PULL THE PEOPLE, PULL THE POOR OR POUR The last 6 months I was literally in photograph limbo. I wanted to start shooting again with a new mind set and new tools that I can use to get the images I want and need. It was literally the first week in January when I had to find a new face to start working with. At that time, I was heavily watching CREATIVE LIVE who inspired me to achieve great images it lines in communication, directing, leadership, creativity, trust and honesty. Pulling these creative skills into every shoot will produce a great quality product. I'm all about gathering my troops to produce greatness, but in this editorial I had zero? Back to the drawing board I must go. More and more I focus my energy in being the MUA ,Hairstylist, Wardrobe stylist, Creative , etc. The photography was suffering, and I felt like that’s why my photographs were super flat, weird, and had no connection to the audience. I wanted to test and try a new theory with the model KYLE M. I haven't shot a lot of guys back in my day so this shoot would be a great treat. I chose a location that fitted him and his experience level to achieve a great editorial spread for Secdum Magazine. Again I cannot stress enough that wearing 3 or more hats for a shoot will lack in the images. So I had to make sure our communication was VERY strong. When working with a new model or a model-to-be I always suggest them to bring their own clothing. Here's why... 1. Communication grows stronger. Models/clients feel more involve with the process of the shoot. 2. Show's personality and personal style. Why not let them style themselves, with guidance of course. 3. Working with Trade for service it has to be a fair trade. I cannot hire another creative person that might not agree with the model choice. 4. The less expensive the better. We are all struggling artist who do not have to funds to always "ball out" during shoots. Pour in the creativity from within you! Pre-production is very critical when you have little to no staff. After sending KYLE M. the concept in full detail in my (creative director side), I gave him a blueprint of the looks I wanted/ needed from him to have/purchase/rent for the shoot in my (Wardrobe stylist side). I then stressed to him the importance of grooming himself. Everything I photograph will be visible (MUA and hairstylist side). Now stressing these key factors, the shoot will be less stress for me because I know what to expect but always expect the unexpected. I don’t know if people reading this article knows, but what does MUA mean?
SHOOTING GREATNESS VS UNEXPECTED
Anything that can go wrong pretty much will go wrong. I was shooting on location on SOUTH ST in PHILADELPHIA, PA and the weather was beautiful. I was generating great ideas as I was walking to Starbucks to meet him. Before talking about anything going on the shoot, I always ask about 12 questions to not only break the ice but learn more about that model/client and background.
1. Where are from?
2. What are your dreams and goals?
3. What is your knowledge on the fashion industry?
4. Are you signed to a management or agency?
5. Do you understand why this is a TF? INVISION THE CONCEPT AND ACHIEVE IT
Directing is very important in any shoot because people just don't know what to do unless you’re a model. I had a vision of the concept that pretty much gave me free creative range from SECDUM MAGAZINE and all I had to do was take away some of the crazy creative ideals. It's all about creating great ideals and criticizes them with actuality and realism. As we move to Look 2, 3, and 4, I realized we was getting somewhere. In vision poppy colors with cool cross- process with a touch of color wash. I kept shooting as I was NOT working with the sunshine. Bad enough the sun was setting, it begin to get cloudy with harsh light! I had to think fast. I always ask myself, do I need to get it right in the camera or do I wait to retouch it? Get it right in the camera! I cannot stress how time consuming it is to retouch everything, but in this case I had no choice.
CCM Models! CREATIVE CONFIDENT MOVER! I love when a model moves without me telling them. Every-time the camera clicks keep on moving, I need every frame I shoot to be different because I naturally get bored with the same thing over and over. I try my new directing techniques from SUE BRYCE CREATIVE LIVE WORKSHOP. Use different tones in your voice, show your subjects examples, and enhance their ability. I was not only directing but also giving KYLE M. encouraging words.
1. That pose was great. You’re doing great already, but I would love if you SLIGHTLY TILT YOUR NECK 90 DEGREES LEFT from the frame.
2. You're doing fine with your help but I want to physically show you how I need it to be to get a great shot this evening.
3. Your feet don’t look or feel pleasant on film. Can I show you what looks great with the personality you already have?
The scenario above were just some key elements on how to direct anyone you are shooting whether on or off location. Practicing these techniques helped me to bring the best out of KYLE M. This shoot was more about learning how to direct a model with a staff or no staff in the least amount of time. By the time we had our fifth look, we literally land that shoot within 10 minutes! The more you understand the model, the better they understand you and your expectations. TECHS
Since this shoot was long ago, I do not know the exact techs for landing these shots for SECDUM MAGAZINE. Of course I can find out but I really don't want to. Below are just my current tech's I have shooting this editorial.
CAMERA- Nikon
LENS- 50mm
FOCAL LENGTH- 50mm
SHUTTER SPEED- 100
APERTURE- 3.5
ISO- 200 
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