Will review port and profile upon request.
[Please at least spell check it before requesting review and comment!]
New Year's resolution: Hiatus on TF* shoots. Implications: response time on e-mails may lengthen considerably.
Now only $269 plus expenses for a 3-hour Shim Shoot! :-)
[My a priori apologies for length. I've obviously met the 100-character minimum! Also some notes to self are integrated herein and are intentionally cryptic.]
BIT OF BIO:
I have a news background and it's been ingrained that it's anathema to manipulate a photograph. Art doesn't have that type of constraint but it's a hard habit to break. Nature shots require patience. Birds are flighty. When I got started working with human models in the studio I would shoot away and my crew said "Slow down, JT--she's not going to fly away :-)"
OK, but I have found some human models also to spook easy and be flighty--or not even land in the studio and have not the courtesy to even a posteriori lie to cover up for a no show. A model suggested that if other models agree to shoot but don't show in studio, don't show up on caller ID, don't show up in e-mail, and don't show up in the obits, and don't respond to follow-up communication, then they should show up on a list here! Photographic mentor disagrees suggesting this is bad karma. What do you think? [Reprise in Credit section--i.e. topic revisited.]
MONEY: Since this may be a show stopper, let me state up front that my shoots are almost always TF*. However, there is no opposition to revenue-positive shoots! :-) This is not meant to devalue models' contributions to the shoot which is huge. I could list a litany of rituals, roles, lifestyle changes and discipline that models go thru to achieve the look they bring to a shoot. It is greatly appreciated.
LOOK: If you've been invited to shoot, odds are very good that you have good to great look. I do on occasion attempt to help those like I've been helped but I strategically consistently shoot up! Counterintuitively, I've found those who need help to be much less responsive than those who I thought would be too busy to give me the time of day. So I've anecdotally noted a direct correlation between communication ability and port quality. I also intentionally try to avoid shooting with the same models until I feel there is significant incremental value.
* shoot what I have in mind,
* shoot what models have in mind, [primarily here now]
* shoot what third party has in mind (prof, art dir, etc.)
* shoot for the marketplace ($).
Rationale--initially start with trying to get what I have in my mind captured. Next is to capture an idea that another person has but who is on set. Thirdly, is to capture what a third party, who is not party to the production of the image, has specified. Lastly is to be able to anticipate and shoot for an amorphous marketplace which grades, in part, by a willingness to part with funds.
IMMEDIATE goals: HIATUS!
"IMMEDIATE" goals on HOLD:
* Increase selectivity to slow the rate of shooting to reduce the post-production backlog! Akin to a hiring freeze/work slow down!
* Rappelling/rock climbing, [Spring 2013? Rabecca, Lyndsay, Knoxville].
* Reduce the length of this Bio and Credits without eviscerating valuable info. This may not be possible! [Good thing I've not hit the maximum number of characters for bio!]
* Barn Beauty--equestrienne shoot? :-) [Trying to figure out lighting in a barn sans electricity, ditto for water, how to get a heavy cast-iron tub in loft sans elevator, stairs, external lift, etc. and concerned about load on floor--crashing thru the floor is not my idea of a fun shoot!].
* Shim Shoots :-)--Logo development and implementation. Converting this verbal double entendre into a visual double entendre!
http://photos.modelmayhem.com/photos/09 … 5daa_m.jpg
* INTERMEDIATE Shoots [something's holding it up, e.g. location, logistics, model, legal, insurance, research, allergic reaction, governmental cooperation, Homeland Security, funding, equipment, personnel, time, scheduling, etc.]:
- Rooftop & Regalia, [access, PhotoShopper, time.]
- Boots, Bikinis & Boats,
Yes, I'm letting the alliterations drive the shoots. Why not?
It's verbal and visual art and adds a layer of complexity.
* Make this hobby financially sustainable.
Towards this end I'm trying to limit the days of shooting TF.
Which means that reluctantly I will have to allow financial considerations to affect art production.
One model, who I'm tight with, wants a 6- to 8-figure set up!
WORKING ON THIS!
* To capture human images without PhotoShop, that are hard to reproduce, and that have cachet! To enjoy photography while generating enough revenue to support this expensive hobby :-) One stuntman estimated that insurance premium alone for one wing-walking concept would be half to a million dollars.
* Celebrity [SB, Austin TX].
* Cover of book, CD, or other item with ISBN.
LONG-LONG TERM goals:
Leave images sufficiently ambiguous, sophisticated and complex for future anthropologist to appreciate and cogitate as they dig thru our digital detritus.
Want I want from this site:
I've been advised by a pro photographer that this site provides a more stable style of model than other site.
What I might have to offer:
Willing to help others as MANY have helped me and was approved as a 2nd List Mentor 4/17/09. [Lnk is in "Credits" section below]
Wish I could say it's carefree but it's not. I sweat the details and get models involved in what I'm struggling not only to tap their intellectual capacity, expertise and experience, but also to provide insight into how difficult some things can be. This means that pre-shoot e-mails can be long and involved, erudite and pedantic. This type of preparation contributes to actual shoots being productive. Unless presented with strong evidence to the contrary, my style assumes the null hypothesis: positive correlation between beauty and brains.
Operating style can range from those that require intense planning to what I call a decompression shoot where we go with the flow. Sharing the detailed planning of an intense shoot would require doubling the size of this profile but it can take about 40 man hours over several months/years. I usually share many details with involved parties to help ascertain feasibility, avoid mistakes, and so that when we get to the shoot, we're on the same page.
COMPLEXITY: I've done easy, so I may intentionally make a shoot more complex than it really needs to be for the challenge [a la Tom Sawyer's rescuing the slave Jim even after Emancipation made such an adventure unnecessary!]
PRE-SHOOT MEETING: To save time I usually do show-up-and-shoots. Occasionally, due to the complexity or danger of the ideas which I have, I might prefer to meet with parties involved beforehand. It helps generate ideas and make sure that all are on the same page with the concept, as well as giving me the opportunity to explore the model/MUA/etc 's personality and creativity.
STRESS: Induced by the uncertainties of putting together shoots with so many moving parts. It's like putting together pieces to a puzzle the size and shape of which are unknown...and change! Not only do the people and props need to fit during any point in time but need to dynamically and efficiently flow from one concept to another with minimal wasted effort. Some profiles have minimal documentation, operating specs, limitations...and I'm no mindreader, and lack telepathy.
INTERVALOMETER: To add a layer of complexity and to do a shoot of the shoot that can quickly capture the shoot, I sometimes do time-lapse photography of the shoot.
iPHONES: WSJ indicates that this may be viable option. Full-length movies have been shot with. Will experiment with but until they shoot in RAW, will not sub for DSLR.
AGENCY: I recognize that a shoot is not a real estate transaction but my ingrained training in that field I find strongly influences my operating style. For example, I've decided that my duty is to ACT IN THE BEST INTEREST OF THE SHOOT. The implications are numerous. This means that the best interest of a shoot may dictate more than one model, more than one photographer, it may even mean that I may recuse myself from shooting at a shoot I myself set up! Sometimes this morphs me into a director/producer role.
Another example of how the real estate and research training influences my style, if in doubt, disclosure. Depending on the people involved this can be perceived as TMI--Too Much Info! However, I share this biographical data so you might better understand some of the forces shaping my thinking.
SAFETY: Looking out for the best interest of the shoot does not vitiate the duty of care to participants. The physical and psychological safety of all parties is important.
ESCORTS: Please bring a well-behaved escort PRN (as needed). Hopefully he/she doubles as hair/MUA/assistant. S/he/they should not distract nor inhibit model but enhance and encourage his/her/their work. Be aware that while you may be comfortable with your escort, other models may not adapt well to non-essential personnel. In other words, non-essential escorts who sense discomfiture among others as a result of their presence may wish to voluntarily recuse themselves, or go on a break of some kind (e.g. attend to calls of nature, etc.)
WARDROBE: This is a good starting point
http://blog.patyuen.com/faq/modeling-ph … n-her-bag/
[link not working but kept here in case it comes back].
Things can get a bit chaotic, I know. Some things lend themselves to labeling, please free to do so. When you leave take all you bring, and only the things you brought. Saves on sorting, identifying, tracking, storing, shipping and/or delivering remains. I'll remember you with the images (no need to leave anything tangible as memento.)
HAIR & MUAs: Assume that models are competent to handle this on their own. However, sometimes both are provided by MUAs willing to do TF* or for a kit fee.
FIRST SHOT--ID: After signing release and other paperwork, head shot with ID or two is de riguer to document model's age, ability to contract, etc.
GIVING DIRECTION AT SHOOT: I'm pretty good at developing the concepts but usually somewhat laissez faire about direction on a shoot. Often, I want to see what a model comes up with on his/her own first--which may be superior to my own. When I sense that it's my turn I may become more directive. Models can't always see what other model is doing so coordination may be necessary.
ADVERSE UNINTENDED CONSEQUENCES: As a chess player I like to anticipate and plan for multiple moves ahead. As such I often take proactive precautionary steps to avoid, mitigate or reduce the probability of adverse unintended consequences.
LAST SHOTS: Sometimes I'll request a crew shot.
LOST SHOOTS: Once in the 1970s and 1980s, I lost shoots--different reasons. (Idiotically, opened the back to expose film at a RAF airshow HK; film wasn't engaged and didn't advance at outdoor model shoot, TN). Learning process. The mistakes I make now are different ones! :-)
QUOTE RELEVANT to above incidents: Attributed to Einstein--"The difference between genius and stupidity?--genius has it's limits."
CO SHOOTER: To mitigate against a lost shoot, provide additional points of view, to optimize time, learn and/or teach and have fun, I usually invite coshooters to work with me. [Seeking to own another camera to shoot with to further reduce risks.]
TURNAROUND TIME, CONTENT, RATIONALE: Models usually receive DVD with their non PhotoShopped images within a week. This is not a guarantee. Do not expect images to be PhotoShopped. [May also post online. Longest time: 16 days due to 5 shoots, PPA, card reader problem, DVD drive failures, struggling with software, MLK day.] Have burned on the spot but usually too hectic, chaotic and time consuming.
Since this is TF*, I reserve the right to share the entire set of images with the model as reasonable consideration. [TF* covers TFCD, TFDVD or just TF digital images via e-mail.] This SOP and turnaround time is in no way intended to set a precedent for others. I redact the egregious evidence of bad photography and/or modeling and leave the model to learn from the remaining and exercise good judgment in displaying only the best. It is not in his/her best interest to display substandard work and I've not yet experienced such.
Another reason I share the shoot with the model is that I expect them to archive the shoot--offsite backup.
POST PRODUCTION PROCESS: Since I can't seem to keep my notes handy, I'm going to start to post them here for at least 3 reasons:
* I can find them,
* models can understand just a bit of the post process,
* photographers can review and help revise process.
The procedure may be adapted due to vexing technical difficulties:
- Copy memory card(s) to hard drive without delay.
http://www.robertdscottphotography.com/ … anage.html
- Verify mailing address at www.usps.com
or iPhone app and add ZIP+4.
- Verify e-mail is correct.
- Add OMP and/or MM # to release [before copying/scanning.]
- Model Release: (copy), scan, e-mail--or take picture & text.
- Using Adobe Bridge: rank images on 5-star scale, use Green indicate postable,
- Select images for label, MM, OMP, Smugmug, etc.
- Save high- and low-res JPGs of RAW images.
High res: "Save Image", "Format"--"JPG", "Quality"--"Maximum", "Save in Same Location" so that deletions can be done without having to go into 3 separate subfolders.
Low res: in Bridge, select the blue list of options under the image which are not labeled as Workflow Options,
change "Space" to "sRGB IEC61966-2.1" and
"Size:" to "1365 by 2048 (2.8 MP)" which meets MM current submission specs.
"Select All" then "Save Images"
- In Bridge, double click on 5-star JPG, in Adobe PhotoShop--"Image," "Image Size," all three boxes at bottom left checked to "Constrain Proportions" etc. and adjust "Height" trial and error until file size at top is just below 800 kb allowed on MM [can start with 639, as there is no known way to set file size directly]. Do "Save As..." and name file identifiably. [Do this prior to burning DVD so it can be included.]
- Post/upload. Notify model, et al.
- Documentation--write shoot notes. Optional: type and save as PDF for DVD.
- Update this procedure.
- Determine (DVD) distribution:
- Create label using Avery.com, label 28669, (or in Photoshop using template), selected image, add alliterative title/model name, date, location, QR code (usually URL of MM account), other data as desired. Print. Check alignment. Shred overprint.
- Burn blank DVDs (Nero) for each model, MUA, agent, etc. may include: images of various types and sizes, release, DVD label: .psd, .pdf, .avery. jpg. maybe shoot notes, etc. Verify burn is good!
- Apply label to DVD (use centering device). Put in sleeve/case.
- Address envelope, return address.
- Put in envelope: DVD/CD, copy of release, TY.
- Weigh, determine proper postage, affix proper postage (or more so recipient doesn't have postage due charge).
- Mail sans delay.
ACADEMIC: May pursue MFA, budget permitting. My style may reflect an academic approach. i.e. I may ask non-normal, philosophical questions. If you have an earned MFA in photography and are interested in providing guidance, please let me know.
LEARNING: This is not a routine production line. I will be pushing myself to do assignments that I may NOT have done before in order to learn a new technique, equipment, people, structure, style that may be outside my comfort zone. Please be patient during this learning process--that may involve asking questions and the real possibility of failure.
BOTH ENDS: Models who wish to gain a little experience shooting are welcome to request to shoot as resources permit. [I've been model thru local agency (Azure) for textbook (HB) and I think working both ends of the camera improves and reinforces competency]. In other words, model can play photographer! (However, don't expect me to model).
SOCIAL DESIRABILITY: I appreciate photographers who are willing to coach me and convey info on the sly with models on set and to do so in such a way as to make it transparent to the model that I don't know something...that's not necessary :-) I'm self-confident enough to learn openly and unabashedly...and maybe the model(s) can learn useful knowledge that makes them better at what they do!
LEGAL: For example, I want to learn the information here--
PREFERRED CONTACT: via e-mail.
However, believe that we ought to have at least one verbal, interactive conversation prior to shoot to capture the nuances that e-mail just doesn't have. E-mails tend to be long (like this profile) and chock full of developmental details so that we all arrive to shoot on the same page.
ALTERNATE E-MAIL: As we know, MM is not rock solid.
Therefore, I recommend the provision of alternate e-mails, e.g. firstname.lastname@example.org
PHONE NUMBER: At some point in the process, viable candidate for shoot are expected to ante up a functional phone number so that we can communicate regarding a shoot. Please specify what hours are optimal and what are acceptable, whether there is a toll on texts. Default assumption is not to call until double digit hours and not to after double digits, i.e. not before 10 AM and not after 10 PM. In my experience, the lack of a functioning phone correlates highly with lack of collaboration, confusion and cancellation.
When I assemble a highly-talented crew and models don't materialize...and I have no means of requesting a status update, the crew tends to look at me askance. It's inconvenient, embarrassing and borders on irresponsible not to have basic means of communicating with participants when so many people are involved.
For extended debate on topic see forum
FLAKE FLOW CHART:
http://blog.patyuen.com/lessons/model-f … flowchart/
While I'm not endorsing this as a valid model, and don't have empirical data to support or disprove it, I do believe that it's not without merit! I wish to avoid flakes.
If PAYING work comes up after you book a TF* shoot, you are expected to communicate that to me ASAP and confirm I've got the message. Utilize your potential for highest and best use, in this case optimizing revenue. This is not deemed flaking. TF* shoots are, in part, intended to generate revenue; they are not intended to get in the way of actually getting the revenue--that would be counter productive.
HIATUS: CPA independently affirmed decision to take break. Suspending TF* shooting in order to get post production procedures refined, better learn Photoshop, Lightroom, declare war on debt and disorganization, etc. [Dec 2011]
TRAVEL: no budget. Geographical dispropinquity adversely affects many potential collaborative combinations.
PROFILE REVIEW: Happy to review ports and profiles upon request.
PROFILES of SIMILAR MINDSET: In an effort to reduce the rate of growth of this profile let me point to a couple others that have similar (but not same) well-developed, coherent logical and stable perspectives. There has been no collaboration, I've not copied theirs and vice versa. What they may say or change is totally independent of mine but they're adequately insightful of my thought processes that I thought I'd take the unprecedented risk of listing them in the above context: