paying attention to the triggers. People use the same professional headshot for several years. Just do a quick scan through your contacts on LinkedIn and see how many have updated their photos in the past year. People kind of forget about their profile pics after a while, until a need arises for a new one.
Here are some of the reasons why all of a sudden, a headshot is needed, like NOW! All of the examples below are taken from real contracts I’ve had.
“Looking for new challenges”: People don’t change their headshots unless there is a change in their employment status. When that happens, there may be a lead up to the decision if the change is self-driven, but there are many reasons why a person’s employment status can change beyond their control. This unexpected change often triggers a need for a new look.
“You’re published!”: People get articles published on schedules they don’t control, and get asked to submit a bio picture along with their submission.
“You won!” : People win industry awards and accolades, or are selected for internal company awards they weren’t expecting and they need a picture to accompany the announcement.
“You’re being promoted!”: Good things happen to hard working people. They get promotions and despite company’s best efforts, HR doesn’t always keep internal comms informed of the latest personnel changes, nor provide a lot lead time before the announcement has to go out, particularly in public companies where the change in senior level appointments is material information that must be made public.
“You’re invited to speak at our upcoming…”: People get asked at the last minute to speak at an event, a gala dinner, or a conference they hadn’t planned on going to. Suddenly they are facing a roomful of their peers and colleagues with a 10-year old bio picture that looks like it was cut out of their high school year book. Awkward.
As with all rush-jobs, there are usually fees associated that raise the price of the product or service being purchased. As well, the last-minute pressure also usually indicates a lack of preparation and limits the number of other people in the office or on site who may also be in need of a new headshot but just aren’t given enough notice to get there for the appointed day because they are out of the office, in a client meeting or just having a bad hair day. All of these factors increase the cost to the buyer.
A spoonful of sugar makes the medicine go down…
Forward-thinking planners, event and conference organizers can score big savings by taking advantage of organizing an onsite headshot session when they are assembling people who may only get together once or twice a year. Annual meetings, board meetings, seminars, training sessions, workshops and conferences are just a few places where people are brought together. This allows the organizer to save on per/head costs as the set up fee for an onsite portrait session can be spread out over a number of individuals rather than just the one.
To those paying for the service, there may be the perception that bringing in a photographer to conduct a portrait session is just an unnecessary extra expense tacked on the event, but if viewed from a slightly longer-term perspective, the savings can be significant to the organization.
Per head costs / portraits can be reduced by 50% or more
Leverage the investment already made in bringing important people together (food, hotel, travel)
Raise staff morale – everyone loves having a little extra attention paid to them, and a professional headshot is a nice perk that saves your staff money. Happy workers are more productive ones.
Leaving anything to the last-minute creates more stress, cost and hassle. It’s great for my business, but do yours a favour and plan ahead. You will need a new headshot someday. Don’t wait till that day happens to be tomorrow.
Being a photographer requires a thick skin and an appreciative eye to help deal with the number of times people tell you, “I hate having my photo taken.”
It comes from women and men, young and old, in professional settings and at parties. It doesn’t matter what the person actually looks like, it’s how they think about what they look like that matters.
It’s not all just insecurity, though that plays a role. Far too many people have a distorted view of themselves. They look in the mirror and see what’s wrong with their face, their nose, their eyes, their teeth, their hair etc. I look and I see someone who is almost always much more photogenic and pleasant to look at than they believe themselves to be. The slight “imperfections” they balk at are the features that distinguish their faces from others and what gives them each something uniquely their own that makes them uniquely themselves. Alas, we are our own harshest judges.
The reality of a photograph is, well, it’s not really a reflection of reality. It’s a two-dimensional representation of a three-dimensional world and therefore it is inherently misleading.
The same face can look remarkably different depending on a wide range of factors. In a portrait or group photo for example the most common elements that affect the way someone looks are:
the kind of lens being used (85mm to 100mm portrait, or 70-200mm telephoto are best)
the distance a subject is standing from the photographer
where in the frame the subject is standing (on the edge or in the centre)
the angle of the photo (from below, from above)
the lighting/shadows at play influenced by time of day, indoors or outdoors, with flash or no flash, etc.
the way a person stands (posture), and holds his or head (angle/tilt of head)
whether or not the chin is tucked in or thrust out (which impacts how well-defined, or not, the jawline is)
what someone is wearing (scarf, plunging neckline, collar short, etc)
So, now that you know that there are a lot of variable at play, which ones can you influence the next time you have to have your photo taken despite hating having to do so?
Three tips for liking the way you look in photos:
There are, of course, a few little tricks that people who really hate having their photos taken can keep in mind the next time it happens at an event they are attending.
Smile widely and naturally: this one doesn’t come easily to everyone, which actually always kind of surprises me, so I recommend practice. Smile in front yourself in mirrors. Smile at your colleagues. Smile at strangers. You don’t have to be weird or leery about it. Just smile when you see something out there in the world that is smile-worthy. It may come slowly at first, but once you start doing it, it’s a hard habit to break.
Think jawline: people almost alway prefer the image of themselves that shows a distinct jawline vs. one lost in a double chin, or a twisted, wrinkled mass of neck. To get yours to look the way you want, practice thrusting your chin out for photos ever so slightly. It doesn’t take much to pull the chin away and bring out the line. Conversely, try not to turn your face too much away from the camera and don’t tuck in your chin (which many people do habitually when having their photo taken)
Take centre stage: if you are in a group shot, put yourself in the middle or as close to the middle as you can be. It’s the sweet spot for all lenses, and your image will therefore not suffer any distortion that can sometimes impact the people on the edges who may be a little closer to the photographer, or be stretched a bit by lens distortion.
Number #1 Rule for Looking Good In Photos
The best way to look good in photos is to dispense with believing in the “one ideal body type” fallacy, love yourself and smile like you mean it. And mean it. Really, happy, smiling people who are comfortable with themselves and the way they look are ALWAYS more attractive. We all come in different shapes, colours and sizes. We’re supposed to look different from each other. That’s normal. A bland, homogenous and artificial sense of beauty is damaging to self-esteem and is fake. Be you and you will look your best.
Your current employees are your company’s best brand ambassadors. Central to effective talent acquisition and recruitment today is having an effective employee referral program plugged into your hiring practices. LinkedIn is probably the most important tool in this arsenal and it has a wealth of content available for companies looking to fire up their recruitment drives and engage employees. And yet, how many of your current employees don’t have an updated LinkedIn profile?
Alas, gone are the days when it was enough to just pay your employees a decent salary and they’d be grateful to have a job. As an employer you’re now also on the hook for making your workplace a fun place to be, that respects and provides for work life balance, as well as all kinds of other perks to keep your employees engaged in a world of distraction. Sorry, but free coffee isn’t going to cut it in a world where talent is always on the move.
Social media (where half your workforce right now is “investing” a bit of company time), is unavoidably where you have to be if you want to attract, retain and engage the best talent out there for your workforce.
An updated profile picture is a necessary tool in today’s workforce. It’s a simple thing to get wrong and if you or your staff still isn’t using one, you’re losing up to 40% of your views and you look a bit creepy.
Giving your employees the tools and assets to up their own game on social media sites is a value-add benefit that will pay back dividends to the company, especially if it’s tied to a smart in-house referral program. Remember, there’s a lot more “me” in social media than you’d think.
Plan a morning or half session where you gather your social media specialists (either in-house or bringing in a consultant) and offer a short presentation on how to leverage LinkedIn for career development and to promote your own company.
A headshot session in this context is about as cost-effective as it gets. That doesn’t mean you cheap out and do it in-house. Hire a pro, but leverage the volume to get a low cost/head or negotiate a fixed rate. It’s way cheaper to get all your staff done at once than to bring in a corporate photographer on an urgent basis when you realize your executive that’s just been nominated for an industry award is still using his vacation pic from Cancun in his profile.
Using profiles to sort through people is a bit of a dirty word in policing but online we’d all be lost without one. We’re now “seen” hundreds if not thousands more times by people (and bots, and spammers, and other internet undesirables) online than we ever are in real life – but are we paying a proportionate amount of attention to how we -or our avatars– are being perceived?
You probably wouldn’t leave the house without at least a cursory glance in the mirror to check your hair, scan your complexion and make sure you had nothing large and green stuck in your teeth but how long have you had that cropped vacation pic up as a placeholder on LinkedIn that you’ve been meaning to change but just haven’t got anything better to replace it with?
Here’s something fun you can try out. I discovered PhotoFeeler while listening to a great podcast from Terry O’Reilly’s The Art of Persuasion . The site lets you upload a photo of yourself and have it ranked across three metrics (that change depending on whether your purpose is business, social or dating). The “free” test actually requires 10 credits which you can get easily enough by voting on ten other photos of random people the site serves up to you. The results, as this excerpt from an email I got today show, can be quite revealing, showing marked differences in opinions on the same person from photos taken seconds apart:
Here are my results (for the first two I selected “Business” and the last one “Social”):
This is my current LinkedIn photo (soon to be old LinkedIn photo as you can see from the results):
Not what I expected, but then maybe I should have sprung for the $12 evaluation which gathers more than 10 quick hit votes. Or maybe I need to change my photo. I do think that with half my face hidden behind the camera I may be turning off people as it’s hard to trust someone if you can’t see their eyes and a smile.
Now here are the results from my last LinkedIn photo that I just changed away from (but looks like I’ll be switching it back in!):
My personal Facebook photo did alright, though I care a little less about this one. I think the hat is pushing up my grade in the Fun category.
All in, though this was only the free version and a rough vote, I think it probably correlates well to how these images are perceived. A handy tool for anyone on the job/dating market looking to get a bit of insight in what their profile picture says about them. I’d like to see, in addition to these raw results, a few guidelines on how to improve the photos selected and more detail on what elements people are reacting to in particular, but perhaps that comes with more votes/the paid version. In any case, a fun way to get a look in the mirror through someone else’s eyes.
When should a client and photographer opt for a per image pricing contract?
Pricing in photography has always been a challenge and will continue to be so as the demand for creative images increases in tandem with the abundance of suppliers.While quality can vary considerably between photographers, the bottom end of the range has risen in line with technology so an average shooter ten years ago is now able to deliver reasonably good images with some basic kit that may meet the needs of some clients. On the upper end, the possibilities of what can be done with images in post-production, as well as the quality of images that can be captured and created now with top-line professional gear that can include virtual reality cameras like the Ricoh Theta S, drones and a range of pro lenses, is even more impressive and can satisfy even the most demanding of clients.
The struggle remains however, for the independent photographer, in determining the right price for their work when a request comes in from a new client. Given the paucity of full time jobs for photographers and the oversaturation of people in the field all calling themselves professionals, pricing for any given type of photographic assignment is really widely distributed. The range begins at free and rises up through the thousands for the same kind of assignment.
I recently read a very good and thorough article on PetaPixel by Rosh Sillars that explores the idea of pricing photography in 2016 in great detail. I recommend reading it for anyone – producer or buyer – who is in the market of hiring photographers, buying photographs or producing images. I want to focus on just one aspect of the article, regarding per image pricing as it is a concept I am beginning to explore with my clients and feel that in certain contexts it makes the most sense from both the photographer’s and buyer’s point of view.
Specifically, I want to explore types of assignments I am experienced in where it would and would not make sense to offer per-image pricing. I look at four types of photography: event, portrait, editorial/website and wedding.
Per image pricing? Not for most situations
One of the challenges an event photographer encounters with every gig is how to gauge what balance of images a client actually needs and will use vs coverage provided. In most events for which a photographer is contracted, there is a planned agenda which is followed with more or less adhesion depending on the client, type of event etc. While not every event has speakers or centre-stage activity, there will be a timeline and detailed plan for the night that an event manager has hashed out, often down to the minute. This holds true whether you are covering an international conference or a local wedding.As the person responsible for providing visual coverage of the event, one of your tasks is to capture everything that happens – which includes both scheduled agenda items, as well as candid moments, beauty shots of rooms, important items, and often signage and evidence of sponsorship activity.The result is a tendency to err on the side of over-shooting such that at the end of even a brief 2 or 3 hour event you may well have a few hundred images to subsequently sort through, curate, edit and then deliver to the client.
How would per-image pricing work in that scenario? I have never met a client who wants to pay more to do more work, which is exactly what would happen were a per-image pricing model enlisted in this context. Furthermore, some of the most beautiful and engaging images I have captured as an event photographer happen in those unscripted moments where people experience some kind of emotional uplift or response to each other. These images are often my signature pieces but would they make the cut if a client is suddenly sensitized to the idea of having to pay for each and every image?
I suppose the model exacts a discipline on both the photographer and the client to really focus in on the essentials, and this kind of a constraint can have a positive impact on creativity, but I believe it would have a greater negative effect on the overall workflow of the shooter and result in a less attentive, less responsive style of shooting that would skew towards the main event, ignoring or overlooking the often much more interesting, fun and engaging, off-stage type moments where the magic tends to happen when people gather.
Per image pricing? Yes, almost always
Portrait photography much more easily lends itself to per image pricing. Often a client is booking for a number of employees, the shoots take place on site in the client’s office and there are invariably last minute additions when random employees wander past and see a photoshoot going on and beg to have a shot “so I can update my LinkedIn profile”.A day rate or per hour contract in this scenario can be costly for the photographer as the workload is effectively uncontrollable. When shooting portraits in the client’s office, there is a lot of pre and post work involved, not the least of which may be physically accessing sometimes inconveniently located office spaces, navigating a labyrinth of loading dock, freight elevators and shipping doors lugging around the unwieldy collection of light stands, gear, etc., required to make everyone look beautiful. Then there is the set up-almost always in an office that is cramped and small-before the shoot happens. While each subject may not require more than 10 or 15 minutes, post-shoot there is the added work of sorting, and editing final versions of images that are highly scrutinized by their likenesses. It is not for the faint of heart and all in, a per image pricing model makes a lot of sense. How much per image is a completely different story of course, as the end result needs to still align with client expectations and counter the misperception that all you’re doing is pressing a button.
I normally calculate portraits on a per image fee, starting from a fixed base for the onsite studio set-up than a per head fee that can be adjusted based on discussions with clients vis-a-vis budgets, as well as the type of client being served.I consider it fair to offer lower, more flexible rates to smaller businesses and charge full pop for corporate users. My pricing is based on a fairly elaborate calculation that takes into account not just all the work required to perform the specific task, but the overhead involved in marketing a corporate portrait business, and aftermarket support to clients.
Per image pricing? Yes, almost always
Thanks to the convergence of social media sites and formerly corporate websites, there is an ever-growing demand for fresh photography to populate an array of digital properties most companies have to manage today to ensure their brands stay relevant and they are engaging their customers where and how they like to be engaged. This generates, in turn, aninsatiable desire for imagery which is heavily skewed to photography. While video is a rising star in the digital marketing world, use-cases for video are still more restricted than photography. While it’s quite possible to envision a website with no video on it, it’s nearly impossible to imagine the same with no photography. And as most stock imagery these days is recognizable as such, clients with even a little budget are thinking creatively about their needs and hiring photographers to generate their own library of custom stock photography. It can be done affordably and may often be less expensive than the ostensible cheaper option of using stock images. But in either case, a per image fee makes a lot of sense here. Clients who hire photographers to come in and document a day in the life of their office space usually have a set of images in mind that they’d like to see at the end of the day. A talented photographer can work through that kind of list and add value by shooting the shot list with their own brand of creativity that can excited clients when they see the final results. As well, this can be a very low-risk type of contract for a client to enter into as there are no fees paid other than for the images they themselves select and place a value on.
For these kinds of contracts, whether the images are ultimately destined for internal client use, a public facing website or publication or media, the pricing per image should reflect both the effort and skill required to take them, as well as the post-production necessary. While some photographers will share unedited proofs, I believe this to be a terrible idea that is highly disfavourable to the photographer. A movie producer does not release a trailer of the unedited cuts. Most clients, regardless of their sophistication and experience purchasing photography, do not have the time and skill required to parse an image, as it were, and see it for its potential from an unedited proof. More than likely they will deem the work subpar, and judge the photographer accordingly.While there is a risk to the photographer of editing a batch of images that may not, in the end, be purchased, this can be mitigated against by making a judicious selection of images to edit and share with the client initially. Once the client’s appetite has been whetted, more images can be processed and shown should the client express interest.
Per image pricing? No.
Wedding photography (which I run through a separate weddings focused business here), is in my opinion, the mother of all excess and the source of the most widely varied pricing in the industry. This is due to a conflux of factors including: first time buyers, people spending other people’s money, vast gaps between expectation and reality when it comes to desired outcomes vs real budgets, and good old fashioned price gouging, exaggerated markups and unscrupulous vendors taking advantage of misinformed or unsaavvy buyers to charge huge, unwarranted premiums.
Now before all you wedding photographers get your corsages all tied up in a knot, I’ll say that some wedding photographers are truly gifted artists and power to them for charging as much as they can and finding receptive clients happy to pay. These comments are not for you. But for the wedding factory type photography outfits, the fly-by-nighters, and the countless hacks who claim to offer some kind of premium service when all they are really doing is grabbing at extra margin because they’ve inserted the word “wedding” into their portfolio, I believe the balance of power is shifting to consumers and your days of overcharging are numbered.
Brides and grooms, while subject to a vast array of marketing machines aiming for their wedding dollars, are becoming savvier and more prudent with who and how they hire. Paying a fixed package price that takes into account all the extras and additional work of a wedding is fair, but spending over $10,000 on wedding photography, no matter how jaw-droopingly beautiful you may be, is just a silly waste of money. Yes, weddings are a lot of work and they are rightfully a little more expensive than your average event photography contract. While the same skill set is required, given the intimate nature of the event, the vast number of guests who are all in their own way important, and the richness of opportunity for touching moments to happen and be captured by a sensitive photographer, there is necessarily an increase in effort that needs to correlate to price. Within reason.
I would not see a per-image pricing model as any way satisfactory for clients for their wedding. In a typical wedding photography contract a photographer works anywhere from eight to fourteen hours on the wedding day. There is often more than one location, multiple lighting situations to accommodate for, and a parade of necessary if rather formulaic images the clients will expect to receive. The photographer is also considered the expert and will have a leading role to play in organizing groupings, and managing the “formal” parts of the shoot. All of this is best covered under a blanket fee based on a blended rate that covers both time on the ground, as well as the significant post-production work that will be done on the images.
In reviewing these four types of photography assignments, it is clear that in all cases, the best pricing model for both client and photographer is aligned. Much noise is made in photographer circles about the costs of maintaining a photography business (expensive gear, high upgrade costs, time to market, etc) but I don’t think that is at all relevant to clients nor should it be. No one forces a photographer to go into business. If you are a photographer, you’ve chosen a career with variable income, and high operating costs. Complaining about that to your clients doesn’t get you better pricing and won’t make you more money. Choosing the right kind of pricing structure for the job that places the client’s interests above your own, on the other hand, will.
People Magazine just released their pick for the most beautiful woman in 2016: Jennifer Aniston.
I have nothing at all against Jennifer Aniston. I think she is a great actress with lots of comedic talent and yes, she is quite pretty. But I do have something against beauty contests in general, and something about this headline really bothers me.
First of all, it celebrates celebrity which I think is a vacuous and thoughtless focus on a small percentage of humans who through luck, genetic windfalls and of course skill and hard work too, find themselves splashed across the covers of things like People magazine and movie screens. Yes, they are often nice to look at and they entertain us and move us emotionally, but they receive a disproportionate amount of attention to the value they add to society, and distract attention from other important issues that are harder to think about (like climate change, or corruption, or systemic racism, etc…) that actually have much greater impacts on real people’s lives.
Celebrity culture, the nadir of which would be someone like Kim Kardashian showing off her shapely buttocks and expensive bathroom, demeans everyone who engages in it. It locks us into an inherently superficial relationship with ourselves and each other, that actually dehumanizes both the star-struck fan and the celebrity whose personality and true self lies buried beneath the persona.
It also makes regular people, regular looking people with regular lives, feel badly about themselves. It idealizes specific looks, body types, hairstyles, skin tones, accessories and lifestyles that aren’t a part of most of our lives.
As a photographer of course, I stand accused. My work is to photograph people and I know that the more recognizable my subject, the more attention my work gets and the more “important” by association, I become.
But the worst thing about the epithet of “The most beautiful X…” is it implies a judgement and sets up the entity making the announcement as some kind of authority on beauty when such a thing is purely fiction. A fantasy. False.
There is no one most beautiful anything. We are all capable of being beautiful and carry within ourselves the real source of beauty, in how we behave towards one another and what we can contribute to the communities we share.
I know it’s just a marketing ploy (I used the same tactic for my headline), but it isn’t harmless. I’ve seen so many people through my lens who fret about how they look, and how they are perceived – particularly younger women – and their misperception about the way they look affects their self-esteem and sense of self-worth and that’s what really bothers me.
If we spent more effort seeking out and seeing the real beauty in the people around us, and less time and energy on the images of famous people, perhaps we’d make the world a kinder place for all of us.
I encounter a lot of people who are curious about what it’s like making a living as a freelance photographer. Because I often go into offices during the work day to shoot an executive or pickups of office life for company websites, I am in contact with lots of people doing a lot of different jobs.
And I see the look of incredulity on people’s faces when I tell them what I do for a living. They can’t quite seem to fathom that in this digital age where everyone is armed with a camera in their pocket, and people are uploading hundreds of millions of photographs daily to Instagram and Snapchat, that anyone could possibly earn enough to survive by just being a photographer.
And while I am not “just a photographer” (I do a lot of freelance writing as well), photography is my main occupation and what I fill out on customs cards when I travel.
Do it for love, not money
I am the first to admit that photography as a career choice is not one made with an eye to getting rich. Indeed there are very wealthy photographers out there, those who shoot celebrity portraits on exotic beaches, for example, but I am not one of them, and the vast majority of working photographers are not either. Gigs come and go, clients come and go, and you are never guaranteed anything. It is not a surefooted, clearly marked career path and there is no security. So if you are looking for anything of the sort, it may not be the best choice for you.
It is, however, one of the best jobs in the world if you enjoy meeting a lot of people in a wide range of contexts, and engaging with each one of them on a human level. One of my first ambitions in life was to become a journalist, and though I never realized it, photography affords much of the same exposure to different situations, different groups of people and an array of ideas (if you keep your ears open as you do your work) that is very exciting. It is totally unscripted – one day you may be doing a CEO portrait in an office tower, the next you’re covering a tree-planting team building event in a city park, but the opportunities are truly endless for encountering new, interesting people and getting a snapshot of who they are by being a fly on the wall in their every day lives.
So if you love meeting lots of different people and having many interactions throughout the day (if you are covering a large event like a conference or tradeshow), than it is a very fulfilling job.
Get your hustle on
How do you get business? In that sense it’s no different than any other freelancer gigness out there. Whether you are a writer, a designer, graphic artist, videographer or the guy who sets up window displays for shops on High Street, getting gigs is about showing up, doing your best work every time, listening and understanding what your client really needs, delivering everything you promise (and more), and then doing it all over again for the next client. And the next. And on and on until one day you get a call from someone who says they heard about you from someone else.
While you can never stop hunting for new clients – and that can mean making cold calls, running e-mail marketing campaigns, maintaining a blog with regular, useful content, and good old-fashioned networking both on and off-line – holding on to the clients you have is also part of the job. If you develop a good relationship with your client – mainly by doing good work consistently for them – you earn the benefit of their repeat business. Having a few regular clients can help smooth out some of the variability in your income and provide a degree of security, though nothing ever lasts forever.
Developing your hustle muscle is also critical. I never go to any gig without a pocket full of business cards, and my spiel ready to deliver at the right moment if I meet a prospective future client. While the main focus is always on the paid gig at hand, part of photographing people necessarily entails talking and connecting with them. Not doing so makes you that awkward shooter lurking on the sidelines and yields a crop of photos showing people with slightly annoyed looks on their faces at your interruptions. You have to interact, and mingle, professionally. Sometimes, in so doing, you’ll meet someone who might need what you’ve got to offer and you follow up. I’ve landed a lot of new business this way.
Don’t let your love go cold
Finally, staying at it and always looking for ways to up your game or improve your skills, tools and technique is all part of the job. You are only ever as good as your last job, and no body cares how expensive your gear is. They just want great photos and it’s your job to get them done.I read up on photo news, stoke my perpetual gear lust with Pinboards full of the latest gadgets, and experiment constantly with new approaches to my work.
It’s very important not to let your passion ebb away by letting your work go stale. After the 100th portrait of the old guy in a suit against a grey seamless backdrop in a cramped little fluorescent lit office downtown, you may be tempted to just mail it in. But that would be the beginning of the end of your career, I believe, because to that man, this portrait means something. It’s a sign his company is investing in him, a chance for him to show who he is to his clients or to accompany a news article about his recent accomplishments. Having your portrait taken is something to be proud of, and it’s important to always keep your emotional IQ running high to ensure you never lose sight of what a photo is really about.
Taking good pictures, and being the kind of photographer people like and want to hire is ultimately not about the tech you are using, or any tricks you’ve learned along the way. Yes, you need to understand your gear, have mastery over the tools you have, and not flub the shots technically. But the most important aspect of the work is making sure your heart is in it, and keeping it there.
Stick with it
Being a freelance photographer is really an amazing life. I’ve been able to travel, meet interesting, friendly and wonderful people and see places and things I never would have were it not for the work. That’s imparted a very deep sense of gratitude in me and a respect for my work. I truly believe that it’s a privilege to be hired by every client, and every client deserves my best work. If I let that slip, even a little, it’s the beginning of the end for me.
The work is important. The gigs will vary. You’ll have to nail your pricing and be flexible and able to talk frankly about cost vs. value, and you’ll need stamina. All entrepreneurs will tell you that it takes twice as long as you think it will to be successful, and will cost twice as much as you expect it will to get there.
How you define “success” of course, is up to you. I consider the option to wake up every day, direct my efforts towards my goals and do important work for great clients a success. And as my economics professor once told me, I’ve got “stickwithitness” which is probably the single most important thing you need if you want to make it as freelance anything.
Taking pictures on the beach is a great way to extend the pleasure of a vacation. Long after the waves have receded into the ocean and your week in the sun is a distant memory, photos and videos from your lazy days on the beach can cast a warm afterglow on the experience.
But it’s also a pain having anything electronic on the beach because of all the things that make a beach, well, a beach: salty air, salt water, intense heat, sand, sand, and more sand.
I can’t do much about the sand except to recommend keeping your gear (which includes your phone) in a ziplock bag before stuffing it into the sandy catch-all beach bag, but here are a few recommendations for making the experience less technically frustrating and for maximizing the images you take home along with the seashells you gather up from the shore:
1) Shoot early or late: depending on where you are in the world, there are optimal times to go to the beach, and unsurprisingly, these also present the best lighting opportunities for photos. Everyone has probably heard the term “the golden hour” that photographers love to gush on about. It’s actually a bit of a misnomer as it pertains to two distinct periods during the day – shortly after sunrise and shortly before sunset, and may not even last a full hour, but the idea is simply that these times are when the sun’s light is warmer, characterized by a golden, reddish tone which bathes people in a very flattering light. If you’re looking to get a great family portrait on the beach, grab a few glasses for the bubbly, gather up the kids and get to the beach about an hour before the sunset. Then position yourselves facing the sun, so the light is on your faces, and fire away (you’ll need a tripod-see #2)
2) Bring a tripod: there are myriad tripods on the market and I’m not going to recommend any specific brand, though I think the GorillaPod style (the original is by JOBY but there are now lots of copycat brands) is best suited for a beach as you can use the flexible grips to wrap around a piece of driftwood, or balance on your bag or even a bottle of water. The only disadvantage is height as the pod legs aren’t extendible nor very long. For that you can go for any number of travel tripods that are lightweight (no heavy SLRs here) but ideal for packing, carrying and using a lightweight camera or your phone beachside.
3) Watch out for overexposure: beaches are some of the brightest light saturated environments your camera will ever deal with. There is light bearing down on you from above, bouncing off the sands below and refracting off the water before you. Be careful when you set up your shot to expose for the faces in your image, and not have them turn into blackened silhouettes by letting the camera choose randomly.
4. Use a flash: given the excess of light on a beach you may wonder why I’d recommend using flash. If you want really great shots of people standing in front of a gorgeous sunset, a flash is the only way you can get it right. If you don’t either you’ll expose for the sunset behind them and their faces will be too dark, or you’ll expose for the faces and the sunset will disappear.Use a flash to highlight everyone in the shot and you’ll get the best of both worlds.
With these few tips you’re guaranteed to take better pictures on the beach, and come away with more than just tan lines.
I was recently hired to create the photos for a company website relaunch project. The creative briefing involved meeting with the marketing director and general manager, reviewing the look book provided by their web designers and brainstorming on what we could do to make the portraits and products look interesting, authentic and fresh in line with the new look planned for the site.
The look we were trying to achieve was industrial, showing real people in contexts related to the nature of the work they do (manufacturing and refurbishing various barrels, pails, buckets, oil drums and related myriad accessories). We immediately discussed shooting the portraits in a second factory location currently in the process of being dismantled. As the decommissioning of our shooting location was active, we needed to move quickly from planning to shooting to ensure there would still be machinery and interesting materials to work with to create our setups.
I visited the factory location a day before shooting day to scope out some locations. I wandered through the furnace where once steel oil drums were burnished and formed, along rails they used to roll along that passed in front of a paint room with walls Jackson Pollack would envy, letting visual ideas come to me as I wandered. In the central area workers were cutting through large machines to be hauled off for scrap, their arc welders casting off sprays of sparks like oversized sparklers on a birthday cake. The floor was covered in dust and tracks from various vehicles and dollies had criss-crossed it leaving patterns like you’d see on a road of recently fallen snow.
On shooting day, I arrived early and created three set-ups: one by a stack of wonderfully aged and multi-coloured palettes; another in a room with a vast collection of black standing oil drums waiting for their final delivery; and a third in the furnace room before a gnarly, beast of a machine with pipes and vents protruding from it like a patient on life support.
The subjects, real people, not models, some of whom clearly had not had much, if any, experience with a professional photographer, arrived in time slots, 5 at a time. I decided to try to shoot each in a slight different spot, giving each a unique portrait that would all be thematically linked and visually consistent, but different enough to convey a sense of the uniqueness of each individual.
It went exceedingly well, and both my client and I was pleased with the results. I realized that a big part of the success of this shoot was having the leeway from the client to be creative and have fun with the shoot, within the framework agreed to ahead of time. As well, the subjects themselves, initially a little nervous and awkward soon found themselves enjoying the experience and contributing ideas for setups and locations that improved the final images.
And all of it was done within a few productive days. No long lead up or series of creativity-sapping meetings, no layers of approvals or complicated lighting setups. We worked with what we had, in an authentic environment marked by time and delivered a set of unique portraits that will breathe new life into the forthcoming website, a far cry above the standard, dull, headshot-against-seamless-white background that everyone has seen thousands of time.
The difference really, was this shoot started with an idea we collaborated on – photographer, client and subjects – to create something together.
Yesterday I went to a funeral, at the end of which we were invited to visit a slide show playing off to the side of the church. You’ve seen these before. They play at milestone events like weddings, 50th+ birthday celebrations and in their saddest iteration, funerals. It made me think about what those pictures really mean.
Why do we like to look at pictures? Why do we care?
Usually these slide shows are put together by someone close to the person, or for a wedding, the couple being married. They are often preceded by an email call out to friends and family asking if they’ve got any photos of the beloved(s) they can share. The end result is always a mishmash of photos taken over a span of years, with varying – usually fairly amateurish – photo quality. Overexposure, odd crops, off-colour and poor lighting are commonplace – and it doesn’t matter at all. You can almost always feel the full emotional impact of the image regardless of quality. In some case, too much quality actually diminishes the emotional power of the images. We expect professional looking photography when we see an ad or hire a portrait photographer to shoot the family portrait, but we mistrust it in the context of the real, old-fashioned slide show of your life.
For a wedding, the typical formula is a series of baby images and fun kid shots of both the bride and groom, as they are growing up. Family vacation photos feature prominently. Usually around mid-way through, the couple meets and there are a smattering of images of the two together leading up to the present moment.There tends to be more text and jokey captions on the wedding reel and the end is always celebratory, a kind of big “To Be Continued” implied as the couple will presumably go on to fill out the rest of the slide show together as they live out their lives.
Birthday slide shows are looser, more jokey then the funerary genre but usually carrying an undertone of celebration and kind poking fun at the subject. Key images likely include at least one shot of the subject wearing a ridiculous hat, a few with Hawaiian shirts, and of course, as many as possible showing the subject making a fool of him or herself in various states of inebriation. This kind of slide show is there to fill in the time between speeches and dancing, or it loops while dinner is being served. It can be played with or without narration, depending on the setup in the party.
And finally, the end of life slide show. This one, of course, is the most emotionally riveting. There is something unbearably sad about looking at the smiling face of someonein full life who is now gone. And yet, I think these slide shows are also an important part of the grieving process and they help the bereaved to say goodbye properly. We want to hold on and the pictures we have of the people we love and have loved throughout our life help us to do it. Like slowly letting go of a hand, these final images are there to tell us that the person we loved, lived a full and happy life that we were a part of. These may be the photos that matter the most to anyone. The images you would run into a burning building to save. They matter to us because the person or the people in them matter to us. And while nothing replaces the living presence of another, a photo saturated with love and seared into memory by a deep emotional connection, matters.Not just to help us deal with the loss of our loved one, but also to push us back into living life.
Because, in the end, a picture is always and inevitably a revision of a lived event. What really matters, of course, is the living. Experiencing each moment as fully as you can. Being mindful that this moment now, is really all you can ever hope for and to feel it and sense it and be in it as fully as you can. So while the photos we collect of our family and friends are treasures, the moments we share with them matter much, much more.
So put away your phone, take a break from updating your status on Facebook, look up and see who you are with. Then go out and make a moment that you’ll want to keep for the slide show of your life.
I recently purchased a Brinno TLC200 f/1.2 Time Lapse Camera to play around with to incorporate into my conference and tradeshow coverage photography gigs. There is a child-like fascination with watching time speed up, like the thrill you used to get pressing fast forward and play at the same time when watching an old VHS tape (if you’re old enough to remember what a VHS is, if not check here).
Here’s my first attempt, shot recently at one of my client’s offices while we were doing a corporate portrait session.
While I haven’t quite mastered it, I can see how this will be a useful tool to showcase construction projects, or intermittent flows of people moving to and from convention halls, or the setting up and tearing down of trade show booths. The cameras are quite inexpensive relative to most photography gear and I suspect I’ll be getting a few more to play around with.
I also serendipitously came across this article on Springwise (one of my sources for finding out about new products and innovations and really really good for slacking off a bit on a Friday afternoon) about a company using a time lapse camera kit to teach kids about wild life: Camera kit teaches kids about tech in nature which inspired this afternoon’s project, where I’ve set up my Brinno out on the deck to try to capture shots of the squirrels ravaging my garden.
I think it’s a fun camera to have in your kit as a pro, and equally fun for anyone who enjoys messing around with cameras. You could bring one on your next camping trip to document setting up your campsite, and finally have proof that in fact the bear beside your tent was really just your friend snoring. Happy trails!