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Welcome to SBell Photography. I created this section to share some of my insights into the world of photography, highlights from top photography conferences and trade shows, lessons I have learned and maybe even a few mistakes I have made along the way. I wanted to share with you some of my inspirations - as well as the very talented models, hair & make-up artists, art directors and fashion companies I have met and worked with. I plan on keeping you informed on what's happening with me and hopefully at least a little entertained at the same time. Hope you check back often to see what is happening with Steve Bell & SBell Photography!
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This past weekend I attended Melissa Rodwell's Fashion Photography Seminar and couldn't be happier that I did. First off, Melissa and her husband David Skyler are wonderful people, masters of their craft and excellent teachers. The weekend was educational, inspiring and enlightening.
The seminar covers all areas of fashion photography, including styling, hair/make-up, lighting, shooting, retouching and the business side of fashion photography. For more detailed info, click here.
In my personal opinion, to maximize the benefits of this seminar, you should be fairly advanced with your skills and looking to focus your craft on fashion photography. If you fit those requirements, you will greatly benefit from this weekend and leave with the power and desire to take your work to the next level. I know I did. |
Photo from Melissa Rodwell Seminar |
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I recently finished the first of my 2010 photography readings – VisionMongers: Making a Life and a Living in Photography by David duChemin. The book delivers on its title and is a must read for those considering a career in photography, or even those who are already lucky enough to call photography their career.
DuChemin does a fantastic job of laying out the realities of embarking on a career in photography, and it’s not always new gear, gorgeous models and great paying gigs. In fact, at times I think he makes a stronger case for keeping your day job and allowing photography to thrive as a hobby. But it’s his pull-no-punches approach that lies at the success of this book.
If you are looking for a feel-good, everyone can be successful in photography story, this may not be the book for you. But if you want to know the truth about what it takes to succeed, and pitfalls to avoid, from industry insiders such as DuChemin, Zack Arias and many others, then VisionMongers should be at the top of your list.
I do wish VisionMongers had contributions from a wider array of photography disciplines. As a fashion/editorial nut I would have loved insights from someone like Melissa Rodwell, Andreas Sjodin or Hedi Slimane. I am not being critical of the contributors to this book and the tremendous insights they provided – it’s just a small critique from someone who can’t get enough when it comes to fashion photography. VisionMongers has definitely earned its way onto my list of books to read once a year, and will probably stay there for a long time to come. |
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This entry with my dream - a beautiful photography studio in an old warehouse, a laundry list of top-tier clients and editorial spreads in W Magazine. In pursuit of my dream, (and thanks to Zack Arias’ blog and Vision Mongers which I will review later) it has occurred to me that there are two key elements necessary to achieving photographic goals: passion and focus.
Passion is an easy one. Ever since picking up my first DSLR, I’ve been a photographic sponge - university classes, magazines, videos, blog-stalking, mentors, conferences and seminars, anything and everything I could get my hands on. And the drive to learn still excites me to this day. With this blog, I hope to share my continuing education journey into photography, including books I have read, videos I have watched, conferences I have attended and lessons I have learned along the way. The photography community is full of people who give to others in an effort to advance the field. I have benefited greatly from people like The Strobist, Zack Arias, Melissa Rodwell and Joe McNally, and it is my hope that, on some level, I can “pay forward” a little of what each of these people have given me. Focus is a little more challenging. I don’t mean “focus” in the sense of hard work or determination – as my father drilled into me as soon as I was able to understand that ‘hard work is the most important thing in the world’. I also don’t mean “focus” in the sense of aspiring for tack-sharp images. The focus needing clarity for me is determining what direction my photographic journey would take.
I love to shoot fashion, editorial and beauty photography. But I also enjoy shooting weddings (there’s nothing quite like the love and alcohol-infused energy of a wedding), kids (I love the infectious joy inherent in children) and loving families. My wife is an amazing cook and creator of the food blog cbandjblog.com and I regularly contribute food shots to her blog. I love shooting our dogs, and I also do some pro-bono work for a local animal rescue Heaven Can Wait Animal Society (hcws.org). But unless they start adding more hours to the day (fingers crossed) I know I cannot dedicate the time needed to be great at all those specialties. Generalists are not perceived as experts, and to thrive in the uber competitive world of photography, one needs to be an expert in their chosen field. |
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The pending new year is a perfect time to reflect on all that was in 2009 and all that we hope 2010 to be – photographically speaking that is. It’s an opportunity to step back from photography (whether it is a profession or hobby) and to truthfully analyze where we are and where we would like to be this time next year.
I like to peruse the work I have shot over the past year and my portfolio as a whole and make plans to advance my craft and fill any perceived holes I might find. I like to take stock of my gear, what I’m using / what isn’t getting used / what pieces I might want to add to the collection this year to help me meet my photography goals in the future.
Important note: be realistic on this one. Of course we want everything but there may be specific equipment that is crucial to the development of your career / goals and if that is the case it is a matter of determing whether at this point the benefits justify the cost. It’s not always about having the latest and greatest gear…
I also like to review the state of my business and marketing initiatives. What has worked? What didn’t provide return on my investment? Have I effectively been using social networking as a marketing tool for my business? Are there any new areas I should be investigating? Based on my complete analysis, I like to make a series of photography and business goals to be accomplished during the coming year. Whenever possible I try to make the goals measurable so I can track my progress as 2010 flies by. And hopefully when I sit down to review my progress at the end of 2010, I have crossed off most of the goals for the year and have advanced my skills, portfolio and profession which are my ultimate goals every year. |
End of year photography review
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I could probably write a entire entry just on this topic (and I may) but it’s import to go into a photography shoot of any kind with a good vision. Inspiration can come from art, movies, books, nature or other photographers. But keep in mind, inspiration is meant to be just that. Whatever you shoot, make it your own.
Whatever your inspiration is, make sure all elements of the shoot are consistent towards the ultimate vision. This means the model, location, hair/make-up, clothes, styling, lighting…etc. To create a truly fantastic fashion photograph, all elements of the image must work together in harmony.
Especially if the shoot is out of your comfort zone in any way, time spent on a test shoot can be invaluable. It’s always better to work through issues with lighting, props, framing...etc. before the pressure or stress of the actual shoot is upon you. If I’m creating an especially challenging look, I like to do a test shoot at least a week in advance.
4 – Convey your vision. Fashion shoots utilize many different elements (models, stylists, hair/make-up artists, assistants…) To help ensure all elements work together in harmony, communicate your vision as best possible with everyone involved. If you’ve done a test shoot, sharing a few samples from the shoot is a great way to help convey your vision.
5 – Build model rapport and relaxation. I believe I learned this from an amazing photographer - Joe McNally. Early in the shoot I try to make a subtle but direct connection with the model to start to create a bond between the photographer and model. Often times it will be something like picking a small piece of lint off their shirt or gently brushing their hair (be sure to ask permission first!) That small contact can go a long way towards allowing the model to relax and getting great looks right from the start.
6 – Maintain good connection with the model. One of the best ways to maintain that good model-photographer connection is to not break the shoot rhythm with continually checking lights and checking exposures. Not to say you shouldn’t do those things, just don’t forget you have a model there waiting on you. If you need to make adjustments, try to engage the model in conversation while you work to maintain the connection.
7 – Keep a gauge on mood. This includes not only the model, but the other participants in the shoot including yourself. It’s important to maintain a light hearted mood on the set throughout the shoot. If things start getting tense, have the model take a break, a deep breath, tell a joke or something along those lines. Tense shots are not good shots.
8 – Review your photos. It’s always good to review the results periodically throughout the shoot – if possible on a computer monitor versus the small screen on the back of the camera. Great times for this are during breaks out outfit changes. You want to make sure you are happy with the direction of the shoot and if not to make the changes necessary to get there. I’ll often show a few of my favorite early looks to the model as assurance and to help the direction for the rest of the shoot.
9 – Utilize post production to enhance shots – not to fix them. The ‘fix it in Photoshop’ mentality is not something successful fashion photographers have. Take the time to get it right the first time! That said, I will often light or frame a shot with a post production enhancement in mind.
After the shoot, discuss the results with all parties involved – especially if you plan on working with these individuals again. It’s great for relationship building and for learning from each shoot you do. |
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We've been quietly working away here at SBell Photography. Just secured a few contracts to shoot web and lookbook shots for a few more boutique clothing lines which is very exciting! So stay tuned for some great updates coming soon. Also, been putting my construction skills to play with a few set designs that are slightly more on the elaborate side. So far they have tested well so I'm looking forward to model casting and finding the perfect clothing for each of the shots. Definitely lots of good stuff in the works.
I am also proud to announce the SBell Photography was approved to be part of the dripbook community.
Stay tuned for what looks to be a busy, but fantastic summer! |
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With the economic downturn affecting everything we see, hear and do, it is almost impossible to decouple business and art. As a fashion photographer with an MBA in my bag, the marriage of photography and business has always been at the forefront of my vision and goals.
There are many elements to business within the photographic realm and it would take volumes to even attempt to cover them all. But fresh off my lookbook shoot for Thrive, I thought I might give my insight into the job of a high fashion photographer with respect to helping create a successful clothing line.
In an ideal creative world, artists would have free reign to explore their canvases. Painters could just paint, writers could just write, musicians could just play and photographers could just shoot. These acts are essential from not only a creative exploration standpoint but also as a way of portraying your skills and unique point of view.
These are the reasons you are hired and you should always stay true to your vision. But when working with a clothing line on a lookbook shoot, an agency on an advertising campaign, a development company for a product shoot… the key to success is finding a way to stay true to your vision while enhancing their vision. As they say, listen first, shoot second. (Not exactly sure who says that but if they don’t, I will.)
Find out what their vision is and they absolutely have one. If they are unable to articulate it, it is your job as the photographer or designer to help bring it out through asking the right questions, providing samples, test shoots, story boards...etc. Stay open and flexible to your ideas throughout the planning and photographic process. Create and maintain a truly collaborative environment with the clothing line, agency, stylist, hair/make-up artist and model. A shoot ultimately can only be successful if in the long-run it helps the company be more successful. And their success is the key to your success – assuming you like to be rehired. :) Listen first, shoot second. |
Sample Thrive Lookbook Shot |
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Well, I have gone awhile in between entries as I have been quite busy with finishing up the thrive lookbook and web update, starting my couture bridal contest and a few other miscellaneous web and photo projects. The glamorous, feast or famine life of a freelance photographer / graphic artist. :)
But, I did want to take a moment to share that SBell Photography was featured on Design Slices - a website for top photographers, graphic artists and designers. It was an honor to be featured with top photographers such as Steven Meisel, Paola Kudacki, and others . You can see the posting at www.designslices.com. |
SBell Photography on DesignSlices.com |
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In my last entry I breezed over owning a few speedlites (580EX and 430EX) in the “not sure if anyone cares about this stuff” section of my gear entry before being able to talk about my big, bad and beautiful Profoto studio lights. I’m a big fan of the Strobist and Joe McNally and have been to seminars/conferences for both of them – and will say that I appreciate my speedlites and use them effectively when I need to. But, right or wrong, they are typically my last resort. It’s funny how at the most important times, it seems like the last resort is the only one you’ve got… This past week I shot one of my biggest jobs to date – the Thrive autumn/winter look book collection. Beautiful clothes, a fantastic model (Sarah Deanna) and the most incredible old warehouse, that just so happened to be without running water or power. My first thought was to bring in a generator and my Profoto lights and problem solved. But then after seeing how beautiful the window light was around the warehouse and all the wonderful places to shoot, I quickly realized that my “last resort” speedlites were going to be exactly what the job needed. Armed with 3 flashes, a number of shoot through and silver reflective umbrellas and some diy snoots, I’m proud to say we pulled off some fantastic lighting in a quick, efficient, easily transportable and power free (well, battery powered) manner.
If you are a photographer and have not embraced speedlites fully (until last week not sure even I had) do it. The Strobist (strobist.blogspot.com) is a tremendous resource. If you a’re not a photographer, whatever field you are in, do not lose sight of those “last resort” tools in your arsenal because one day your whole reputation might rely on them. |
Speedlites to the rescue |
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You've seen my shots, so thought I'd share with you how I shot them. My arsenal includes a pair of Canon 5Ds (perhaps sometime these will be a 5D Mark IIs). For glass, I usually have the 24-70mm 2.8 and 70-200mm 2.8 lenses locked in because of their versatility and the beautiful images they produce. For more specialty shots I have the 16-35mm 2.8, the 50mm 1.2 and the 100mm 2.8 macro. My wish list includes the 85mm 1.2 - although I have a sneaking suspicion at this point that lens may come bundled with a divorce. Just kidding of course - my wife is very supportive and would probably only roll her eyes at me - but it's good to have a wish list so for the time being, that's where that lens will sit along with my perhaps one day 5D Mark II.
To round out the collection, I have 580EX and 430EX flashes, use SanDisk memory cards (if anyone really cared about that) and plenty of miscellaneous light modifiers - some purchased and some diy projects.
In the studio I have Profoto lights and modifiers as well as Westcott soft boxes - triggered with the always reliable, industry-standard pocket wizards.
So to summarize, photo bag is full, wallet is empty. Well, not really. :)
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SBell Photography Gear |
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