Yesterday a news item was circulated on the Internet that we had in fact reached that futuristic date in Back to the Future when Marty McFly slammed the Delorean into gear and sped up to 88MPH propelling himself from 1985 to July 6, 2010. Even though the claim was later proved to be an inspired hoax (we have 5 more years to perfect flying cars and hover boards), it got me thinking about how far our industry has come in the past 25 years, the pace of technological change, and how it has impacted the business of photography.

The period between 1985 and 2010 has witnessed the biggest changes in photography since the discovery of silver chloride back in the 1500’s.  Back in 1985 I was bulk loading film for my fellow high school photo students and spending way too much time breathing Cibachrome chemicals or dipping my fingers into developer and fixer trays in the darkroom.  Now hardly any of us still do that.  The market has changed and tools have enabled much of the change.  Photographers didn’t change photography as much as new tools and technologies enabled photographers to make better and previously impossible (or at least really difficult to execute) images.

Back in 1985:

People who have heard me talk about the photography market have usually seen me draw pictures of what I call the photography market pyramids.  The pyramids depict what has happened to the market because of changes in technology.  Lower costs, faster processors, incredibly creative software applications, and mass market adoption (re: scale) have all contributed to changes in our market.  It used to be that the pyramid was a really tall skinny pyramid.  On top of the pyramid were a select few top billing photographers.  These top guns were the Helmut Newtons or other “famous photographers”  and a few hundred others.  Then directly underneath in the second level of the pyramid you had a slightly larger group of photographers who were scratching at the ceiling trying to get up to the huge day rates at the top of the pyramid.  These photographers were making great money on solid jobs in their slice of the market.  They all had something in their image making and their attitudes and business acumen that set them apart.  Some were still life photographers, some shot ad jobs, and some were high end wedding and event photographers, or great editorial or fine art photographers.  The next layer (the third layer) of the pyramid housed the bulk of the professional market.  This layer consisted primarily of portrait and wedding photographers and studio photographers.  The third layer had a barrier to entry – part of it was vision (or the photographers “eye”) and business capabilities of the photographer and part of it was the craft.  The craft or technology of photography separated and consistent creative process separated this tier from “some guy with a camera”.  Back then, there was a lot to learn and a lot to buy.  You needed the right tools and the right knowledge…and some of those tools were really expensive.  The bottom tier represented the hobbyist.  These were people who loved photography.  Back in 1985 cameras were expensive, processing was expensive, and getting good images took a commitment to learn how to expose you film and how to print.  So the size of the hobbyist market was limited.

Fast forward to 2010. Advances in technology have flattened out the pyramid. The base is broad and the entire pyramid encompasses thousands of times more participants than it used to.  At the top of the pyramid you have the same number of “famous top gun photographers”.  Some might argue that the earnings have gone down, but there are still top guns making big day rates.

Just under the top gun section of the pyramid we have roughly same number of photographers scratching to become top guns as we had back in 1985.  But on the other hand, their earnings have actually held up pretty well.  They are shooting more Pottery Barn catalogs and getting better rates for top billing weddings as they add more services and products to their toolkits.  Some are using new tools like the Foba TURNA turntable for shooting flash animations of product that they used to deliver only as still images.  Some are using DLSR video to shoot motion where they previously had only shot still.  And others, now that they have the tools to work more efficiently, have more time to spend perfecting their art and making images that redefine image creation or to refine how they market themselves.  Those who embrace the technology generally win.  This month, Digital Video magazine (dv.com) had a great story about how Shane Hurlbut (Best known as Director of Photography from Terminator Salvation), was using Canon 5D MKII’s to shoot a segment for US Navy Rescue Teams. The 5D allowed his team to shoot faster and in ways that they could not with larger legacy camera systems.  Hurlbut embraced the 5D MKII when it first came out and is now shooting better-faster-stronger because of this new technology.

So let’s look at the next level of the pyramid.  This level got a lot larger.  At the Wedding and Portrait Photographers International show (WPPI) this year there were over 30,000 attendees.  One of the show organizers told me that more that 50% of the attendees were coming to the show for the first time.  One of the reasons for this increase is the accessibility of image making tools.  The barrier to entry as a to entry level photography has dropped substantially.  A lot of these new people at WPPI were coming to learn how to “make it”.

Finally, the base of today’s photography pyramid is the non-pro or the aspiring amateur, and this is where the pyramid had broadened the most. At this point in time we have millions of photographers who love making images and video.  And while they might be participating in the micro stock market, they are, for the most part, members of photo sharing communities.  I am regularly amazed by the images I find of Flickr.com.

However, there is one thing that has remained constant throughout the last 2.5 decades despite advancements in technology: being a photographer requires much more than being able to take a few good images and throw them up on Flickr.  It requires stamina, consistency, networking & people skills – it’s a business and you need the whole package to “make it”. That is why the top tiers of the pyramid have retained much of its shape.  To be successful you need to have an all encompassing passion for making great images no matter the environment.  You need to be focused and relentless.  Sure a hobbyist might be able to create a great portfolio of 20 (or ever 200) beautiful images, but what happens when you hand them an assignment with an uncooperative team at a boring location with models who don’t fit the wardrobe and a makeup artist that doesn’t show up? Can they still get the shots that were exactly what the uncommunicative art director wanted?

The reason that there are so many more people at the base of today’s photography pyramid has a lot to do with the accessibility of technology.  Websites like www.strobist.com and the German phenomenon www.lighting-academy.com make photography even more accessible.  They allow us to learn and relearn the fundamentals of photography which better prepare us for the future of photography.  But it still takes a whole package to move up the pyramid, just as it did in 1985.

In the next 25 years I am sure that the tools will improve and that there will be even more people taking even more images.  We will record almost everything. But the tools will cause disruptions.  One of the disruptions we are already seeing is 3D technology.  In 10 years I would expect that we are all looking back on 2010 wondering how we ever lived without our 3D iPads (no you won’t need 3D glasses) and 3D picture frames.  If you don’t think it’s coming then you need to check out the new 3D Camera and 3D display from Fuji Finepix.  In both video and still photography, 3D creates new challenges for image processing and retouching.  But is also requires more attention to lighting.  The visual effect of a 3D capture is highly dependent on how it is lit.  Every new technology will bring new people into the world of photography.  And those who embrace new ways of imaging and use them to expand their vision and image making while at the same time honing their business acumen and dedication will succeed and move up the pyramid.

And if you don’t think Marty McFly’s future is coming soon, take a look here.

Every photographer has their own preferences as to where to place their strobe(s) when setting up a shot. Now although there are no firm rules to this, I would like to introduce you to a simple theory in which “you” can choose what is best for you in every situation.
Start by remembering OCD. Not OCD as in obsessive-compulsive disorder, but instead by O.C.D. – The O’Clock Diagram (or Drawing, Display, Design). With OCD, you can have any number of strobes to illuminate your subject or scene. The goal however isn’t to strictly light your subject, but to actually balance the strobes with whatever ambient light that exists. The true benefit of OCD is apparent in the placement of only a single strobe, in relation to the source(s) of ambient light. This essentially means that one well-placed strobe may be all that you need in many cases.

Here are the Instructions:
* Each number represents a strobe position, including “12” of which might be a ringflash, or a strobe over/under the camera, or a strobe that is on the same point of view as the camera.
* The camera is always represented by the number “12” position.
* The subject is always represented by the dot in the center.
* The number “3”position will always be to the left of the photographer, the number “6” position is always facing the photographer on the opposite side of your subject, while the number “9” position will always be to the right of the photographer.
* The foreground is the area between the camera (“12” position) and the subject (dot). This area is always represented within view of the numbers “9”, “10”, “11”, “12”, “1”, “2”, and “3”.
* The background is the area behind the subject (dot). This area is always represented within the view of numbers “3”, “4”, “5”, “6”, “7”, “8”, and “9”.

¬In this scenario, the sun is at “7 o’clock” while the strobe is at the “11 o’clock” position, placed at a very high 12 ft. height. The ambient reading (of which is always taken first) was ISO 200, 1/250 sec @ f/16. Since the sun is gazing straight into the lens, there is a notable amount of flare. Also, as you might imagine, the front of the subject is therefore cast within a shadow. This gives the strobe the responsibility of illuminating the entire subject from the cameras point of view. The strobe was metered to the exact same reading as the ambient in order to maintain the natural contrast and color that comes with the ambient reading.
The strobe was placed high in order to spread the light wider for a greater angle of coverage. The 15ft. distance of the strobe from the subject also contributes to the spread of light in the overall foreground. I chose a P65 reflector (hard modifier) in order to maintain the same harshness of light and shadow as the sun itself. Moving the light to any other position within the foreground (“2”, “10” or “12” for example) would not impact the shot much differently considering the overall height and angle of the strobe. The P65 is lightweight and easy to handle. Additional choices I might have considered are the P50 at a slightly greater distance or the Mini Satellite for more efficiency and contrast of my subject.

Andre Rowe is the featured speaker at the upcoming Atlanta broncolor/Hasselblad/Sandisk event on June 24th.

Registration is free, please click here!

Andre Rowe Photography

My dream in grade school was to be a automobile designer, then in Junior High I wanted to be a comic book illustrator and in High school I played the guitar (I was, and am still, terrible!) so my dream was to be a rockstar. Then collage came around and I wanted to be a painter: a ‘real’ Artist. Then my idea was to live a bohemian life, but I am far too practical for that. Halfway through my second year (after already having some solo and group shows) I was going to have my first big solo show at a local Municipal Museum and I needed to have my paintings photographed and a buddy of mine, a local family photographer, was going to charge me a small fortune todoit. I was 19 and broke. So I did the only thing I could do,I sold my guitar (my Fender Stratocastor) and purchased my first camera. That is how it all got started; I immediately fell in love with the art form. I switched my major from Fine Arts with a minor in Art History to Photography. My camera became a quick way to make some extra cash and I love the more immediate gratification. I worked at a local paper on weekends shooting sports and anything else possible, whilst still developing a style and subject interest.

* Describe your career development?

My career starting I guess when I became an assistant for Joao Palmeiro, a big advertising photographer in Portugal. He was my biggest influence and I worked for him little over 3 years and did everything and anything that was needed or asked of me. I moved on to opening my own studio with a buddy of mine, Pedro Davim. We opened Milkman Studio Productions in April of 2002. I still assisted other photographers for about three years and I worked for various production companies on a free-lance basis. This time period was crucial having contact with big productions and working with some well established photographers. I worked with more than thirty photographers, such as Horst Diekgerdes on shoots for UK Vogue, Frederic Pinet and Thomas Strogalski shooting for Audi and Mercedes. I was always working on my own projects too, and having my own studio so early on meant I would come home from a 12 hour shooting day and then jump into my work for another five or six hours. I don’t sleep much, I never have, and this helped me hone my skills. Since then I have moved on to developing a client list with advertising agencies, magazine editors and apparel and beauty companies .

* More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?

I do not think I have any life changing moments. My career honestly has been full off ups and downs; it’s been a process of not only developing my style and technique but learning the craft of business. Lots of trial and error. I am grateful to all the photographers for whom I have had the pleasure of working with and I have taken some type of knowledge from all of those experiences .

* How do you learn your techniques?

Practice makes perfect…well at least practice make syou discover that you need to practice more ….

* Who are your photo heroes? Or who has inspired your career?

I take inspiration from all types of sources, there are so many artists that inspire me, but sometimes it may just be a single image. If I have to name some I guess this would be the list: Meisel, Klein, Roversi , Solve Sundsbo, Mario Testino, Lebowitz, Weber, Ritts, Demarchelier, Avedon, Newton, Adams, Sabastiao Salgado and it goes on and on. My biggest influences are from cinema such as Kubrick, Godard, David Lynch, Hitchcock, Roger Deakin, Janusz Kaminski, Christopher Doyle and the great painting Masters such as Caravaggio, Sorrola, Gustave Courbet or Vermer just to name a few…but the list is almost endless.

* What is the worst part about doing what you do?

Not having a pay cheque, the instability of the life of an artist living from month to month.

* What is the best part?

I Love almost every moment of my Job. The creation element involved is quite soothing and calming; sure it can get stressful at times but when I have a camera in my hand everything looks and feels different. It’s also one of the coolest Jobs anybody could have!

Learning from the Pro

* What are we going to shoot today?

I love shooting in Portugal, the country truly inspires me; the stunning landscapes, the amazing people and the glorious weather. I wanted to shoot on location in the streets of Portugal and since I would have a teeny team with me consisting of the model/dancer Katy Cee, one assistant and myself, the best option for my lighting needs was the New Mobil A2R by broncolor. This shoot was actually shot the night of my birthday! What better way to celebrate then shooting on location with my beautiful friend
and model Katy Cee. Her posing is exceptional and her figure exquisite. This is a personal series I have recently begun to explore; the human figure contrasting with architectonic structures. I am primarily interested in achieving a sense of symbiotic fluidity between all the elements in the image: the model, the location, the stylistic elements and the differing textures of each. It is sometimes nice not to have a super huge team of hair, make-up, styling and clients around when I shoot.

* What tools are you using to make this image?

This is all that I brought and worked with:
Hasselblad H4D 80mm f/ 2.8 28mm f/2.8 Minolta Flashmeter IV Light meter
Mobil Pack Mobilite 2 Lamp base (x2) Pulso Adapter for Mobilite 2 Transmitter RFS Westcott light stand
Five in one reflector by Westcott Pelican Case 1510 Standard Reflector p70 Drop it Modern backdrops (x2)

* Why did you choose these tools?

They are the best tools on the market; they don’t make my images better for using them, but they do make my life easier.

* What features of the equipment that you use make it easier to do your job?

I kept the lighting simple but effective by using one single light with the standard light modifier. This light (A2R ) is so powerful that it illuminated the model, the entire facade of the church and picked up the detail in the backdrop textiles. I set the light about 3 feet above and behind my head, so to not create large shadows but to keep the sense of drama that this lighting setup naturally concocts. One of the potential issues that could be problematic with shooting at night, is the lack of ambient light. Fortunately the modeling light is really powerful, which enabled quick and accurate focusing. The strobes fire consistently and recycle rapidly so I was able to capture the model’s movements in a spontaneous and fluid way.
The camera was handheld and set to: ISO: 200 1/125 s F stop: f/1

* Did you use competing products in the past? What made you change?

My First set of lights were Elinchrom and I have shot with Profoto and Westcott in the past. My first contact with broncolor was
working for the 1st photographer I assisted. It was Love at first click! I always told myself I would have broncolor one day. The A2R packs are super adjustable, user friendly and produce great light with super fast recycle speeds and solid flash durations.

Joao Carlos
Photographer-Visual Artist
Hasselblad Master 2009
www.joaocarlosphoto.com

First off, why would a photographer consider renting equipment?

Many reasons:

For the professional, if they’re in need of a product they may not currently own, or perhaps a piece may be too expensive for them to purchase at that time; this is where we can help out. Other times, we may have a photographer that’s called to do a very particular type of job where they may only need specific equipment once.

For passionate amateurs, renting allows them to take various gear out for test-drives to see what works for them. While at the same time, it gives them access to a broader range of gear when special occasions like vacations, weddings, births or graduations come up.

Most of the time it’s more economical, technology moves faster than the time it takes some equipment to pay for itself (especially digital and hybrid video cameras)

How do I choose a good Rental Facility?

Honestly, price shouldn’t be the primary consideration. Most rental houses are in the same ballpark. For us, we pride ourselves on working with our customers based on their budget restrictions or working within the specific budget for the project at hand.

Proximity and accessibility should be factored in as well. There may be times where on site training on a product may be the best way to learn.  Most importantly, a facility’s breadth and depth of its equipment is the leading reason as to where one should rent. Can a facility support what it rents? Can a facility suggest the best tools for the job? At Foto Care, this is what we pride ourselves on.

Talk to us about your staff’s knowledge:

Our staff has been with us an average of eight years, with some having been here for decades. The fact that we’re all passionate techies makes this not seem like work. We go out of our way to test drive every piece of equipment. It’s amazing how eager everyone is to get to know the hardware as soon as it comes in.  Plus, part of our job is to be able to troubleshoot with our customers over the phone so we all need to understand the ins and out of each piece of gear we rent.

All of us have our particular areas of expertise but everyone seems to have jumped on the video bandwagon in a big way. We are becoming video hybrid experts. Things have been moving so fast that keeping up is critical. Video is just exploding. We’re adding microphones, special lighting and lenses that we’ve never had before based on demand and interest.

Talk to us more about the depth of equipment you offer?

Having the newest/latest equipment available for our customers is critical. And not just one or two either. Our depth of equipment and inventory (usually having 10 or more of something) is key. For example: We have more then 90 broncolor powerpacks; more than anyone in the country.

Foto Care has built a reputation on Outstanding Customer Service. How does that apply to Rentals?

It’s always been important, I remember one time Avedon Studios called from India with a problem:  They were shooting the Dalai Lhama in 8 x 10 format with very limited time restrictions so every piece of film needed to be usable. With exposures all over the map, they needed to process the film by inspection so we ended up finding them night vision equipment to help them process their film.

These days, some of our newer customers will call to discuss various lighting scenarios they are considering and ask for our recommendations. Helping problem solve with them is one of the highlights of our day. In fact, often we’ll set up lights here at our facility to show them a particular setup. Fortunately, our facility is quite large and allows us to show a variety of setups to our customers. The time investment for us is important because this is their job at stake, and we see ourselves as a trusted partner in their business. And this doesn’t just apply to the working professional. We want all of our customers to be comfortable with the gear they rent from us. That’s why they keep coming back.

What can a customer do to ensure they get the best results?

1. Call orders in advance:

Most errors are made when under pressure. If this is unavoidable, check your equipment before you leave. Ten minuets at the counter can save you two hours in set.

2. Ask questions:

We’re not just handing out a box with no support. We expect our customers to ask us questions. In fact, we encourage it. We’d rather help answer all your questions when you’re placing an order or when you pick it up as opposed to when you are out on location or back in your studio. And b all means, keep asking questions until you are comfortable and satisfied. In photography there is more than one way to achieve most goals.

What do you recommend for customers consistently ordering over the phone?

If you start an order over the phone, get the name of the rental technician. This way, if you call to follow up with questions, there is continuity by dealing with the same person. We also except orders via email. Really, its whatever works best for you as a customer.

When picking up an order, what should customers know and do?

Go through your equipment. Look at it. We try to pack orders as accurately as possible but there can be misunderstandings. Sometimes funny ones:  Someone the other day asked for a “Gary Coleman” C-Stand. Huh? Hadn’t heard that one before. What they wanted was a short 20” C-stand versus a 40” stand. With all the slang in our industry, it’s easy to misunderstand what folks are sometimes looking for.

What are some of the things to keep an eye out for?

Clean, maintained equipment, especially clean sensors. It’s a matter of pride with us. You can tell a lot about a rental facility by how clean and well maintained their inventory is.

Anything else people need to know?

All rental houses in NYC require deposits, valid identification, and, in some cases, proof of insurance. It’s a very good idea for photographers to have insurance. This not only protects the photographer but the rental department can take a reduced security deposit for the value of the deductible.

Is there anything else you want customers to know?

Foto Care constantly offers seminars and lectures for continuing education of our customers so check our website and sign-up for the Foto Care Newsletter which comes out twice  month.  And get out and shoot.

I was born in England in 1973.  When I was almost 9 years old, my Mum and Dad pulled my brother, sister, and I out of school.  I know that may sound crazy to anyone else, but it was a decision that helped shape the rest of my life.

Along with two of my siblings, we set off in a Volkswagon bus to tour Western Europe for almost a year (my older brother, already in college, joined us throughout various legs of the trip when he could).   We had lessons on the bus, and Mum required that we keep a journal of our experiences, along with scrapbooking ticket stubs, postcards, and our own sketches.

That was my introduction to the classics.  Moving from campground to rest area to campground, we hopped from museum to gallery to monument, learning about European art and architecture, and meeting several interesting characters along the way (probably why I see the NY subway as more of a social gathering place to make friends, rather than a claustrophobic nightmare of strangers).  Although I’m not sure I fully appreciated seeing my first Botticelli at such a young age, I can see now how it defined even my earliest notions of beauty, and has remained with me ever since.

After a year in a bus, we relocated to Boston, Massachusetts, where I was enrolled in public school.  Though we were initially the odd kids who talked funny and called rain boots “Wellies” and ate wobbly tarts for breakfast, I quickly found my niche in a tightly-knit group of friends who have remained some of my dearest ever since.  I may have dual citizenship and was born across the pond, but you can take one look at my collection of hats and know that I call Beantown my home.

After graduating from the University of Massachusetts at Amherst with a degree in family studies, I enrolled at the Brooks Institute of Photography in Santa Barbara.

Following my third year at Brooks, I was accepted for a three-month internship in New York City with Richard Avedon.  Within the first week of the internship, Avedon asked if I would take a full-time position in his studio.  Without finishing at Brooks, I moved to New York with literally nothing to my name.  My suitcases were lost in the flight, and so my brother had to ship hand-me-downs to the cramped east village apartment I shared with eight other roommates, who’d been willing to squeeze me in to cut down the rent.

Within a few years, I became both first assistant and studio manager for Richard Avedon, an experience that could fill volumes and volumes of my own memoir.  Needless to say, it was an apprenticeship that impacted me in profound measures I cannot even yet fully assess.  Having lost my own father several years back, it was very much like losing a second father.  More than just an American icon to me, he was my mentor, and a very dear friend.  I was in San Antonio assisting him on the Democracy project for the New Yorker on October 1, 2004. Words still fail to express what a loss to the world was taken that day.

Though I was eager to help establish the Avedon Foundation in any way that I could to help maintain his legacy, I knew that it was time for me take the wealth of knowledge and inspiration with which I have been so graciously blessed, and begin to find my own voice in the world of photography.  After a brief freelance assisting job with the great acclaimed photographer, Henry Leutwyler, I transitioned into a full time freelance photographer.  I credit Leutwyler for a lot of things, but especially giving me the confidence to leave the assisting world and inspiring me to own my own broncolor lighting equipment.

The past five years as a photographer have been thrilling, sometimes terrifying, but continually affirming that I absolutely love doing what I do.  I may not yet own my own studio, and with freelancing there are few contracts to secure my income is guaranteed tomorrow.  But with editorial credits like American Vogue, and Advertising clients that include J.Crew, Coach, and Ann Taylor, etc. I certainly can’t complain.  In between my hectic schedule, I am continuing to pursue my own self assigned personal projects. I’ve been blessed to make a living doing what I love more than anything, and to do it with the most incredible lighting in the world; broncolor.

(Daymion Mardel shoots primarily fashion & portrait photography.  More of his images can be seen at http://www.daymion.com/ or through my agency Rona Siegel Artists.)

I’ve always loved photography, ever since I was a kid. I’ve always been fascinated with capturing moments in time. My first “real” camera was a Kodak disc camera I got for Christmas after begging my parents for months. In high school I carried a camera with me all the time taking pictures of friends in the hall, behind the bleachers, on the handball courts, etc.

I started to take a photography class in high school but then dropped it and switched it for a cooking class after the first week. I didn’t have the patience for the darkroom and technical stuff. I just wanted to shoot. Finally, when digital cameras came about I was able to shoot as much as I wanted without having to wait 2-3 days for the lab, or spend a ton on processing. My first digital camera was a 2.3 megapixel Sony. At the time, I thought it was the greatest thing on earth. Then I graduated to my first DSLR… the Canon 10D.

My first subjects were mainly buildings, graffiti, trains and other random objects that I passed on the street during my daily commute. Pretty soon I got bored of that and realized I really enjoyed shooting people. People had emotion, life, energy and character unlike the lifeless objects I had been shooting. I minored in fashion design in college so I had a natural interest in shooting fashion and beauty. My first attempts were terrible though. Unprofessional internet models with their own clothing, shot with a typical male perspective. I was shooting models and couldn’t understand why my images weren’t coming out like the one’s I’d seen in magazines.

The big changing moment in my photography came when I took an internship with fashion/beauty photographer Sarah Silver. When I told my wife that I was interested in seriously pursuing a career in photography she said I’d have to go out and assist and learn like everyone else in order to get into the business. Being the stubborn rebel that I am, I said no way, I’m going to do it my own way…. That is, until I met Sarah. I immediately fell in love with her images, lighting and style. She was a pioneer in high end digital photography. At the time most fashion and beauty photographers were still shooting film.

While I had already graduated college, and was much older than most other interns, I decided to take the internship and it was the best choice I could’ve ever made. It was 100 times better than any book, class or school. The first semester went well and we decided to extend the internship for another semester. After that, Sarah hired me as her permanent digital tech.

From Sarah I learned how to light (with other fixtures other than umbrellas), how to talk to and direct models, how to create and use an efficient and effective digital workflow, how to retouch, and more importantly, how to shoot shoot women…. (why my photos were looking like they were… the difference between Maxim and Vogue). For instance, men naturally want to accentuate boobs and butts in photos. It’s sexy yes, but it doesn’t necessarily make a better fashion or beauty photo. It’s a completely different image.

How do you learn your techniques?

Most of the techniques I’ve learned have been from the photographers I know or have worked with. A great deal of it I’ve learned from Sarah Silver over the years. Another huge resource has been other photo assistants. They have valuable knowledge about lighting techniques, troubleshooting, and gear because they’ve worked with more than one photographer and can offer advice based on the techniques and experiences of many photographers. Don’t underestimate photo assistants. Many of them are incredible photographers themselves.

My first main photo inspiration was my dad. He was always taking pictures of everything. Of course Sarah Silver. She changed my life when it comes to photography. Also, Ryan Beny and Aaron Muntz, two photographers who have answered countless questions about lighting, technique, gear and just photography in general.

Another huge learning tool is experience. You always hear photographers say “shoot, shoot, shoot”. It’s the best way to learn your own techniques and style. You need to find out what works for you, what you feel comfortable with, and what you like. The only way to do that is to shoot, shoot, shoot!

Who are your photo heroes? Or who has inspired your career?

I never fully studied photography or it’s history so I don’t have a huge list of ‘famous’ photographers that have influenced me, but I find that I am in love with the photos of:

Paolo Roversi, Steven Klein, Henri Cartier Bresson, Patrick Demarchelier, Steven Meisel, Solve Sundsbo and Craig McDean. I was also recently inspired by Annie Liebovitz’s new book “At Work”. For once, I read the entire photo book in one sitting (instead of just browsing the pictures).

What is the worst part about doing what you do?

Right now, I’d say the worst part about what I do is that there are so many other people trying to do it. The industry is so saturated with photographers and people thinking that they are photographers because they have a cool digital camera or the money to get the latest gear. Prosumers have entered the market with their 21 megapixel cameras. Finding a job in photography can be quite hard.

What is the best part?

The best part is I love what I do! Who could ask for anything more? When you can get paid for doing something you love it’s like having your cake and eating it too!

New York, NY (4/20/10) – A new iPhone application is set to change the way releases are obtained in the photography and filmmaking industries. iD RELEASE, the professionally-designed, easy-to-use application, walks the model through the legal aspects, takes their photograph, obtains digital signatures and emails the completed form(s) as a secure PDF to both model and user.

iD Release’s “Mona Releasa” helps models understand the legalese behind their signatures. She cheerily guides first-time users and models through the application until their release has successfully been filed. “It’s like having a Production Assistant on every shoot,” says co-creator Jay Corbett of Mona Releasa’s accurate, step-by-step guidance.

Designed to be professional in appearance and function—with its clean, modern interface—the app is still easy enough that emerging photographers and filmmakers, as well as any talent, can readily use and navigate the application. To date, iD RELEASE offers four types of releases: model, property, extra and actor. All releases can conveniently be organized by name, location and shoot. A security login feature ensures that all collected information remains private. The app runs in English and Spanish and will soon support nine other international languages.

iD RELEASE incorporates industry-standard releases used by Getty Images, the world’s largest stock photography agency, and all releases have been approved by Getty’s image submission portal. All legal content has the stamp of approval from world-renowned copyright and digital media lawyer Nancy Wolff. And, industry leaders, like the Advertising Photographers of America (APA), have already fully endorsed the innovative and resourceful tool.

“The application will be great for the commercial and stock photography community,” says iD RELEASE co-creator Hans Neleman. “But it is also perfect for the film industry.”

The application is free to download and comes with three free releases. Single releases are available for $0.99, bundles of 15 for $11.99 and a yearly subscription with unlimited releases for $24.99. The app is available for the iPhone and iPod Touch, is iPad supported and can be downloaded through the iTunes App store. For more information visit www.idrelease.com.

See the app in the iTunes App Store
ID Release.com

About Hans Neleman:
Hans Neleman is an award-winning photographer and founder of WIN-Initiative, an alternative stock agency. www.win-initiative.com

About Jay Corbett:
Jay Corbett is WIN-Initiative’s Director of Photography and Education. Corbett, a celebrated photographer, is also a professor of photography at LaGuardia College CUNY.

About Nancy Wolff:
Nancy Wolff specializes in intellectual property law and new media law and is the author of The Professional Photographer’s Legal Handbook.

Mota has modeled for designers such as Alexander McQueen, Fendi, Heatherette and Jean Paul Gaultier. Also, she was flown in especially by Gwen Stefani for L.A.M.B.’s show during New York’s Fashion Week and had acting roles in X-Men and the Jay-Z video “Change Clothes” together with Naomi Campbell. She is known for modeling both men’s and women’s clothing. Mota was voted one of People magazine’s 50 most beautiful people in 2001. She walked the Victoria’s Secret runway in the same year and worked with photographers such as Ellen Von Unwerth and Terry Richardson.

The Metamorphosis is a novella by Franz Kafka, first published in 1915. It is often cited as one of the seminal works of short fiction of the 20th century. Elias Canetti described it as “one of the few great and perfect works of the poetic imagination written during this century”. The story begins with a traveling salesman, Gregor Samsa, waking to find himself transformed into a vermin.

The Making of THE METAMORPHOSIS

Elias Wessel story opens with a picture of a crumbled foil he actually used to create distortions which appear in several pictures of the editorial. A visual translation for a facet eye vision of a vermin. Barely to notice but reflections of himself can be found in there. A hint that this could be the perspective of the metamorphosed Omahyra. What’s not to see is that there’s also a deep personal statement in this photograph dealing with the loss of his father-like friend. Nothing more is mentioned about this connotation so far but interesting about this could be the parallels to Kafka since it is very popular interpreting “The Metamorphosis” as an expression of Kafka’s father complex.

The actual cover shows Omahyra barely dressed in a shoulder cage designed by Heather Huey. It appears Omahyra is growing out of her own birdcage. The distortions of her legs create a feeling that something unnatural is happening. The effect was created by shooting partially into mirror foil. Beside visualizing some kind of metamorphosis with this, it also gives the 80’s look of the picture a future twist since the effect reminds of digital postproduction filters.

The photographs use distortions and vermin elements as main element. The insect tatoos on Omahyra’s arms, butterfly and hornet pike like headpieces, hoofed and snake leather Louboutin shoes and a top which decor reminds of fly eyes… and in between a pure reflection of Omahyra appearing as a free huge winged bird flying into the open sky.

Talent Omahyra Mota
Photographer Elias Wessel
Vixen Magazine Editors Marianne Jemtegard, Anetter L’Orange
Stylist Storm Pedersen
Hair Yoichi Tomizawa
Make Up for Illamasqua Cosmetics Viktorija Bowers
Photo Assistant Silas Brown
Styling Assistant Adrian Diaz
Hair Assistant Taigo
Making Of Christopher Riemann
Interviewer Kjiersti Flaa
Location Tribeca Skyline Studios
Lighting broncolor

ELIAS WESSEL
VISUAL ARTIST / PHOTOGRAPHER
www.eliaswessel.com

From the Fotocare Twitter Feed:

“I’m @FotoCare at a Photo/Video seminar presented by Amber Gray… wonderful!” – Robert Holley

“The Broncolor/Fotocare HMI event was good last night. Now I’d like to give hmi’s a try. Anyone want to let me borrow some (Fotocare)? ” – William Brinson

What a great night at Fotocare rentals. Thanks to Fred Blake from the Fotocare rental department for hosting. Thanks to Jim Reed from Bron Imaging group for MC’ing and giving us all an education on the science behind the lights.

Most of all we’d like to thank Amber Gray and Julian Bernstein, two very talented individuals with an unprecedented creative vision and the technical where with all to produce it.

A very successful night for the presenters and the attendees, the later walking away with a better understanding of the medium, and an expanded tool box to aid in the creation of their own visions.

Contact Fred Blake at Fotocare for rentals 212 741-2 991 or Jim Reed of Bron Imaging in NYC  917 40 27550 for additional product information.

Stayed tuned for the upcoming summer series of workshops from Bron Imaging Group and its partners across the country!

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