FAQs
- What education and/or training do you have that relates to your work?
Modern photography is largely an autodidactic trade. There is no set curriculum, but it is the photographer's responsibility to practice his or her craft and keep learning new techniques while mastering and re-mastering the fundamentals. These days, Michael is studying "Direction and Quality of Light" by Neil van Niekirk and Daniel is engrossed in "Exploring Black and White Photography" by Gassan Meek
- Describe a recent project you are fond of. How long did it take?
Michael used to do standup comedy and had the opportunity to do head-shots for his comedy mentor who's about to headline his own one-person show in Vegas. His mentor was thinking the shoot was going to take hours, but Michael's understanding of both his subject's needs and the lighting opportunities allowed him to finish the shoot in under 15 minutes. The art director at the Riviera saw the images and liked them so much they are going to be featured in a massive advertising campaign all over Las Vegas Boulevard.
- What advice would you give a customer looking to hire a provider in your area of work?
If you're an actor or model in the market for headshots, be careful about retouching. There is a new trend in casting where casting and talent agents have begun requesting cell phone "selfies" during the casting/selection process because so many applicants have been submitting photos that don't reflect reality. While selfies are a reliable way for casting personnel to assess a face, the wide angle nature of most cell phone lenses is unflattering to the face and consequently a disservice to the actor or model. If you are an actor or model looking to be spared this indignity, you may be best served by images that have not been retouched. If you're a potential bride or groom looking for a photographer, I'll share with you the qualities I was most looking for in the photographer I wanted and chose for my wedding: 1) Technical know-how. This will be evident in clarity of images, deliberate use of light and shadow, composition, and depth of field (how much or what parts of the image are intentionally in focus) 2) Willingness to stand in the pocket. A good photographer can't get great shots if he or she is not in a position to get great shots. Getting in position sometimes means an awkward moment here or there where it feels like the congregation is skeptically watching one's every move. It's worth the awkwardness because the difference in images between someone who asserts access and someone who plays it safe is night and day. Pick someone who can be physically bold without distracting from the proceedings. 3) People skills. Aside from the ceremony and detail shots, the meat and potatoes of wedding photography involves shooting individual portraits, couples, groups, and voluntary candids at the reception. You want a photographer who is good with people, good connecting, good at taking command and giving them direction, good at making them relaxed and comfortable at the same time. There are few more kinetic subjects than the ones who want to be in front of the camera, and much of that energy comes from the person behind the camera.