head shots and portraits
The great thing about being a photographer in Los Angeles is that there is no shortage of attractive people willing to model. I came across Kyle’s photo on a friend’s Instagram feed. I asked for an introduction and it turned out Kyle was just starting to get involved with acting and modeling. This was his second photo shoot.
I started shooting behind the scenes video during shoots (while the model was in hair and makeup) to give me something to do. On most occasions a model will spend 60-90 minutes in the chair which gives me a lot of free time. The more I shoot and edit this footage, the more I learn. I learn by doing. I’d make a video and get to edit and realize it would have been better if…. Next time I made sure that “if” was taken care of. On this particular occasion it meant getting some more action direct to the camera as opposed to finishing the video with stills from the shoot.
This was shot back in June with Jordan Colton and Stacey Ellis. stacey has recently started a new venture. Be sure to check her out at Ellis Salon
The broadway play The Color Purple is heading to London and Attitude Magazine needed help with portraits for their article featuring producer and songwriter Stephen Bray. In addition to his early work and collaborations with Madonna, Stephen helped create the music for the play.
As with any editorial portrait I never know what I am walking into. Will there be light, interesting settings, room to work? Lucky for us Stephen’s home and studio had all of the above. After introductions I asked if I could look around the house for places to shoot. We knew going in that the studio would be one option, but I was immediately drawn to Stephen’s wall-display of records and knew his front porch would be a great option for a simple portrait.
I had Deney Tuazon assist me with the shoot. Having an assistant around for these types of shoots is a huge help. In addition to help with the gear and set up I find having someone stand in while I test my lighting set-ups invaluable. For all three looks we set-up and tested the lights while Stephen got ready. In the end the magazine went with the studio and indoor portrait for use in the story.
When I’ve got a model in hair and makeup for 60-90 minutes there’s only so much that I can occupy my time with. Lately I have taken advantage of the time and shot behind the scenes video. The only downfall is that when hair and makeup are finished and I pick up a camera to start shooting stills, the video suffers. The behind the scenes video covers the first of four different looks we shot.
Stacey Ellis was in for hair and makeup. She wanted to start with a finger wave of sorts. Since Adriana’s hair was going to have a very polished look we dressed her up in a little H&M tube dress to give it a bit more of a fashion edge.
The following photos show the progression for the rest of the shoot. We got a bit more dramatic and fashion oriented. Loosened things up a bit and then went up with the hair and back to traditional beauty portraits. To see more of Stacey’s work check out our previous work together or on her website: TheBigBangsTheory.com
My commercial portrait work has a definite vibe. It’s typically well lit; there a sense of emotion and I always want my subject to look beautiful. It’s a style I’ve fallen into over the years. When I first started out in photography I heard about the need to have a style, but didn’t know how to get one. Without knowing it, my style found me. In most cases when I am shooting portraits I want emotion over everything else. I want sexy and sultry yet still commercial.
Every once in a while I look at other photography and ask why cant mine look like that? I’m drawn to moody, uncontrived photos; very spur of the moment, filled with life or mystery. Sometimes I go out and deliberately try to shoot in a style that’s not my own. But there’s this force-field that pulls me back. My experience, knowledge and what I know resonates with the people I have photographed pulls me back to my comfort zone – well-lit and pretty.
This happened on my shoot with Taylor. I’ve known and been working with Taylor since 2006 . Unlike our previous shoots where I was driving the shoot, she called me with a concept that suited her needs as an artist and musician and the direction was out of my norm. When a client approaches me with a job that is a different style from what I do I always ask for reference photos. When I saw her reference images I thought quirky, edgy, snap-shots. Even though that’s not my style she felt comfortable enough to come to me with her concept knowing that I could take her input and produce photos that matched her goals.