New lesson posted

I posted a new lesson on softbox basics on my website. It's in the free lesson portion of the school pages at www.dantzigphotography.com. Check it out!

Breaking Out of a Funk

Breaking Out of a Funk


Model: Joanne Guillermo


I had just written about the “mood” of the studio when I was scheduled to photograph a new model. I am normally very excited about working with a new model. I do thoroughly enjoy working with the same model over a period of time because the images change as our relationship matures. I have mentioned that many of the ladies I’ve worked with become good friends of mine. However, there is the unique anticipation of another first shoot that is like no other: How will she photograph? How much direction will she need? What wardrobe will she bring? How will I light her and her clothes? How will she get along with my helper? How will she “fit in” with my style of shooting? These are all great questions and the feelings that go along with them are what keep this whole thing fresh after 30 years. I admit that there are still some nights before a shoot when I don’t sleep very well.

The Sunday for the shoot came around and I was having an off day. Even though my buddy Jon was busy pulling the gear out of the closets, I got to the studio later than I wanted because parking was a nightmare. I also just plain wasn’t feeling good. I was at the tail end of a rotten cold and my stomach was not happy with my choice for lunch. We are all human and sadly, so am I…it was shaping up to be “one of those days.” I knew that I had to turn it around because Joanne was calling from downstairs!









I usually try to meet with a new model before I work with her, but it was not possible this time. I had spoken to Joanne a couple of times on the phone so I knew that she seemed really nice, but I was going to meet her for the first time feeling sub par and still setting up.
I mentioned that the “mood” of the studio was a combination of all of the players and situations involved for that day. I usually try to be the upbeat and enthusiastic one to keep it all moving along. Well, on this day it was my friend Jon and a statuesque young lady with a beautifully exotic look who would pull me out of my funk. I had obviously seen photographs of her, but at 5’ 10” her presence on the set was unmistakable. She was truly professional and was, in fact, an extremely nice lady to work with. It didn’t take very long for the conversations to flow and for me to start pushing the shutter release. She moved with ease from pose to pose and my blah feelings soon dissipated and I was back! We wound up having a lot of fun and I captured some beautiful images. We are looking forward to working together again in the future. Please contact me if you are in Hawaii and are interested in working with Joanne and I’ll pass along the information.

Choosing a lighting scheme

Choosing a lighting scheme: The guys who help me out with my shoots usually start by asking what we are going to do on the set. They tend to stop asking after a short period of time. I suppose they get tired of hearing me say “I don’t know!” I rarely have a preconceived idea of how I will light my set. The normal exceptions are when I am photographing a beauty headshot or white garments. Those set-ups are not necessarily set in stone either. I enjoy the freedom that I have when I walk into my empty studio and want the model and her choice of wardrobe to partially dictate how I will light her. I had to make up a number of lighting schemes for my Softbox book. The experience was as daunting as it was exhilarating. The numerous exercises left me with a large number of tools to play with and I try remain open to the sets I designed for the book as well as new ideas. I never know whether I will use one light or seven to illuminate my model and set. I like simple lighting as much as I like elaborate sets with overlapping lights of varying sizes and effects. Sometimes it depends on my mood—or the mood of the studio while other times it is her wardrobe that sets the stage. The idea that the studio can have a “mood” is a very important concept—and one that I have never really contemplated on paper before. Photo shoots are living breathing entities unto themselves. The “vibe” of a shoot stems from the culmination and integration of everyone who is on the set. Each person’s individual mood plays a very important role in how the mood of the studio will be defined for that day. Sometimes the mood dictates a subtle approach while other times I can let the room lead me into a more playful set.
The purpose of the photo shoot will also obviously play a role in how my set is lit. I probably would not drag out too many lights for a simple portrait. The converse is not necessarily true however; I tend to use many lights for a glamour photograph, but there are times when one or two lights do the trick. Once again it comes down to a combination of the intent of the shoot, her wardrobe and the “feel” of the day.
Two recent shoots illustrate these points. We were asked to create headshots and lingerie images of Brooke and Jocelyn. The shoots would be my first opportunities to work with these beautiful young ladies. Both shoots were a blast, with a great vibe from the start. The shoot with Brooke was first and the idea from the get go was to keep it simple. A large softbox would be used to provide a soft side light while a beauty dish would provide enough fill to keep the shadows from going to dark. It was simple clean lighting for more of a commercial look and feel.



















Brooke joined us for the shoot with Jocelyn and provided make-up services for the creation of what would be a more of a “glamour” feel. Three lights of different sizes were chosen to light Jocelyn from the front. A large 40”X60” softbox was used as a fill while a 30”X40” softbox was chosen for the main light. A spotlight with a three degree grid added a “pop” to Jocelyn’s face. Rim lights and spot lights were used to separate her from the dark backdrop and add the illusion of depth in the photograph.









The photographs are very different, but they work for the intended purpose. I am looking forward to working with Brooke and Jocelyn in the future. Please feel free to contact me if you would like to hire either of these very professional models. I will gladly pass the information on to them.

Lighting a white backdrop

Photographing a model against a white backdrop is a topic that I have covered several times. There is a free lesson on the topic in the “School” section in my website. I have repeatedly discussed the need for using an accurate light meter for all of my photo shoots. The free article and my books detail how and why I use a meter. I used to point a spot light at the middle of the backdrop to light my seamless paper. I would place one on either side of the backdrop and set the combined exposure to read one stop over the f-stop set on my camera. This “working aperture” would be established by the combination of main and fill lights illuminating my model. The problem for me with this set-up had to do with the “spread” of these spotlights in a small studio. The corners of the backdrop would not be lit evenly and the falloff of light became very apparent when I shot a full-length image. I have several large sheets of silver coated foam core that I use as reflectors. The “reflectors” are actually sheets of “house wrap” that I purchased from a local lumber yard many years ago. House wrap is a material that is used to prepare a home for aluminum siding. You might have a hard time finding it in warmer climates, but you can try the major chain stores’ websites. The house wrap came as 2X4 foot sheets that came 12 to a corrugated set. I could cut off 4 sheets and have a 4X8 foot reflector!


The solution to my problem was simple enough: I simply set up two large reflectors at an angle to either side of my backdrop and aimed the spotlights into the silver cards. The light blasting back to the backdrop was now much broader and easily covered the paper from corner to corner. Black flags were then placed perpendicular to the silver cards to shield the light from hitting my camera lens. The following diagram shows the set-up. The images of my beautiful model Ashley Cara shows the results.


See “White on White” at www.dantzigphotography.com or pick up a copy of Lighting Techniques for Fashion and Glamour Photography for Film and Digital Photographers or Softbox Lighting Techniques for Professional Photographers for more details on the technical aspects of this technique.

Let’s get started! The following article has been published several times in several different versions. I include it here because it defines the way I work and how I steadfastly attempt to respect the personal limits of the models who pose for me. Trust is the main ingredient in my recipe for a successful photo shoot.

TRUST-THE COMMON DENOMINATOR IN ALL SUCCESSFUL PHOTO SESSIONS
An Excerpt from Lighting Techniques for Fashion and Glamour Photography for Film and Digital Photographers

Previously published in numerous places including ProPhoto West, www.ShootSmarter.com and www.prophotoresource.com.

By Stephen A. Dantzig, Psy. D.


Teresa Bringas and I became good friends about five minutes after meeting each other--ok, I'm exaggerating--it took a day!

Lighting, metering, posing, composition, and all the techie stuff that goes into photography will NOT necessarily lead to successful shoot. Lighting styles come and go and differ widely depending upon the type of photography. There are even stylistic differences within the various specializations. For example, a wedding may be photographed in the "traditional" mode, or with an emphasis on photojournalism. "Fashion" photography has a multitude of different styles. Corporate photographers often have their own styles and approaches to the task. Portraiture can be studio based or environmental.
The only common factor in all of these types of photography is the fact that we are dealing with other people, each their own sets of insecurities, concerns and personalities. Some concerns come with the territory, such as a CEO's concern about projecting the correct image to his or her constituents or a bride's hope that "her" day will be documented beautifully [uh, with all due respects to the grooms!]. Then there are the fears and concerns that "should" not be a part of our business, but unfortunately do exist. These are the concerns of a parent sending their daughter off to her first portfolio shoot. Whether we "have" an executive for 10 minutes or are sharing the most important day of someone's life, we are involved in a relationship, and like any successful relationship, it must be built on trust.

This image was from my first shoot with Marisa. We've worked together on two other occasions and I look forward to future collaborations with her.

Most of my work is within the fashion realm, but I have done some corporate/executive portraiture work and a little general portraiture. Much of what I am going to talk about is specifically geared to working with young ladies, but the importance of the discussion is universal-and applicable to all people photography-perhaps with some subtle changes. Many of the "girls" I work with are new to the field. I have talked to many parents of young ladies who are interested in modeling. More often than not, I hear the concerns and fears about their daughter and whether she could be taken advantage of. I recently had a mother thank me for not putting her daughter in an awkward situation. While I appreciated the compliment, and I know that she wasn't personally questioning me, I was concerned about the general underlying fear that her daughter would not be safe on a shoot. In reality, the situations that people express fear about rarely happen, but they happen enough to warrant discussion. Unfortunately, I have worked with enough young ladies who have told me stories about being placed in awkward situations and/or were asked to pose in ways that they were not comfortable with. Fortunately, the ladies in question were strong enough to get up and walk away and did not allow their personal limits to be compromised.



This was also the first of three shoots with Raeceen. Respect and common sense go a long way in any field, but they are especially important in the photographer-model relationship. Trust is the common thread that weaves its way through every successful model shoot. My first job is to establish a trusting relationship with the lady I am about to photograph. Before I shoot the first frame of film-or fire off that first digital image, she needs to know that she is safe. I do not necessarily mean that she is safe from physical harm [although that is a factor]. She needs to know that I understand her personal limits and that I will not knowingly push her beyond those limits. She has to go home after a shoot and look at herself in the mirror and not feel embarrassed about what she did in the studio. Every lady is different. Some ladies are completely comfortable posing nude while others may only be comfortable modeling overcoats! Either case is fine because it represents HER comfort zone. I have worked with models on both ends of the spectrum: I've got some beautiful figure studies in my portfolio and some great Fall fashions!

This shot was one of the images of Ashley's first professional photo shoot. She is now too far away for us to work together, but we stay in touch to this day.

When your model arrives on the set, it becomes time to forget about being a photographer! Now you are a psychologist, comedian, confidant, and trusted ally. Work with her, talk to her, laugh with her, let her laugh at you! When you are trying to pose her, mirror those poses for her. If you want her to move her left arm, move your right arm. This eliminates that awkward question of "My left or his left."--Besides, sometimes poses that look great for a lady who is in front of the camera look downright goofy on the person behind the camera--especially if you happen to be a guy! If you aren't afraid to take on a silly looking pose, then maybe she'll be more comfortable moving into a pose that will look great when she does it.

So, How is it that a young lady would find herself in an uncomfortable position? Often times it happens quite innocently. I realize that every profession has its share of misanthropes, but I have to believe that MOST times it is because cues are misread. Young ladies--especially those who are new to modeling--are sometimes intimidated by the whole photo shoot set-up and are uncomfortable saying, "No, I really don't want to do that." A photographer may ask a model to start posing in ways that are different from what was established up front and not read her cues. She may acquiesce because she doesn't feel she has the right or the power to express her real feelings--or she may not really know how she feels.


OK, so this was my second shot with Flora!
The simplest way to avoid these situations is to talk to your model! Find out what she wants to do and what she is comfortable with. Plan your shoot in advance. Discuss what you will shoot and how it will be shot--and stick with it. If your shoot is going to include a "body shot," ask her whether she wants to model swimwear, body suits, and/or lingerie. Unless you are shooting for a particular client, have her bring her own wardrobe. She is more likely to be comfortable modeling an outfit that she packed herself. It's OK if there are other things you would like to shoot with her, but discuss these new ideas after the shoot. If she is interested, schedule another day to shoot and plan out that session as well. As I mentioned earlier, all forms of photography and modeling are fine--as long as everything has been discussed and agreed upon in advance. If you are the model, ASK what you will be asked to do.

Another way to build trust with your model is to learn how to read her body language. Your model's body language will often tell you more about how she is feeling than she may be willing or able to vocalize. "Listen" to her body language. She may have packed an outfit that she thought would be OK, but wasn't comfortable on the set. There have been many times I have said "This doesn't seem to be working, why don't you go change outfits!" Similarly, pay close attention to her eyes. There is an old cliché' about the eyes being the window to the soul. I'm not sure about that, but I do know that they can tell you a great deal about how comfortable she is on the set. If you sense some discomfort, talk it out. Let her know that you are on her side and that you respect what she is doing.

Jaime was a pleasure to work with as well.

As you are building her trust, you will also be building her confidence. Another way to keep her confidence going is to shoot as fast as your style-or camera-allows and keep it going. Shooting fast helps her to get into the flow of the shoot and does not give her time to become self-conscious. One mistake that most, if not all, new photographers make is waiting too long to push the button. I have taught several classes that include live model shoots. My students tend to over-direct and shoot very slowly. I have talked with some of the ladies who model for my classes and they tell me that when our students don't shoot, they begin to wonder whether they are doing a good job. You must remember that no matter how experienced your model is, she is human and will experience bouts of self-consciousness. Shooting fast will help keep her moving. You will also get some great "in-between" shots that are totally unplanned! You may never use some of these shots, but you can show her how much fun she had! I also try to talk as much as I can during a shoot. Give her feedback and get her going! If you aren't talking and it gets too quiet, you can bet she's thinking that something is wrong. What ever you do, don't give up on her. Tell her she looks great and what a wonderful shot was just taken. Above all, keep shooting.

This was one of my most fun shoots to date! Tiffany and Toni took the idea and did a great job with the make-up. Cassie, Sam and Serena had me laughing so hard that I almost couldn't press the shutter!

Oh yeah, if your model is under 18 years of age, a parent or guardian is nearby. There have been the extremely rare times when a 17-year-old young lady showed up on the set without a parent. The first thing I did was to call her mom and explain exactly where we'd be, what we were shooting and about how long it would take.

I have been incredibly lucky. I am usually able to quickly establish a trusting relationship with the ladies who come to my studio. Many of the ladies I have worked with have become lifelong friends. The reward comes when I am showing a new model the pictures from our first shoot and I hear "Oooh, that's not me!" My goal is to have every model leave my studio feeling better about herself than when she walked in. There is simply no better feeling!

Midori remains one of my favorite ladies to work with.

The images that accompany this article are among my favorites. Many were taken during the first photo session with the model while others were part of a long standing relationship with her. They all show what I feel is an important hallmark of my work: Trust and comfort.

Welcome to my new blog! I’m not sure what will happen here, but it is my intention to check in at least once a week to add a photography tip or two, discuss an upcoming or recent photo shoot and more importantly, respond to your posts and questions. Send your comments and questions to steve@dantzigphotography.com and I will post them here and elsewhere.
Who am I and why would you care what I have to say about photography? My name is Steve Dantzig. I am not a full time photographer—yet. However, photography is in my blood and I have managed to carve a niche in the world of photography that I hope will leave a lasting legacy. My passion has not led to lucrative financial rewards—yet, but it has taken a direction, that in hindsight makes sense. I am an educator. My “day job” is within a different field in the public schools. I have trained professional psychologist for over ten years—as a consultant and now as a university professor.

It does not seem as surprising that my career in photography would venture into education as well. It started innocently. I was walking out of a photography convention in Los Angeles. I don’t even remember what year it was. The Photoflex booth caught my eye on the way out. I returned to the convention hall to say “hello” to the people who made the gear that I used in each of my shoots. It turned out to be a fateful encounter. I met a gentleman by the name of Ben Clay. Ben mentioned that Photoflex was starting a new web based photography school and was looking for people to write articles for the new site. I mentioned that I would like to give it a shot. My career as a photography educator was launched. I have published articles in many of the premier photography magazines and websites including RANGEFINDER Magazine, Professional Photographer Magazine, PC Photo Magazine, Studio Photography and Design, ProPhoto West, www.ShootSmarter.com, www.ProPhotoResource.com, and of course, the Photoflex www.WebPhotoSchool.com. My good friend at Rangefinder introduced me to the idea of writing a book about lighting. Bill Hurter then introduced me to the folks at Amherst Media and Lighting Techniques for Fashion and Glamour Photography for Film and Digital Photographers was born. I followed this endeavor with Mastering Lighting Techniques for Outdoor and Location Digital Portrait Photography and Softbox Lighting Techniques for Professional Photographers. My latest project is in production and is tentatively called Back to Basics: An Introduction to Lighting and Photoshop Techniques. This volume is geared to those of you who are relatively new to photography and want a step-by-step breakdown of the complicated laws that govern light and lighting.

One section of my website is dedicated to educating those who are hungry for photography knowledge and information. The “Hawaii School of Photography” section is where you will find a number of my previously published articles. I will be tying this blog into my school pages as well. I also have an “Ask Steve” forum on www.prophotoresource.com where people can join for free and post any question related to photographic lighting. I encourage you to join that site and ask away. You are also welcome to post your questions here and I will respond as best I can. I will also repost your questions and my responses on prophotoresource.com.
Here, now, are some of the rules for this blog:
1) You grant me permission to post and repost your comments and questions on this and other blogs related to photography. You give me permission to use your name as signed in future postings.
2) I will NOT post your e-mail address in any blog nor will I release your e-mail to anyone. I may use your e-mail to update you when new articles/blogs are posted online, seminar dates are announced or when my books or other educational products/opportunities are released.
3) You MAY submit photographs along with your questions. You grant me permission to post and repost these images within the context submitted. You do NOT grant me any other rights and all other rights, including YOUR COPYRIGHT remain with you. You MUST have your name embedded within your images if you want me to post them. I repeat: I will NOT post any images where the photographer is unidentifiable.
4) You, however, recognize that image downloading is extremely common and agree to hold me harmless in the event that your image is “lifted” from my site(s) and used inappropriately.
5) Images depicting graphic violence will NOT be accepted.
6) Images depicting nudity will be considered on a case by case basis.
7) SPAM will not be tolerated.
This blog will contain some technical information that will cover the gamut from beginner to advanced topics. However, it is not my intention to recreate what my books offer. I hope to offer some insights into the reasons behind my lighting choices and to talk about my thought processes behind the techniques I used. You might see images that have been published in previous books and articles, but the discussion about the images will be different. I will let you know where to find the images and the previously published information.