Out of my comfort zone
So my new website has recently launched and I was very happy with it. The only thing I needed to do was to get an image for the landing page, it allowed for one horizontal photo to the be the main image. I went into my hard drive to search for a recent image that would work. What I found was rather shocking.
I have almost NO horizontal images. I always knew that I liked shooting things vertically, there’s just something very formal about it. But this came as a huge shock to me and I knew I needed to do something about it. I started to set up shoots that were designed to be shot horizontally. I had to completely change the way I think about design, composition and even lighting. At first it was really hard, and I was very frustrated and even bored with shooting in this format. But after the first portrait sitting (Which was the hardest) I started to get a groove on. It felt good, I was mixing things up, changing how I work. Since there was no pressure from a client or a deadline (Besides one set by myself to have images for the new website done) it was very liberating. Keeping things fresh with yourself and your work is very important, it really opened my eyes.
Dogpatch Days
I’ve been working on a series of landscapes and portraits in the dogpatch neighborhood in San Francisco over the last 2 weeks or so, and I started shooting video-interviews alongside the portrait sessions. This is something I have been getting into the habit of lately, and I’m really enjoying the work flow. Hun (pronounced “Hoon”) ran away from home when he was a teenager to pursue his independence. He hitch-hiked across the country until he settled into San Francisco and bought a car. He assures me that he is satisfied with his decisions.
Check it out:
Drunken Portraits
The following portraits were shot with a very specific concept in mind: How we look, act and emote when we are under the influence of alcohol. I brought some friends into a photo studio and took their portraits on a plain white backdrop. Then over the course of about 30 minutes to an hour, I gave them all in the area of 8 to 9 shots of rum. Needless to say, they were all pretty loose when they sat down for the second portrait. The results were exactly what I was going for, and the models had a great time as well. I’ll be continuing this series, and I don’t think I’ll have any problems finding volunteers for it. Who doesn’t love free booze?
Be sure to check out the Behind the scenes video after the pictures!
Portrait on a bus
Taken on the 38L around 11:00AM. This may turn into a full blown project/portfolio if I can continue to find this beautiful light on the bus.
Portraits of a best friend
Josh and I have known each other for nearly 20 years. We met during a 4-H meeting, which we found boring at that age and decided to draw and color in the back of the room.
I wouldn’t call Josh a social butterfly or a party goer or shy. He is a social person for sure, but behind the hundreds of tagged photos on Facebook of parties and flamboyant drinking outings is an intensely private person who is intelligent, curious and compassionate. He is not a model. I knew this as I brought him in to the studio. He’s used to having his photo taken with a PBR in his hand in a crowd. I wanted that context completely removed, so the photo was all about him, at a much more personal level. I knew he would be awkward but I wanted that discomfort of the situation, because I knew his trust for me would show through. No person is prepared for the intimacy of a studio portrait, especially one as minimal as this.
Brush with the law
Self portrait? Where's Waldo.
I had been feeling restless lately, so I decided to head out to baker beach to take some pictures and relax. I took the 29 bus to the Baker beach parking lot and started walking around. It was therapy, and it was research as I had been wanting to add some new locations and looks to my work. Being an avid people watcher, it was interesting to see the nude sections of the beach collide with the “regular” sections of the beach. Fully nude people mingling amongst the people in shorts and vests. It was an interesting interaction to me. As I moved north along the beach, I began getting more adventurous and started climbing over the rocks and bits of land the covered the beach, separating one secluded area from another. Before I knew it, it was almost 5:00pm and the tide was coming in. I was very near to the Golden Gate Bridge and Fort Point, so I made my way over to avoid being swept away by the rising waves. As I made my way under the bridge to Fort Point there were some fences with barbed wire and signs that read “No Trespassing” but I made my way past them to avoid the tide. I thought I could maybe walk around the side of Fort Point, but the path was blocked by very high fences with barbed wire on top. My hopes of strolling on through the Fort Point parking lot unnoticed were beginning to disappear. I decided then that my only other option was to climb up the hill directly beneath the Golden Gate Bridge.
Restricted Photo #1
I began the hike up the hill and as I moved closer to top, near the tourist viewing point and parking lot, I saw a police officer and he saw me. He hopped off his bike and asked me to come over. There was another fence here that I was planning on climbing over but he unlocked it for me. He asked for my ID, what was in my bag and a few other standard questions. I told him exactly what had happened: I took a long walk on the beach, got so far out that I was forced to climb back up to civilization to avoid the destruction of my equipment by the rising tide. The officer was polite, stating that I was guilty of a misdemeanor because I was in a restricted area but he would let it go due to the circumstances. Right when I was feeling like I had really stuck it to the man, he asked me a question I did not expect. He asked to see the photos. I was hesitant but slowly pulled my camera from the bag. Upon viewing all 143 images, he asked me to delete the last 15 or so, which were taken when I was beneath the bridge. My mind raced as I thought of general photography laws and if they applied to my situation. “I can’t do that,” I said. He then ranted that he was giving me a lot of slack for trespassing and by not following his orders and deleting the images he could fine me, arrest me and have me detained. I explained that my photos were protected under intellectual property laws. He began to become more and more agitated.
Nobody wants to have a misdemeanor on their record. He could have easily given me one for trespassing, so I finally agreed to delete the photos but only because I had very reliable data recovery software in my studio. After a lecture about debating the law with a police officer, he dismissed me and I was off.
The photos I took today were for me. I had no real intention of publishing them or making a profit from them. But now the purpose they serve is to be shared. Take these views in, and know that if you see these things from this vantage point and you have a camera, you had better be weary of law enforcement. I feel slightly defeated because I didn’t know the specific laws about photography in California, especially in relation to being on private property. I will be spending the next few days researching photography law, so the next time I run into this situation I will be prepared. I suggest you do the same with your state and county as well. In the meantime, enjoy the restricted photos.
Restricted Photo #2
Restricted Photo #3
Restricted Photo #4
This IS a photo blog after all…
I’ve been blabbing so much this month about portfolios and and travel that I’ve momentarily forgotten what I started it for in the first place: Sharing photos. Here’s a look at some of the work I’ve been doing recently:
Obviously I’ve been having a lot of fun in the studios lately, I’m working towards a full studio photography portfolio in the very near future. I’d love to see your comments!
Your portfolio: It’s never finished
So for the last few weeks I have been working on my portfolio. Not shooting for it specifically, because you know, you’re ALWAYS working on your portfolio, what I’m talking about is physically ASSEMBLING a series of prints into a book to show to current and potential clients.
Building a portfolio is hard. You have to somehow set aside your pride and ego and look at your work objectively so you can edit, arrange and make it the best presentation of your work. Sometimes a favorite photo of yours has to be edited out, because it doesn’t fit with the rest of them. This alienates you, because you feel such a great attachment to this photo. So you go back and fourth and back and fourth and you question your worth as an artist and pretty soon you don’t even know who you are anymore.
So yesterday I made the mistake of saying “My portfolio is DONE. This is the most comprehensive collection of my work that I have ever put into a book.” Well first of all, of COURSE it is. It SHOULD be, being the newest work. Mixing in some old with the new, it should cover all the things I’m good at and show the new things I’m good at. Second of all, a portfolio is NEVER done.
I was showing this book to a client today, and between the time I had said that and this morning I had a little itch at the back of my neck. I kept going back and going through the portfolio, over and over again. By the time I got to the meeting with the client I was very nervous, and it was all because I declared to myself that it was “Done.”
So here’s a few tips to avoid that stress:
Consistancy
Your portfolio needs to show your absolute BEST work. Even something a little bit weak will bring the rest of the images down. Choice of subject is very important. If you’re a still-life photographer show-still life. If you shoot people show people. Your lighting, techniques and moods should be similar, but not the same for every image. It’s ok for you to take sensitive portraits of someone and later in the book show something with a sense of humor, as long as it still looks like it was taken by the same photographer.
Versatility and Flow
This is going to sound hypocritical, but you must display consistency AND variety in your work, or you won’t be getting any. It doesn’t have to be a huge shift, but just enough to get your client to look a second time. This also creates a flow throughout your book, you need to keep visual interest. The last thing you want the flow of your book to flatline, it’ll be boring. You want it to ebb and flow, rise and fall, over and over again.
Edit, edit, edit
Make little thumbnail prints of all the images you want to include in your book, and lay them out. Remove the ones that don’t work, and then do it again. And again. And again. Then have a few friends over for some drinks and have THEM look at it. Show it to a peer, or graphic designer friend. Your portfolio should contain no less than 10 photos (Any fewer would be too short) and no more than 20. (Any more would be ridiculous) And remember, nothing but your VERY BEST.
Hopefully this will help some of you out there deal with the stress of portfolio building and showing better. My meeting went fine, as long as you believe in your work (And it’s good work) and show confidence throughout your showing you will have a better chance than some of coming through and getting a new client.
Dealing with hard times
Anyone who has brought a camera in to a hospital knows how this feels. Guilt and shame, from taking photos of the sick or injured. But it’s something that has been done since the inception of photojournalism, and it has become integral in opening people’s eyes not only to the horrors of the world, but also the strength that people have. Recently my mother was diagnosed with Cancer, and shortly after flying home I found myself in a hospital, with a camera in my hand. And as difficult as it was to photograph my own mother who was going through the most difficult time of her life, a part of me knew that something amazing, beautiful and inspirational would come of the photographs. I was not disappointed.
And after taking these and not being able to look at them for almost 3 weeks, I realized what else photographing the sick does for people: It helps them deal with it – at least it did for me. I did something similar when my father’s mother died, and to this day people still tell me that the portraits of my father are some of the strongest in my portfolio.
She pulled through great, by the way. Was in the hospital on Dec. 23rd for surgery and was home on Dec 24th. She’s expected to make a full recovery and is a very strong woman.
Eclectic shopkeepers
These are a few shots from an ongoing editorial project I am working entitled “Eclectic shopkeeps.” They are a series of portraits of the owners of unusual stores from around San Francisco, and I’m looking to expand to other territories as well. Check em out and let me know what you think in the comments!
Snow in the Desert
So my sister, brother in law and myself are embarking on a cross country road trip to visit family in Wisconsin. The drive is roughly 37 hours, give or take weather conditions and traffic. I was snoozing in the back seat when I felt us pull over, Luke saying he wanted to sleep for a bit. I asked where we were and he said “Nevada.” I sat up and looked out the window expecting to see a hot barren desert… but instead saw vast mountains and landscapes covered in snow. I said there was no way I was sleeping with this beautiful unique landscape right outside, so I threw on my coat and hat, grabbed my camera ad tripod and wandered around. This is what Nevada looks like with snow:
Beautiful stuff. More photos from the road trip to come.
Recreational Landscapes
Following up with my last article about visual style, I wanted to post the very challenging landscape photos I took. I was asked to do this out of the blue, and for no particular reason that related to my own photography. I took the job, because I thought it would be fun and it was – but as I stated in the previous article going out of your comfort zone to shoot something you normally wouldn’t shoot in a way that you normally would not shoot it is very challenging. Overall, I’m glad I did the job because it was so challenging and I really feel like I grew a lot as a photographer when I completed it.
Photography School: Visual Style
When you’re trying to get work as a freelance or professional photographer, you really need to look at how your photographs look.
I don’t mean simply looking at them, I mean looking at them as a whole. Do they all have a similar “feel” to them? Something that will make people think of you when they look at it?
Photographers are hired based on a certain “look” that their work has. It’s what separates you from the other photographers out there (And there are a LOT of other photographers out there) and it makes your work unique and valuable.
I can’t stress this enough; Your work needs to have a consistent look across the board, they have to scream “I took these,” not “Anybody could have taken these.”
It’s all about practice. You won’t get your signature look over night, it’s something that photographers struggle with every day. Now don’t be dragged down by shooting everything “The same way,” it doesn’t really work like that. It’s about how you approach your subject matter. Take a look at these photos:
I took both of these photos, but stylistically they have almost nothing in common. The first image was taken very recently, after I felt established comfortable shooting things a certain way. The second image is from a long time ago when I was shooting senior portraits in small towns. These days, I couldn’t even imagine shooting something the way I shot this second image, it just wouldn’t feel right to me.
So here is a list of things you can do to help you establish a visual style for yourself:
Copy another photographer’s style.
This may seem like cheating to some, but it really helps. Pick a photographer who’s work you admire and make a list similar to the list you made before, of things that give him or her their visual style. Really analyze their images, what’s consistent? Low contrast? Strong side-lighting? After you have spent a good deal of time analyzing, attempt to copy this style.. You can either copy the visual style, or copy the image directly – either way you will be in for a huge challenge. If you really want to challenge yourself, take your favorite photographer’s style and use it to shoot subject matter that they never shot. If they shoot people, shoot still life or landscapes.
Pick 3 or 4 things you like to see in photography.
No more, no less. These things can be “high contrast” or “Low depth of field” or “Very saturated colors.” Make sure they are all based on photography, nothing general like “People” or “Landscapes” etc.
Then go out and shoot everything you can this way. If you feel you need to give yourself an assignment like “5 portraits in this style” then do so. Be a ruthless editor. Stick to your style like it’s a contract, and throw away any images that deviate (even slightly) from your chosen visual style.
Don’t get too comfortable.
After you have shot a lot of things in the visual style you have chosen, take your style write up and write down the exact opposite of what that style is. If it was high contrast, make it low contrast. If it was low depth of field make it high depth of field. Make sure you make the subject matter the exact opposite as well. Then go and shoot it.
I am writing this after coming off of doing a particularly challenging assignment. Over the weekend I was doing landscape photography of sports fields. It was hugely challenging for me – I had to use wide angle lenses instead of normal or telephoto. I had to shoot in low contrast light instead of medium to high – it was crazy! But overall I think it was good for me, and going out of your comfort zone will be good for you as well. I’ll post the “Recreational Landscape” series later this week.
Portraits of New Zealand
So for the last month I have been in Auckland doing work for a local orchestra and taking it easy in general. Throughout my stay I got a chance to hang out with some people I knew and some people I did not know as well. I felt as though I should be doing something productive, something for my portfolio on my down time, when I wasn’t doing work for the orchestra or spending time with Alanna, so I approached a number of friends and friends of friends and asked if I could take their portraits. I wanted to take a bit of an editorial approach to them, some of them turned out that way and some of them didn’t. I was not paid for any of these photos, it was something I wanted to do for myself. Some of the people I photographed had never had their picture taken professionally and were thrilled at this. Others were nervous but after we chatted for a bit (or after I bought them a drink) we nabbed some great photos.
Alex
Alex
Lucian
Francesca
Sasha
Sasha
Darija
Darija
Rachel
Rachel
Reece
Julia
Julia
Finn
Finn
Pacifica Photoshoot
We did a shoot in Pacifica on Wednesday on a mountain near Rockaway Beach. We were almost blown away by the winds but everyone (especially the model) was a real trooper. It was cold, and my model was wearing only suspenders and a wife-beater. Did some serious shots and some more silly/goofy ones. Had some good times and got some good photos. There’s a video at the end of the post!
Making pretty things beautiful
Our job as photographers is take our subject matter and make it as beautiful as possible. Of course it helps if your subjects are already inherently beautiful.
These are photos from my just-for-funsies shoot in Sonoma on Saturday.
Remember to always shoot for yourself. It keeps you happy, healthy and loving what you do.
“Music in the streets” a 21st Century Bard’s tale”
This is a little bit late coming, it’s been out for about a week and a half now… but better late than never.
Photoshoot: Larry
My neighbor Larry is a disabled veteran with multiple personality disorder. He received an honorable discharge after being injured in a training accident, and he collects war relics, sci-fi movies and action figures.
Larry is one of the most interesting persons I have ever met – and his house is AWESOME. I could spend hours in there photographing the things he has and still find something new the next day.
We’ve been talking for some time now about taking his picture and doing something cool in his place. Today was the day. And all I can say is that I am thoroughly satisfied with the outcome.
Photoshoot – Crafty People
Something I’m doing starting this month is photographing artists – specifically artists that use their hands to create their art, like sculptors, costume designers, etc. The first two photos in the set are of Amber Young, who is a designer and owner of an Etsy store that sells magnets, bookmarks, etc. And then there’s Katie Small, a costume designer.
Amber Young, Designer
Katie Small, costume designer
More to come.
Win this 11×14 print!
I’ve been going through my photo archives lately, for nostalgia’s sake, and I came across this classic gem of a photo that was sort of my trademark image back in my gallery days:
"Finding my way"
So I’m offering it up as a free print give-away. 11×14, signed by yours truly. You can be entered to win it simply by linking to this blog post in your blog, or re-tweeting my tweets about it on twitter. Be sure to email me (Robschultze@gmail.com) if you blog about it, otherwise I may not know you did so. The only rule is that you MUST tell your friends and link them here, so if you don’t have a blog post it on Facebook or something and send me a screen-cap. The winner will be announced on March 1st, 2010 and I imagine you would receive the print within a week or two. Good luck everyone!
Survival tips for new digital photography pros – Part I
If you’re new to the world of professional photography, you probably have a lot of questions. If you’ve been in the game for some time now, you’ve probably noticed that things are changing.
So what follows is the first of 2 parts on my advice on how to survive in these times of 65 megapixel cameras, VDSLRs and social media.
1. Know how to use your camera
When we get a new camera, we’re excited. We run outside or to the studio with it and shoot great pictures. The thing is, there’s a lot your camera can do that will not only make your pictures better, but there’s a lot your camera can do besides taking pictures. Open the manual. Read it from cover to cover. Know what to do when you get that “ERROR34″ code. You will feel much more confident in your ability to shoot, problem solve, and you will generally handle yourself in a more professional manner.
2. Shoot constantly
With your manual all worn out and dog-eared, you can now begin to shoot. Shoot everything, take your camera everywhere. If your camera’s too big or too heavy, invest in a point shoot with a manual mode so you can keep your eye and skills sharp. Camera phones work fine for this as well, as long as you shoot constantly.
3. Shoot RAW
RAW is the most powerful file format for digital cameras. The editing possibilities are endless. There are plenty of free RAW converters out there, and Adobe’s Camera RAW is second to none. Learn it, use it, feel the power.
Adobe Camera RAW
4. Know what you’re good at
In the beginning, you shoot everything. Portraits, still life, landscape. You need to specialize and develop a look for that specialty, or you won’t get hired. You can’t be good at everything, so you should focus on one area and master it.
5. Multiple Revenue streams
So you shoot portraits, what else can you do to make more money? You could try and teach a class on it, you could look into stock photography or you could have a gallery show. Find other ways to make money on your talent and ability. Teaching and seminars or lectures can be very rewarding, and a lot of schools and organizations need speakers on digital media because it’s changing so much and becoming so big. Stock photography, if you can get into it, can make you money on your photos while you focus on other things. It’s not guaranteed to pay your mortgage but it’s a good way to get your images in the public eye. Another thing is galleries, look into exhibition space in your area and what you have to do to get involved. There are many other ways to make money on your photography, sit back and brainstorm.
Exibition, Northern Waters Gallery
6. Never sell yourself short.
Set your rates and stay firm about them. You should never be ashamed of what you charge, you should come out and say them right away. You offer a great service at a great rate. NEVER give a “ballpark estimate.” You will miss something and end up under-cutting yourself. In these times you may need to be a bit flexible for yourself. Set a minimum and work for no less. If you’re not sure what to charge do some research on your competition. Don’t be a jerk and undercut everyone else. Be fair to yourself. As soon as you start shooting portraits for 50.00 you not only hurt yourself, but you hurt the market.
On friday I will post Part II. Stay tuned!
Sci-Fi Predicitions on the future of Digital Photography
Some History
The First digitally recorded Image. Click for source.
Digital Photography has come a long ways since it’s creation. There are a lot of things both the professionals and consumers looked at carefully before deciding to buy that shiny new toy that plugged into their computers, each had it’s own purpose. First it was megapixels. The first digital cameras were around 1 megapixel, some were even less than that. Competition picked up and soon 3 or 4 megapixel cameras were popping up. At this point, digital’s image quality was vastly inferior to film – so the pro’s stuck with their 35mm and 120mm cameras to get much cleaner images. When 6 megapixels rolled around, the pros became interested. With megapixels climbing and resolution improving, it wouldn’t be long before they could go to a camera store and buy one of these fancy things and not get laughed at. At 8-10 megapixels some pros started to convert – Digital was far less expensive and far more practical than film was for commercial applications. Some photographers stayed behind but now there was no doubt that a digital age was upon us. Resolution and megapixels grew almost weekly – 10, 12, 14, 24! It happened so fast, and us pros started to feel comfortable with digital’s image quality, finally.
Video was introduced next, with both 720p and 1080p HD video recording capabilities that is allowing photographers to put “Video” on their list of services to their clients, and currently there are several films being shot with Digital SLR cameras. The RED Camera shocked the world with it’s still photo and video capabilities wrapped into one.
Next up, came ISO. It used to be that if you went anywhere beyond 400 ISO you would get crazy noise and artifacts in your images. Then that was pushed to 800. 1600. Now with the Nikon D3S and the Canon EOS-1D Mark IV ISO ranges are going into the hundred-thousands with virtually no noise or artifacts. It’s changing the way we photograph everything, and it’s revolutionizing Photojournalism.
The last frontier for digital photography was dynamic range. It was said that the human eye is capable of seeing detail in both high-lights and shadows, where a typical DSLR could only see detail in either one or the other. HDR photography has changed that significantly, but would require to use 2 or more images to gather enough information and then combine the images in photoshop. Astronomical ISO ranges and HD video was not going to solve this.
Old Technology, new application
Bear with me for a moment. I have a very active imagination, having grown up on Star Wars and Indiana Jones.
I am imagining a camera, tool or device that uses very old technology for something very new. Not necessarily just for taking photographs – it could potentially be used for making 3D models and it already has a military use – but the possibilities are endless.
Your new Histogram
Imagine a device that uses digital imaging with sonar technology. Of course, it would have to be more advanced than the blips you see on the sonars in The Hunt for Red October, I imagine that it could use some sort of low-frequency laser that could scan and recreate a scene rather than the sound waves produced by a typical Sonar. Think about it. It would solve the Dynamic range issues that have been the bane of some photographers existence, and it would make 3D modeling a breeze, at least for gathering information on textures and shapes. Photoshop would no longer be a 2D application, but would be an entire rendering program used for both photographic and 3D purposes. Digital media would truly come together in the same way that video and still photography came together, and it would be a good thing.
Of course, it would also bring bad things – I imagine that still photography would no longer be used in a court of law as evidence (Frankly, I’m surprised it’s still being used today) due to the amount of tampering that could be done with such a vast amount of data. It would be an age of 64 TeraByte compact flash cards, and Fire Wire would be up to version 25.2.
What I’m trying to say here is that the chances of this actually happening is very slim to none. But wouldn’t it be cool? And to be honest, I don’t think the idea is too far fetched with all of the 3D movie technology that is popping up or how we all gasped when it was first revealed that we could shoot images at ISO 2500. So maybe this won’t happen real soon, but the reason we are creative professionals in the first place is because we have active imaginations, and I’d like to keep it that way. Leave your thoughts and comments on the future of our profession!
