10 Years - 10 Best Helios Images - (#3) Countdown

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Model: Karleena Gore

It was only the second time in all my years of photography and design that I had chosen a car interior as my shooting space. This photo session was part of a larger editorial series that had to be cut short due to some extraordinary circumstances. 

Yet in concert with a beautiful and talented model, the light, the pose and the unusual dynamics afforded by the shooting space, this image easily made to the #3 spot as best of the best 10 images we’ve done in the last decade. 

Her car radiator literally exploded in the parking lot. I was so happy that she made it all the way to my driveway. Heaven forbid that she would be stranded alongside the freeway. Despite everything she literally made it to my doorstep. She was understandably distracted and completely rattled, terrified and nervous about what to do next. After hours of phone calls, tow trucks and mechanics we still decided to do something while we waited on the mechanics assessment of the damage. Despite not coming back to finish what we started, I will forever be appreciate that she could look and be so composed after such an event. 

Like many shoots, I had my own problems to deal with that the models and other people onset are seldom aware of. I had rented equipment, lenses, props as well as a second camera for the second phase of three phases of the shoot that we never saw. I was out of hundreds of dollars myself so you might say this is a $700 shot by itself. Given how it turned out it looks like much much more than that in all it’s glorious sexy elegance. I can only imagine what we might have accomplished given the full shoot. 

In the end, I got her home safe and sound while the mechanics continued to do what they needed to do to her car. It was one of the most memorable photo shoots I’ve had to say the least. It would be great to have her back to finish what we started but I am certain the experience struck fear into her and this side of Washington may have yet to see her again. 

Thank you for a wonderful time despite the challenges Karleena. You’re a real trooper.

Sircus Magazine Issue 6 is Coming

Schedules and release dates have been moved, changed and updated but we are working diligently to bring you Issue 6 of Sircus Magazine.

There will be new faces and new pics and if all bodes well, one of your fav faces (and body) will be back for i.6 if not soon. We will be keeping you posted. But if you can't stand it like we can't wait, Issue 5 is here NOW at www.sircusmagazine.com. Don't wait!

Until then, enjoy this incredible pic by model Kristi Wright. As always she is definitely easy on the eyes and born to do it; modeling that is.

We're looking forward to more Kristi and of course we're super excited about the new things and new faces coming to issue 6. It's bound to be a blast.

If you've missed Kristi as much as some of you have expressed, you can catch her spread right now in Issue 5.

Stay tuned....

Kim Jonet for Sircus Magazine

Photographers: Know When You're Dealing With a Pro Model

I am far from the expert. In fact, I would go as far as to say that I'm just beginning to really get my feet wet. Some might disagree with my modest assessment of my personal knowledge of photography in general, but the moment anyone starts to believe they have learned all that is learnable their IQ takes a hit; not a bright proposition nor a very bright person. I'd much rather share my experiences and you take what you can from it. How do you know when you're dealing with a professional model or at least a model that has a few sessions behind her? There are indicators and I will share a few here.

1.  She confirms the appointment prior to her session date. It is very reassuring to not be the only one that likes to confirm an appointment. Whether she is a professional model or a retail client, I appreciate a confirmation text, email or call reassuring me they will make their scheduled appointment. Things happen. I don't care for cancellations but some circumstances are unavoidable. Whether or not if it's a retail or a professional commercial model, I very much appreciate the reassurance. Furthermore, she is showing you that she respects your time and is mindful that you have other business to attend to.

2.  Communication. Though this is in no particular order, this should have been number one. This is most applicable to a retail situation and not a commercial one but before, after, during and even post session, she is appropriately touching base to make sure she understands her role in this assignment. She acknowledges what she is to bring, what her role will be and she has a basic understanding of the shooting sequence. Again, these are my experiences and related to my type of shoots. Simply put, she is prepared when she arrives because her agent (if commercial), or she herself has communicated well enough to know what is expected of her. I always tell clients, "You Cannot Over-Communicate With Me." If it's a commercial model then her agent is handling everything and she need not be involved in this part of the assignment at all.

3.  Preparation. If it's retail, then he or she certainly knows what they were to bring or not to bring prior to your session based on the communication you've had. If it's commercial, she's likely showing up empty handed knowing that clothing, accessories, styling, make up etc. is likely someone else's domain. She need only be appropriately prepared, ultra hygienic and a blank slate ready for whatever the shoot is about. Retail clients have the fortune of knowing almost everything about their shoot beforehand particularly if they're working with me. I've likely given them a do and don't list such as: body hair tips, skin conditioners, makeup tips, hair styling, wardrobe ideas, etc. Working in concert with a mua and/or stylist if applicable, your client should be prepared when he or she arrives. If he or she is not, then they have likely not communicated well or not quite the professional person or client you wanted or expected them to be. Either that or you yourself dropped the ball.

4.  She removes her personal effects like personal jewelry, almost immediately upon arrival. I'm already reassured when this happens. Unless the shoot calls for it and it is deemed appropriate, losing the wedding ring or necklace the significant other gave you that may not be conducive to the look or market our images are to seek is probably the first thing she does. Commercial glamour models, fashion models or any other genre of model knows that the public doesn't much care if you're married or not. In fact, it may even be counterproductive to the photographer, editor, or financier is trying to achieve. In most instances, you may need to look available even if you will never be available particularly for certain markets. However, if it's retail and it's a wife taking anniversary photos for a husband then the more personal effects the better. Or if she's wearing her "world's best mom" t-shirt the kids gave her then perfect if these are portraits for the family. I've had several clients wear cherished jewelry the husband gave them from prior anniversaries or other special occasions; totally appropriate but an unlikely occurrence on a commercial project. On a commercial project, a model or client will likely show without much icing at all. More than likely she will not wear any jewelry with the expectation that it will be provided. Otherwise, she will be told what to bring by way of accessories from the agent, the stylist or other party with appropriate authority for the assignment. (Another nod to communication).

5.  "Which light is to be my key light?" This should be right next to communication. It's not necessary for her to know all the lingo. Learning lingo comes with experience and having experience doesn't necessarily mean you're a professional in my opinion. A subject will either intuit or verbally inquire the directional source of the primary light. From experience, she knows that that direction dictates the angle of her poses and the way the lights will strike her body and garments which is a make it or break it point for the photographer. She will move while being mindful not to stray far from that source unless purposely directed to do so. I personally like it when the client or model asks whether she already knows or not. It's a kind of "I know that you know I know" where the main light is moment. Directing the shoot, I am thinking about composition, light settings, wardrobe malfunctions, and often times the meticulous financier that might be looking over my shoulder. The last thing I want to think about is whether or not the model is going to stay in the light or not. When a model immediately looks or turns toward the primary light source or verbally inquires before I even heft up my camera, then I know I'm dealing with someone who has worked with several photographers before or at least knows how to put one at ease right up front. When she constantly steps out of the light unexpectedly I know that she's new to the game. I have to constantly bring her back or move the light to her which is not something most photographers are willing to do myself included. It's likely not the look we're trying to do. Follow my lead! If I direct you to move, then do so. But if you're a pro, you will almost anticipate my next action; another indicator of a pro.

6.  Hygiene. I shouldn't have to mention this but it is the another key indicator that separates professionals from amateurs. This is a huge indicator. Wax on... Wax off. Be clean, be smooth, be moisturized. That is as simple as I can make it. The model or client has likely received ample notice on the session date. There is often time to prepare. If the model needs a bikini wax then a properly prepared model will have one. If her arms were hairy and you want glamour images, she will do something about that. She will never look like a swimsuit model if her armpits and mustache are like a gorillas. Professionals make it easier for the mua and the photographer or retouch specialist. That peach fuzz that is considered normal and that most have gotten use to seeing (or not seeing) will wreak havoc for the mua. Makeup will not set well floating on top of facial hair. Additionally, it will look horrible on the images and that's a problem the photographer or retouch specialist need not deal with. If you're experiencing your.... well, that! Then don't schedule for that week unless this is your job and you haven't a choice.

There are several factors that immediately tell me how my session will proceed and I've just started naming a few to pertain to me. I try to abstain from making judgements at the onset and try to give everyone a wide open opportunity to show me what they bring. Experience has given me indicators on what I can expect. Yet, some of my best sessions have been with retail clients and amateur models. Why? Because they have no pre-conceived notions about how they think things will be. They arrive open to direction and a willingness to learn. They have little interests in becoming models. They just want to look their best today and have fun in the process. Sure it's more work on me but I enjoy process if in moderation. If someone approaches me with that willingness and openness, they're communicable and follow directions well, then they are a professional in my opinion. If they've followed my directions well prior to the shoot and arrived prepared; given the appropriate budget I can make images that rival any model, the alleged professional or otherwise.

But that's just my humble experience and opinion.

When is a Photographer considered a "Professional" Photographer?

On a past "day job" nearly nine years ago a familiar customer approached and asked me without context if I knew anyone who could do photography. Before I even had a chance to reply she went on as to the reason for her inquiry which happened to be to photograph the interior of her newly constructed alleged "mansion" of a home. Five minutes later I simply said that I understood what she was looking for. Mind you I'm on the "day job" and not in the habit of even bringing up that I too had fairly strong photographic experience and knew what she needed. I don't solicit work on someone else's dime, not even as a volunteer; never have and never will. I didn't want to invite the request or go there. But as if she read my mind, she asked point blank "are you a photographer?" She already knew that I have a design background. Of course I answered honestly (another policy of mine) and said yes. Then she followed with "but are you a professional photographer?"

Given that I knew her fairly well and being within the context of her inquiry her question was not if I am a professional photographer but more accurately are my pictures of such a quality that I would be considered a professional by a peer or maybe just another average everyday person. It set me to thinking in what we be a lifelong quest to answer that question. I've even researched the question without end for my own curiosity as to what the photographic industry and it's forerunners considered a Pro. Guess what, after almost ten years it still isn't clear.

By some definitions it is a person who supports themselves financially practicing photography exclusively. Other definitions say that at least half of your income has to come from photography. Some even say that you need to be published and recognized in a prominent industry publication. The aforementioned customer could have cared less about how I feed myself. Her inquiry clearly leaned toward quality and not quantity or the source of my income.

Since that time I've done photography full time, part time, occasionally not at all and often just because I love it as a hobby. Does that mean I was a professional by definition and then I wasn't and then I am again? Does that mean that a high school history teacher who is also a weekend photographer that sells thousands of dollars of landscape prints from a self-published website isn't a professional photographer; yet, the bulk of his/her income still comes from teaching? What about someone that has a degree in photography? Are they instantly a professional?

Living at a time when everyone with a digital camera and off-the-shelf editing software thinks they're a photographer doesn't help either. In the last decade there have been more photographers (or people claiming to be) than ever. Even people that have spent twenty or thirty years running a photography business have found their business encroached upon by newcomers which they say have at best novice skills. Newcomers are telling everyone they're a professional photographer without an inkling of an idea about what that implies - without any appreciation of design principles like composition line and form - without any regard to shape and light beyond the technical definitions. But does that mean they're not professionals? They may or not be.

Strap a lens onto your new digital SLR, luckily capture a stunning award-winning landscape shot on auto-settings, get the shot published in a national magazine and suddenly you're a professional? True? It depends on your definition of "Professional Photography." The label is in broad use and expanding exponentially and in my opinion creates a false perception in consumers' minds as to the quality of work. I say drop it altogether, lose the stigma it has wrought and let the images say the thousand words they were meant to say.

I wouldn't say that I'm a professional photographer and some people by definition would probably agree. But nor would I say that I am not. It's a rapidly changing and evolving field and I am changing and evolving with it.

Photographers... Are you charging a sitting fee?

I’ve been straddling the fence on sitting fees for some time. I’ve spoken with several photographers and it’s still about 50/50 on who charges a sitting fee and who does not.

Having the discussion only clouded the issue even more. Charging a sitting fee is considered by some tantamount to professional suicide. Others maintain that it is an absolute must and that any serious client wouldn’t mind. If you compare the successes and failures of all business models it is still split. In totality one photography business is no more successful than the other as a whole. However, it does depend on your business paradigm.

If you’re doing more commercial work then this argument will likely never arise. If you work from any pre-arranged contract or defined consideration; again it doesn’t matter. However, if your business depends on an in-flux of retail clients you’ve had to ask yourself whether you want to charge a sitting fee or not at some point in time.

The proponents of sitting fees say it solidifies some obligation between the client and the photographer. Once a photographer schedules a shoot he or she makes appointments based on expectations of what he or she believes will happen. If several clients cancel or don’t show then the photographer loses that business as well as other business they couldn’t book because of the unavailable time slot. Makes sense to me.

The opponents of sitting fees believe that sitting fees compensate for a lack of confidence a photographer has in their own skills. They also maintain that sitting fees drive away customers that they would have booked otherwise. But because you have to “pay it forward” for a product you have yet to even receive much less see, it drives customers away.

I feel that it depends on your customer base; the type of customers you serve and intend to serve in addition to what type photography business you have. If you’re living in the rural areas of Mississippi then you may have a different approach compared to a photo boutique on Rodeo Drive. You simply have to adjust your business model according to whom you serve. I’ve personally had a bit of all kinds of customers; those that are too cheap to pay anything and expect every single picture on demand as well as those that pay in full before the shoot even takes place and still order prints afterwards.

Maybe the sitting fee should be discriminatory based on your expectation from the prospective customer. Well that hardly seems fair but I can certainly see the benefit. However, it would involve stereotyping and profiling based on whatever methodology you choose to invoke. Some photographers have opted for a hybrid approach, allowing sitting fee charges to be applied to the purchase of prints. Yet, hardcore opponents still say that amounts to charging a sitting fee no matter how you order the transaction.

You may find yourself shooting less if you’re charging a sitting fee. But would you want those clients anyway? They’re likely to make off with a couple of proofs and you’ll probably never see or hear from them again. Yet, if you’d like to maintain that everyone is honest and will buy prints based on your extremely high quality and professional work then that’s a bit egotistical if not naive in my humble opinion.

Lastly you have to come to a realization that like so many things, prints are dying except for the most refined and sophisticated clientele or clients like boutiques, models, and stock photograph archives that need them. Low pay jobs only want pictures for their social networking sites and other online sharing mediums. The art of a high end photograph isn’t as appealing as their ability to show off to all their family and friends how great they look. From a business prospective that may not be such a bad thing; more exposure right? Not necessarily. Blaze your logo across the front and see how many jobs you’re gonna get. Again, this depends on that client’s measure of influence and social circles and sadly in some lesser part the quality of your work.

While you’re trying to decide if you’re going to charge a sitting fee there is a great deal to think about; the type of clients you have, the socioeconomics of your market, the type of photographs you take, your location and whether or not physical prints will have a strong appeal for your customers.