I’ve been editing since my hip-hop shoot ended Saturday afternoon and I’m still not finished, nor have I had the chance to pick up the camera since. Some weeks life just steamrolls you; others, it smacks you around a little but won’t drop you. This is turning into one of the latter. So until I’m able to hit the field again, chase the critters, con people into stepping in front of my lens, etc, I’ve got to come up with something to keep my few regulars here entertained.
So here’s some mixed thoughts that I think are worth sharing:
Andrew Eccles does a guest post on Scott Kelby’s site, talking about the distractions of electronics in the studio, and how he’s tried to deal with it. Since most of us don’t shoot fancy studio gigs with a crowd watching from the wings, it’s an interesting glimpse into that world. But his points carry over into the minor leagues; how do you get your crew engaged, without them ending up too involved? If you’ve shot portraits, you’ve had that helicopter parent at least once, the one who thinks they know best and isn’t afraid to step in front of you at all the worst moments, but then doesn’t want to make the calls that actually fall to them. Maybe this will give us some ideas on how to handle them.
Chase Jarvis talks about the new Polaroid GL10 Mobile Instant Printer. Very cool device, but a bit of a misnomer, since instant print actually translates into 45 seconds each. That’s something I’ve struggled with since I bought the smaller PoGo printer. Despite the novelty of actually handing someone a print after you take their photo, the time spent pulling out cords, connecting, navigating, and printing makes the whole process less than spontaneous. All of which means that my PoGo has spent enough shelf time that I’m starting to wonder if it was worth it. Opinions here – is it worth the small hassle to give out prints? Especially unedited, Polaroid-colored mini-prints?
Julia Kuzmenko This chick has got mad portrait skills and a portfolio that makes me jealous. Having a seemingly endless supply of lovely Russian models obviously helps, but eye-candy aside, she’s got a real mastery of lighting, composition, and retouching. Which are the skills that really count. Five years from now I hope I can make portraits like hers. If I work really, really hard and practice all the time, I think maybe I could. But since I’m easily distracted by virtually every other kind of photography out there, it’ll probably take me closer to 10. But seriously, check out her site (linked above) and her blog: Pure Magic.