Pixelated Mind
Inside the mind of a working photographer
Inspiration from THEIMAGEDECONSTRUCTED: Rob Finch
I always read theimagedeconstructed.com where it examines the mental approach behind images.
Here’s an excerpt from the spotlight on Rob Finch’s documentary:
“The reality of any intimate story is that you must give of yourself if you expect people to open up to you. It’s simple advice but difficult to do. You are there because of your job. They are living their real life. If you are not empathic to them, you will never gain access to their lives. Those feelings must be real and genuine. You cannot fake it. Never think about your subjects as compositional elements. Respect them. Give of yourself. Treat them how you want to be treated. It’s basic life stuff and they teach it in preschool.”
52 : Assignment 2 Photograph a stranger
Assignment number 2 is all about strangers. It’s hard to get over that thought on how to approach strangers and take a portrait of them. Here in the UAE, It is rude to take photos of anyone without their permission. If you offend the wrong person (just by taking their photo) , you might even do some jail time for it. I know a few photographers who defended their rights as the took photos of people in public but still spent some jail time because of street photography. Sometimes it’s even better to shut up apologize then leave. Than stand your ground and suffer jail time for the wrong reasons. I am not in a country where there’s democracy.
Going back to Assignment 2, here are the criteria:
Criteria:*
- It can be a street portrait, studio portrait or environmental portrait.
- The portrait should be simply lit.
- Tell us a little bit about the person – through the image and the caption.
*Project 52 is a year-long project created by Professional Photographer Don Giannatti .More info HERE
Hobby vs Profession, and How To Get Back the MOJO
I started photography as a hobby. Documenting things that slowly unravel in this journey called life. I enjoyed it. As a hobbyist, you get to control a lot of things, from your subject, how you shoot it and how the image will become. The freedom and control of photography is in your hands. If I have a choice, I would like photography to still be a hobby. I still want to have control over my craft.
This is where the importance of shooting what love comes in. IF you are shooting images that excites you , you will attract clients that wants your vision and art . People will hire you to shoot what you love and there is no greater joy than being paid doing the things that excites you.
But before you get to this level, you must shoot A LOT! 100,000 images is only the start. Because you also need to spend 10,000 hours to get your craft into the world, 10,000 more hours to speak to clients, learn and improve on your skills, etc. It takes a lot of time and practice.
(Shot this image for editorial purposes to promote their shop. When I asked the client if she has seen images that i do, she said NO. I was only referred by her friend (previous client). I felt sad that I wasn’t hired because of my artistic vision but happy enough that my client refers me to other people. I guess it’s a start.)
( I choose clients based on what they want and how I can deliver that image to them. If I can’t deliver what they need, I just pass it to another photographer whom I know will be a good match to what they are looking for.)
As a profession, I’m having a hard time going back shooting images that excites me. I do shoot events, but there’s no creativity in doing events, (let’s admit it) we do it only for the money. Since we’re starting out, it’s the bread and butter of what we do. IF you’re hired to shoot commercial work, there are other creatives over your shoulder trying to get what they want into your images. They have their own requirements for the photos. Your vision becomes limited to what your client wants. It’s hard to get the right clients to hire you for who you are as an artist.
This is a personal project collaborated with a model looking for YOGA photos. more photos of this set HERE
My solution to get back your mojo would be seen in the value of PERSONAL PROJECTS. Consider personal projects as something that excites you as an artist. Even if you’re not paid to do it(sometimes, money even comes your pocket), You would be excited to do this stuff. Motivated to see it to the end. I keep my personal projects on things that excites me. I feed the artist in me with concepts and ideas then collaborate it with other creative people who has the same artistic needs as I have.
Life is short. Do what you love and do it often.
Work = Images You Show
The truth about clients is that you can’t choose them. They come and they go depending on what you shoot. I suggest you shoot what you love and those are the only things you should display in your portfolio. WHY? because having something you don’t like in your portfolio even if it’s really really good, chances are you will attract those that are looking for that type of images you display. So, putting images that you really love to shoot will give you more chances of clients hiring you for what you like to do. It’s a lot better than shooting something you don’t like. It’s fulfilling as an artist that people hire you for what you believe is your own vision and art than being hired to shoot images that you’re not excited with.
You can shoot other things aside from what you love to do as long as you don’t include it to your portfolio. WHY? I’ll answer that with my next post.
52 : Assignment 1 (Who are you?)
“I strive to make creative images. Everyday moments are boring but when seen in a different perspective, it’s those moments that makes life worth living.”
ISO: 200
Featured in Illustrado Magazine
I don’t really post much of who I am in networking sites because I want people to focus on my work rather than what I have done in my past. About Me section should be short and concise. When clients call me, I take the time to know clients by inviting them over for a little chat (except business executives, they have no time for stuff like this) and talk about something that has molded me to become a better photographer, this is the time I tell them of my past. Using this method, you get to have a personal touch with how you sell yourself to your client rather than a one-sided information up your page.
For those interested to know my life before my Photography career, here’s the link.
Thanks to the staff of Illustrado Magazine for the featured article.
Myth on UV Filter
I have always used a UV filter to protect the front element of my lens. But with my last shoot, I started to notice some ghosting when I shot with my 35 mm f2D with a UV filter on white background. I tried shooting without the UV filter and there’s a BIG difference in the photo.
Here’s the photo with UV Filter:
zoomed in at 100%
All shots are unedited/ converted to JPEG then exported out of lightroom.
Here are the photos without the UV Filter.
See the difference?
I will check on the brand of the UV filter when I get home and let you guys know. I only tested this with 1 UV filter so let’s not draw any conclusion yet. But make sure to avoid this brand when you’re out looking for something to protect your lens.
Patience leads to Opportunity
It all starts with patience. It often starts before a photographic assignment. Take the time to call your subject or invite them over for a cup of coffee in order to get to know them better. Use this opportunity to have a rapport, let them feel comfortable with you as a photographer.
Put in mind that most people have no idea what we’re doing. Most of them think you’ll just spend a little time, raise your camera, fiddle with your equipment and take a few shots then leave.
It’s not their fault.
It’s our responsibility to raise awareness and help educate people
we’re working with, of the time needed to get an effective image.
1) educate them that you’re going to be awhile together.
I often tell people I’ll need around an hour and usually, unless it’s a
business portrait (which they’re ALWAYS BUSY), people are open to it.
2) to have enough time for you images to be above the standards of the usual norm. Giving your clients mediocre images will only make you look like the rest of the photographers out there. develop a vision for unique images and your clients will definitely love you for it.
On assignment: Corporate headshot
I have been assigned to shoot two executives from a well-known paint brand here in Dubai UAE. For head shots, it’s a must to make it look as natural as possible. We want them to be recognized as the person they really are and not the person you want them to be in photoshop.
I have lots of gear at my disposal but I prefer working minimally. Shot this with a 85 1.8 and a nifty fifty. Since there’s an abundance of natural window light, i used a reflector to lighten up the shadows of the face brought by the window light from the side. I chose to place her on a white background (white wall) in order to see the separation of the subject due to her dark hair.
Camera: D700
Lens:85
Shutter speed: 1/180s
Aperture: f4
ISO: 400
Here’s the lighting diagram:
Here’s the other executive shot with a nifty fifty. This time I chose a dark background in order to see the separation of my subject and BG. I needed her to sit as well since she’s taller than me and shooting at a lower angle from your subject isn’t really pleasant to look at.
Camera: D700
Shutter speed: 1/45s
Aperture: f4
ISO: 200
Lighting diagram
There are million ways to light a head shot. I just prefer mine to be minimal, simple and quick as corporate people doesn’t have the luxury of time and they need to get back to work ASAP. Total time spent for this session: 20-30 MINUTES.
Test Message
via ifttt.com
