Headshot Tips | Denver Portrait Photographer

I’ve been having so much FUN lately working with people to give them a great experience while we create their headshots! And since I communicate this information quite a bit in emails and over the phone, I thought I’d compile a sort of “Top 10” list of ways to prepare for an awesome session. 

And so... here they are all in one place. 

Top Ten Tips for a GREAT Headshot:

1. When selecting your photographer consider, FIRST: that you resonate with the work you see on his or her website/portfolio. Are the eyes the main focus of the shots? Do you feel personality and connection in the subjects? Is the lighting good? SECOND: do you feel comfortable communicating with your photographer? Is he or she willing to talk with you on the phone? Your comfort level the day of your session is critical to getting great connection in your photos.


2. Wardrobe: You should bring 4-5 different looks to your session. We may not shoot them all, but it’s always great to have options. Think in shades of casual to dressy, but keeping all options in line with your brand. Think about necklines. Think about colors that compliment your skin tones. Nothing flashy or busy that will distract from YOU (so no logos or busy patterns). Jewelry in most cases will distract from you, so unless it’s part of your brand (and you are confident it will stay that way until your next headshot session) leave it at home. NOTE: definitely talk with your agent if you think he/she will have input!!


3. At least a week prior to your session: gather and TRY ON your wardrobe items. If you’re only doing a headshot, no need to worry about pants (I mean, you’ll need to WEAR pants to the session, of course... ). Consider colors that complement your eyes/skintones. Think about different necklines and texture (not pattern -- this can be distracting, but a fabric with texture is often quite lovely). And think about tops that flatter your body and colors that complement your skin tones, and don't forget to include any undergarments needed (i.e. no striped undershirts/black bras under light shirts!!) and... please launder / press as needed.


4. If step number three has left you uninspired, perhaps it’s time for a new shirt or two? (which is why step 3 is NOT the night before your session). No need for anything fancy unless that’s your brand. Your headshot should be a direct reflection of you, as you are. For actors, you want to arrive at your audition looking essentially like your headshot for it to be the most effective tool.


5. A few days prior, make sure you stay hydrated and get plenty of rest. Think of this as you would preparing for an audition. This will help keep your skin clear and eyes bright! But don’t stress if you wake up with blemishes the day of your session (don’t mess with them as it will generally make them worse -- let photoshop do the magic there!) 


6. Exercise the week prior so you feel great (especially if that’s your thing), but there’s no need to put off a headshot or portrait session just so you can “loose a few pounds.” You’d be amazed what good posing can do to flatter every and any body!


7. Day of session: make sure you’ve familiarized yourself with directions to our meeting place and leave yourself time to negotiate traffic and parking. Nothing worse than arriving frazzled, except perhaps arriving late when there might be a session scheduled after yours. Loosing out on session time stinks!


8. If you’re getting professional makeup and/or hair, arrive with your face and hair clean. If you wear makeup normally, feel free to bring a snapshot of how you’d like your makeup to look so your professional makeup artist can compliment your normal look, making it "camera ready" (this is especially important for actors).


9. Trust that you’ve hired a photographer who has experience and will be able to direct you into your most flattering poses (this is critically important since you can’t see yourself, after all!)


10. If you have done your homework on 1-9, the only thing left for you to do is to relax into the session, HAVE FUN and allow your photographer to direct you to project your very best!!

To learn more about my personal approach to studio and/or on location actor, model and professional headshots (for men, women and kids), and to explore investment options, please check out my PORTFOLIO... 

CHEERS!! 

 

Photography Studio | Top 10 Tips for Success

With a desire to start the year with a positive outlook, Sandy Puc just began a great discussion thread on LinkedIn asking people to think about the Top 10 things they believe contribute to a successful photography studio.  

I love taking the first week of January to revisit goals for my photography business, and so was inspired to take a moment to reflect on my overall strategies for success. In no particular order, here are my Top 10 (ok 12) things I have observed over the years which motivate me every day.  Some I live with confidence.  Others I am still working to make wholly mine. What would YOU add?

1. THE CLIENT EXPERIENCE: Make booking, scheduling, delivering, and of course, shooting the photo session a memorable and fun experience.  Inspire referral business through existing clients.
2. SMILE: Yes, you. Genuinely. Smile!! On the job ... and at the proverbial coffee shop (can’t even count how many clients I’ve earned with this philosophy).
3. INSPIRATION / EDUCATION: keep reading, networking, attending seminars and workshops, and staying abreast of current trends, and try new things based on what inspires you.
4. GOALS / LISTS: keep both business and personal, and self-impose deadlines for non client driven ones. If you keep pushing back a deadline, ask yourself if the item should really be on the list (if so: do it! If not, remove it or put it on a separate back-burner list).
5. MARKETING: Schedule regular activity and think outside the box to market yourself creatively (in print, in person and via social media) Your website should reflect your personality. And especially when you’re starting out, don’t show every photo, show only your BEST photos!
6. COMFORT ZONE: Push it! Often! Shoot new material.  I love to use my phone camera to shoot personal projects even on days when I'm not shooting for clients.
7. PRICING: Review cost of business and package pricing annually and always communicate clearly and confidently with clients (unless you happen to love negotiating -- which I decidedly do NOT -- printed materials with pricing menus help tremendously).
8. MONEY: Fall in love with the business side of what you do. This is still my biggest challenge. I had to finally design myself a beautiful system of spreadsheets b/c the available software systems were all too dry for me. May sound silly, but it works for me. Find what works for you.
9. CONTRACTS: Know and continually update your contracts to stay on top of constantly changing on-line world (especially if you work with digital files and licensing). Educate your clients about copyright laws, and gently educate clients that they are investing in your talent, creativity, instinct and vision, NOT paper and ink.
10. GRATITUDE: Be grateful for the fact that you get to do what you love for a living! Remind yourself of this simple and amazing fact when times are tough.
11. ACCEPT CHANGE! Don’t attach to old ways of doing things and don’t be afraid of learning new tricks. Let go of fear, take chances, dive in...
12. TAKE DANCE BREAKS. Often. Crazy ones. They are immeasurably good for the spirit. Not to mention sore, over-worked eyeballs.

Instagram: Sharpening Capture Skills on the Fly

The year 2011 introduced me to a powerful little app called Instagram. I first explored the genius of this simple app with the limitations of an iPod Touch camera, which, unbeknownst to me at the time, isn't even rated with pixels, but rather based on lesser graphics for video.  Not the best for clean, crisp images, but it forced me to really think about the basics of composition in a tiny square, and I found I could still capture compelling images (half of the images above are from my iPod, half from the iPhone 4s).

If you are even mildly interested in bettering your photographic skills, I swear by this simple technology as a way to explore your eye and sharpen your skills at composition.  I am constantly impressed at how this technology is inspiring me - and some 12 million others - to see the 3 dimensions of our every day world through new eyes; to see beauty, backlight, pattern and shadow as more than just passing parts of our periphery, but as subjects of composition and interest in their own right.

If you're in Denver, grab your iPhone or iPod and join us for our our first Instameet on Sunday, January 15th - base of the Clocktower on 16th Street at 2pm.  

Follow @merrittphoto on Instagram for more details!

Capture Philosophy | Photo Tip 04: Finding Portrait Light on Location

A week or so ago, I had the opportunity to work with talented Denver studio portrait photographer, Mark Pells, on an ambitious headshot project for the theatre department at my son's school.  

As a completely self-taught photographer and a HUGE fan of natural light, it was fascinating to watch Mark create magic with his studio lights.  I found it most interesting to learn that I am often drawn to or actively seeking out  the very conditions in the field, which he sought to create in the studio.

Thought I'd share a few of my personal favorite conditions through examples, in case you're curious to experiment the next time you're out photographing your family and friends.  

These are all photos I took on a single walk with my son on a bright, sunny afternoon in Denver (as you can see in the first photo below).  These photos were all taken with a 100mm macro lens with a Canon 5D, set on aperture priority (all shots are between apertures of 2.8 and 4.5).

Often, it is instinct for us to want to place our subjects in the sun.  But beware!  Direct sunlight can be a great dramatic tool when used intentionally, or with reflectors, fill light, etc., but if you are out with your camera and don't have such accessories (which I did not use for the shot above), not only will your subject likely be squinting, direct sunlight will create harsh shadows that generally aren't as flattering for skin tones, facial features, etc.  Thus, it is usually better to take the subject out of direct sunlight...

Once you take your subject out of the direct light, you'll have better luck getting even skin tones.  In this photo, light bouncing around from north and east facing windows at a coffee shop provided gorgeous, flattering conditions in the afternoon.  I simply exposed the shot to feature the correct amount of light in his eye and let the camera and natural light do the rest.  You can actually see the north facing windows reflected in his eye. 

In this shot, I asked my subject to stand in a spot of reflected light -- sunlight that was bouncing off the windows of a building across from us.  Beams of reflected light are fun to experiment with, and are a bit easier on the subject's gaze.  As you can see, while it still casts some dramatic shadows, it also can create fun magic in the eyes.

One of my favorite things to look for is nice, subtle bouncing light that is slightly weighted in its direction.  By that I mean that the light is essentially coming more from one side than the other creating a nice broad highlight on one side of the face, in this case, the side towards camera.  A darker background pops his face as the main focus of the composition.

These last two photos are shot on the same long wooden bench, but facing opposite directions.  In this first one, there is only indirect light on my subject, but an open area of VERY bright light behind him.  I exposed for his face (so essentially you'd need to OVERexpose if you were using a camera that meters for an overall scene), and I let the background go white.

For this photo, we switched positions so that the brighter area is now behind me (the camera), and it's a little easier to get a traditional photo with a nice tonal range, great skin tones and no hot spots.
And of course it never hurts to capture an impish grin :)
Happy shooting!!

Capture Philosophy | PHOTO TIP 02: Creative use of Foreground

Dynamic photos draw us in and give our eye the space and reason to move around inside the frame.  Layering a composition with simple foreground, middle and background elements can add a great deal of interest to an otherwise flat photo.  As such, many photos can be dramatically improved through the implementation of some simple but creative compositional choices.

While this may sound like a simple concept, finding the right foreground element can have a profound impact on a finished photo - from grounding the image with a sense of scale to framing and/or highlighting a subject.  In fact, often in the search for a great foreground element, you can discover a whole new subject for a photograph you hadn’t previously envisioned.  It’s a great exercise to explore your surroundings and find new inspiration.

Here are a few examples using a variety of different subjects:

01 | Draw your viewer into the photo with a compelling foreground element which directly leads into the photo:

Great Sand Dunes National Monument + Denver Art Museum © Jennifer Koskinen

02 | Find foreground elements with which to frame your subject:

Bridal Veil Falls, Telluride, CO + Denver Art Museum © Jennifer Koskinen 

03 | Ground the photo by highlighting a strong foreground element in a composition that might originally have been about the background (these "discovered" opportunities often make for more personal photos of iconic locations):

Bridge Railing to Town Park, Telluride CO + Maroon Bells Wilderness, Aspen CO © Jennifer Koskinen 

04 | Relate the foreground to subject matter, highlighting, echoing or strengthening the subject itself:

Sculpture outside Denver Art Museum + Chalk Street Drawing at Telluride July 4th Celebration © Jennifer Koskinen

05 | Create symmetry, layering and balance:

Driftwood at Maroon Bells, Aspen CO + Private Residence, Telluride CO © Jennifer Koskinen

06 | "Work hard and you’ll get lucky"
Often great foreground material will present itself when you are open to seeing it; the audience member who pops up right in front of you with a perfect hat and hand gesture; a butterfly on a flower when you're already on your belly in the grass; a handful of autumn photographers so perfectly set they could have been staged; and lastly of course, drifting fog makes for a lovely and precious foreground that can only be discovered when in the right place at the right time:

Mountainfilm Symposium + Butterfly on Valley Floor
Photographers in the Sneffles Wilderness + Wilson Peak Above the clouds
Telluride CO © Jennifer Koskinen

SUGGESTION:

The next time you are out shooting, take some extra time and move around to find interesting foreground elements with which to frame or draw the attention towards your subject.  Play with your aperture as well (last month’s tip), and see what kind of results are yielded when you focus selectively and/or blur your foreground or background elements... experiment with color and composition, and most of all, have fun!

Happy Shooting :)

Capture Philosophy | PHOTO TIP 01: Aperture + Depth of Field

I have been asked several times lately by new dSLR owners to share tips on simple ways to make the most of their camera and take better photographs.  Every time I get into this conversation, I realize how much I love sharing my passion for all things photographic.

Wide Aperture (f2.8) chosen for creative composition and shallow depth of field

So I thought it could be fun to start a “Capture Philosophy / Tip of the Month” series on the blog.  Some of the information I share will be basic, nuts and bolts tips for people just getting to know their dSLR cameras, while other posts may be more philosophical, reflective of how I personally approach photography.

Please feel free to comment and/or ask for more info!

I’d like to start with creative use of Aperture, since I believe it can be one of the simplest to learn and most powerful ways to make every day photos more creative.  Learning how to use Aperture and controlling your depth of field (the area of the photograph which is in focus) can produce highly satisfying results, from the ability to isolate a subject in an otherwise busy setting, to maintaining crisp focus from front to back of a wider landscape shot.

Small Aperture (f16) used to achieve depth of field form foreground shadows to mountain peaks

Wide Aperture (f2.8) used to highlight only tiny area of focus and blur everything else

Wide Aperture (3.2) isolates model and permits handheld shot in low light

Smaller Apertures can be extremely useful in capturing serene landscapes, formal compositions, and often is the best choice in architectural work, where one wants to highlight relationships across a room or between adjacent spaces.

When combined with higher ISO (when necessary), larger apertures will allow you to shoot later into the evening in lower light conditions.  This approach will often eliminate the necessity of a flash, allowing you to make the most of - and more importantly maintain the mood of - natural and available light.

THE BASICS

Aperture means literally, opening.  The basic creative tools of your camera are 1) choosing the size of the opening  (aperture), and 2) how long it stays open (shutter speed).

What you need to know regarding the aperture, is that the numbers, or F-stops, are representative of fractions, so the smaller numbers represent a larger opening of the shutter, (f1.4, f2.8, f3.5, f4, etc.), and larger numbers (f11, f16, etc.) represent a smaller opening of the shutter.

What makes this all so powerful is that with selective focus of a larger aperture, you can narrow in on a shallower depth of field and isolate your subject so that everything else in the photograph is out of focus.

Wide Aperture (f2.8) + faster shutter speed = shallower depth of field (isolated subject in focus)

Smaller Aperture (f16) + slower shutter speed = greater depth of field (more in focus)

SUGGESTION

Find the setting on your DSLR camera for "A" (aperture priority).  Play with the extremes of this setting to see what they do when you are focused on something close to the camera (say, within a few feet). Don't delete the photos until you have had a chance to look at the differences on your computer screen with the same shot and extreme aperture differences.

Isolating Eyelashes with f2.8

As a point of reference, shooting with an aperture of F2.8 when your subject is within close range of the camera can allow you to focus on someone's eye, and the rest of their face will start to soften.

When used creatively and intentionally, makes for really professional looking people photos...

You will notice that the range of depth of field changes with the distance from the camera... (F2.8 won't have as dramatic of an effect if your subject is far away).

So, get out of your "Program Mode" ... Experiment, and HAPPY SHOOTING!

Play with focus in unexpected ways - EXPERIMENT!