DALLAS SPEAKS

SHOOT BEAUTIFULLY... OR GO HOME...

2011-12-27T11:12:00.000-08:00

The last blog I wrote was in October and I deeply apologize for dropping the ball on that one. I am in the process of having a new website designed by the Ashay Media Group (http://www.ashay.com/) and they are going to incorporate everything I do into a single centralized location (my photography, blog, workshops, e-commerce, etc.). So this, my dear readers, may be the last blog I write on Blogger. Hopefully, I will be launching the new site in January. It’s been a good run here and I am happy that because of readers like you, I was able to flourish and grow as a photographer and writer as well.

As the year comes to an end, I always take a moment to reflect on the past year and I begin to make plans for future endeavors. I am still on my course and as I venture forward, each and every task that I perform moves me one step closer to the ultimate goal: becoming a better photographer.

This past year was a busy one. I shot for a lot of hair salons in the New York tri-state area. I shot no less than three clothing campaigns. In the month of October alone I had editorials in three magazines (Essence, Bleu and Hollywood Weekly, respectively) and recently completed the Fall collection of Adha Zelma jewelry (affectionately named "Solstice") (http://www.adhazelma.com), as well as their upcoming Spring 2012 campaign. I have now joined the ranks of the "big dawgs" and acquired a Hasselblad H2 along with a Phase One digital back. So now equipped to shoot like the big dawgs my one true love is still, and always will be, film photography. There is a magic that I cannot explain and unless you shoot film, you won’t understand it either.

There are a multitude of people instrumental in this endeavor and I wish to thank them one by one (in no particular order). Without these wonderful and influential people in my life, I would not be the photographer I am today. I normally write this blog on my anniversary (in April), but it seemed so befitting to do it now.

Mother Logan – Not a day goes by that I don’t think of you and every time I think of giving up, I hear your voice in my head and my heart telling me: “it is not an option.” You are sorely missed.

Butch Johnson (http://www.styledbybutch.com/) – To the brother that I never had and glad I do now. Without you in my corner, my work would’ve suffered immensely. Thank you.

Sidnie Johnson – For being with me from day one. Without you in my life, I would’ve never known that I could do this. ‘

Jordan Brown (http://www.fullcirclecounseling.net/) – To my soulmate. You make me a better person every day. I thank you for being in my corner and for being who you are. I love you.

Michael Maddox (http://www.dearmichaelmaddox.com/, http://www.michaelmaddoxrunway.com/, http://www.michaelmaddoxblog.com/ and all the Cali boys) – The true spirit of the definition of “twin”. Not a day goes by that I am not saying your name. You have elevated me to heights that I never would’ve dreamed possible. You taught me to win by using grace over conceit, love over hate and humility over brawn. You and all the “West Coast Posse” have made it possible for me to be a major influence from coast to coast. (Much love to B.J. Williams, Justin Shaw, Michael Calloway, Robert Dowdy, Brandon Rice, Broderick Hunter, Brandon Lucas, Billy Payne, Marcus Hill, Christopher "Kobe" Gray, Marlon Yates, Vince Allen, Nathaniel Hamilton, Norman, Quay Fields, Tarrance Gardner, Keith Carlos, Steph Jones, Terrance Gant, Anthony Gallo, Antonio Richmond, Kevin Calloway, Chris McCain, Zion Babbs, Melvin Diggs, Daimion Henry, Davon Brown, AnDre Washington, Mamadou Sall, Nathaniael Wade, Nathaniel Lamar, Stephen Cole - I know there are countless others, these are the only ones I could think of off the top of my head!).

Goldin Martinez (http://www.getfocusedfitness.org/, http://www.youngnationinc.com/) – To the “Little Gemini That Could”. I am a force to be reckoned with because you taught me all about perception. I may not be a million dollar photographer yet, but you made sure that I shot like one. I thank you for your friendship, your love, your support and most of all, your loyalty.

Yusuf Myers (http://www.getfocusedfitness.org/, http://www.yusufmyers.com/) – Thank you for letting me know that I am better than I am. For never allowing me to doubt myself and for pushing me like I push you. Together, we will make history.

Shae Fontaine (http://www.shaefontaine.com/) – From stalker to friend to sister. I thank you for letting me know that I need to quit playing and making me realize that yes, I can play right alongside the “big dawgs”. Thank you for getting my book in front of the right people and for never letting me slack. Thank you for understanding my true Aries spirit.

Shawn Yon – Another person from another time and space. Thank you for revamping my eye every time I am in your presence. Thank you for opening up my eyes and my mind. And lastly, thank you for calling me out on every thing I SAY I am going to do and forcing me to actually DO it.

Jimi Sweet (http://www.jimisweet.com/, http://www.bigcitybaby.com/) – To one of the most under rated photographers I have ever met. Your talent humbles me, your wit floors me and your sarcasm keeps me on my toes. I look at your work and always say to myself: “really? REALLY?” Thank you for keeping me on the cutting edge of technology and not filling my mind with useless gadget chatter.

Greg Konop (http://www.gregjkonop.com/) – To one of my biggest supporters. You force me to become better with every photo shoot I do. Mud ducks included.

Marcus Gary (http://www.legendmanagementgroup.com/) – I thank you sir simply for just you being you and trying to make it a better place for models outside of New York and allowing me to help you mold them.

Kamran Khan (http://www.kamphotography.info/) - I thank you and all your talents, wisdom and patience for molding me into a better photographer and not allowing me to rest on any misconceived laurels I thought I MAY have had. Thank you for the introduction to Marco Grob and thank you for never letting me settle for anything I do.

Zenith Pimentel – To one of the most diligent and hardworking people out there. Thank you for being my homie, lover, friend! Thank you for pushing me when it was needed and thank you for being in my corner. Sometimes I don’t know what I would do without you.

Vaughn Jereaux (http://www.vaughnjereaux.com/) – When talent, craftsmanship and loyalty comes together, there is no other. I thank you for allow me into your sick and twisted world and allowing me to showcase your talent when so many others were trying to take you away.

Tim Johnson (http://www.timjohnsoninternational.com/) – With the talent and ability to shoot with ANY photographer around the world, you STILL decide to let me into your microcosmos. Thank you for training my eye as it pertains to hair. Allowing me to actually SEE hair as a character all unto itself. Thank you for ruining other hair stylists for me.

Steve Reganato (http://www.stevereganato.com/) – If nothing else, you will ALWAYS be my foray into the digital back world. It was YOU who allowed me to enter the realm of the big boys and allowed me to play with “big boy toys”. Without you, I would still be sitting in the corner playing with 35mms.

Sean Toussaint – No matter what ANYONE says, my life would never be what it is today without the famous words of “I cannot teach you photography” From every image I take, to every person I mentor, we ALL owe thanks to you. Without your artistic hand and no nonsense approach you molded me into the artist I am today. I thank you my friend, mentor and teacher. Thank you for making me LOVE film and TOLERATE digital.

Maya Guez (http://www.mayaguezart.com/) – Every artist’s obligation is to mold other artists (either deliberately or subliminally) and I thank you for that. You were (and still are) instrumental in my growth as an artist and photographer. I thank you for letting me into your world and allowing me to say: “Yes, I know Maya, and she is BAD ASS!” There is no one like you in the game and that’s the kind of status I want.

Rick Day (http://www.rickdaynyc.com/) – Thank you for producing the images that you produce, so I can go home and study what it is I need to study. There is nothing more thrilling to have my name mentioned in the same sentence as yours. You force me to stay on my toes and learn to develop myself as an artist and business man.

Stephen Eastwood (http://www.photographersportfolio.com/, http://www.stepheneastwood.com/) – My ultimate goal is to become a Master Of Light. Every blog, every workshop, every lecture, you are the go to man. You taught me how not to hoard information. You taught me how to share what I know. You taught me the true meaning of Light Is Light and without that, I would still be in the dark. Thank you.

Third Ward (http://www.3rdward.com/) – I thank you for allowing me to have a home away from home. I wish I could list everyone’s name individually, but each image I photograph, I love with people say “you shot this HERE?!!!” Oh yeah…

Luqman (http://www.luqmanfotography.com/) – From the very first day I met you, you have been quietly pushing me towards the realm of “that’s where I want to be”. Though you may not know it, you were one of the quiet influentials that have helped me grow as an artist. I thank you Luqman. I thank you very much.

Brian Mann Nance (http://www.mannatwork.net/) – ARIES ARIES ARIES ARIES. Thank you for being an ARIES. Thank you for the phrase “mud duck” Thank you for teaching me the difference between salon hair and shoot hair. Thank you for coining the phrase “illegal cable” and lastly thank you for never abandoning me when you are surrounded by some of the greatest talent in the world.

Damion Gerardo – My heart swells every time you post an image. Regardless if you painted a face, curled a wig, or photographed an image. The growth in your artistry is staggering and it makes my day when I get the text from you: “when are we going to shoot again?” It let’s me know that I am still a viable force in the industry.

Marcus Turner (http://www.marcusturnerphotography.com/) – Oh young Skywalker. You force me to take a hard look at myself and realize my true talent as a teacher, an artist and a technician. You counter everything I say with a “why” and it forces me to learn to say everything I say clearly and concisely. Though your ego is big, your heart is bigger and thank you for making me a better teacher with each passing day.

Stacy Etienne (http://www.stacybephotography.com/) – I see myself in you. I see my eye in you. I see my passion in you. I see my artistry in you. Above all, I see my Love of Photography in you. You teach me as well as show me grace in the arts. You show me where I’ve come from and realized that it doesn’t get EASIER, it gets HARDER, because WE become harder on ourselves. Never change who you are, because you are destined for greatness.

Angel Colon (http://www.steadyhandphotos.com/) – To my soldier boy with disposable income. If nothing else, I thank you for your support and I thank you because every image you take, you become more and more like a beast and you let me know one thing: “yeah, I am a pretty decent teacher.” Light Is Light.

Ivan Hicks (http://www.ivanhicksphotos.com/) – To one of the biggest supports of Light Is Light. I thank you for believing in me when no one else in Philadelphia would. They will see the light one day.

Lamonte Gwynn (http://www.lamontegphotography/) – I thank you for being a supporter of Light Is Light. The constant growth in your work lets me know that I am doing the right thing.

George Favios (http://www.georgefavios.com/) – Thank you to the man that has ALWAYS been in my corner even though he is half way around the world. You let me know that I am better than I am and to keep striving to become even better.

Isaiah Richardson – Of all the models I have ever shot, you have been THE MOST supportive in my career. I thank you. Every job you get, every shoot you do, every movie you make let’s me know that if you just keep grinding, you will be there.

Bruce Weber (http://www.bruceweber.com/) – Thank you for recognizing my talents. That means the world to me.

Lesley Pedraza (http://www.lesleypedraza.com/) – Thank you for just being such a fan and thank you for allowing me to be your friend.

Alva Page – From the runway to the studio, I want you to know that I love you and thank you for helping me mold models.

Rick Crank – To my NC connection. I want to thank you for your support. You’ve been there for me when I needed you the most.

Amy Dresser (http://www.amydresser.com/) – Your retouching skills astound the world. Thank you for allowing me into your vortex and making me a better retoucher.

Jill Greenberg (http://www.jillgreenberg.com/) – With you ramming lighting down my throat, how could I NOT give you a shout out. Thank you, Jill.

Joel Grimes (http://www.joelgrimes.com/) – Though we haven’t met face to face yet, I feel a connection that goes beyond lighting, beyond photography, beyond art. Thank you, Joel. You are an amazing talent.

Adha Zelma (http://www.adhazelma.com/) – Cherise/Sheanon thank you from the bottom of my heart for allowing me to grow with you. You force me to grow and change every single time you walk into my studio. Each time becoming more magnificent than the time before. Rock on, girls.

Thank you to all the endless agencies, models, stylists, makeup artists, hair stylists, designers, bloggers and fans… Without you, there would be no me.

This list will be constantly updated and I am sorry for anyone I have left out. I want you to know I will do my damnedest in the upcoming year to make all of you proud.

Until then, shoot beautifully… Or go home…

BE BETTER THAN

2011-10-05T07:50:00.000-07:00

Babygrand in Film

Art can inspire. It can make you think. It can make you angry. It can make you transcend. From the early years of the Neanderthal man beating on trees to producers making beats using digital instruments, art will always be here to stay.

This blog is an accumulation of things both past and present and being an artist, sometimes it’s about going back to the basics in order to truly understand why I love what I love. I shoot beautiful models, beautiful clothing, beautiful scenes. I use high-end $20,000+ cameras and equally expensive lights. I teach others to go into themselves in order to bring the best out of them. But guess what makes me the most happy? Taking out a dusty old Mamiya medium format film camera and walking the streets capturing a moment in time and when a someone says: “thank you for showing me the way.”

Because of the digital era (be it music, photography, movies), we are constantly (and sometimes violently) moving forward at such an incredible pace for instant gratification that we take the learning curve and toss it aside. We take the craft and theory and throw it out the window and we let our friends tell us just how wonderful we are and we sit on a cushion of self importance thinking “yeah, I’m the shit.”

I remember when I decided to take the professional plunge. I was snapping my photographs with the confidence of Peter Lindbergh, the eye of Helmut Newton and the savvy of Richard Avedon. My friends and family would praise my work and tell me just how wonderful my work was and in my little artistic vortex I believed them. But then I would show the same images to my teachers/mentors and with each photograph, they would chip away at my superego just to let me know that “Dallas, you AIN’T the shit” and after being knocked down a notch or two, I would go back to the drawing board in order to make it better the next go around. This practice continues even today (well not with the friends and family so much, they love me and now are even harder on me) but with my esteemed colleagues and professional peers, because I learned something recently: you will always be better than those who can’t do what you do. It’s when you enter an arena with like-minded equally talented individuals where you realize if your artistry and craft can really stand on its own.

I preach the gospel of “this is YOUR art and don’t let anyone tell you otherwise,” however, there is another side of that coin: “you can always make your art better.” Be it taking a class (or taking a beating), because it forces you to sit back and evaluate who you really are, what you are and why you are the way you are. It doesn’t matter if you are a painter, a singer, a model or a brick layer. It should always be your destiny to be the best you can possibly be, because a better you will make a better me (you may not get that right now, but one day you will).

I don’t know a lot about life, I just know enough to where it made me the person I am today, and because of that, I am able to help the next person become the better person they are today. It may be as simple as listening. It may be as simple as showing. It may be as simple as knowing all the answers and being smart enough to shut up and let them figure it out for themselves (and offering that helping hand when needed).

My quest for today isn’t about being better than you. It’s about being better than me.

Think about it.

THE DALLAS EXPERIENCE

2011-09-13T08:04:00.000-07:00

Couple in Brooklyn

Second blog in the month of September and the month isn’t even at the half way mark. This is pretty good for me. Fashion Week is about to wind down in a couple of days, so that means shortly thereafter, I will be back into full-swing again. Nice vacation (if you want to call it that).

The reason for this blog (which is another one geared totally to photographers) is about what we do as it pertains to the industry. When it comes to working (be it a bus driver, a pastry chef, a teacher or a judge), we do one of two things. We either provide a service, or we provide goods. In some instances, we provide both.

And photographers, that is we do, we provide a service (photography) and lastly goods (photographs).

So what separates you from the next photographer? What makes a client decide to shoot with you instead of going to a competitor, and lastly, what makes that client become a repeat customer? The bottom line is: YOU.

My friend and world renowned runway coach Michael Maddox said something to me one time that he tells models all the time and it’s stuck with me: “get it right the first time and they will come back.”

If you provide shoddy service, and a substandard product, trust me, they will not come back. It’s the simple difference of going to a restaurant and in Restaurant A you have to always ask for water, and in Restaurant B, your glass is never empty. Guess which restaurant will get the repeat patronage? It’s the little things and attention to detail that will keep the client coming back.

I had a client come to me a few years ago for a photoshoot. She never had a photoshoot before, and it was a treat to herself. I provided hair, makeup, styling and of course photography. All she had to do was come through, relax and have a good time.

Even prior to shooting, I gave her the information of my crew so they can get her prepped for whatever items she may need, so when time came for her photo shoot, she walked into the studio as if it were a party and she was the guest of honor. In all, she received “The Dallas Experience.” To this very day she says “I’ve never had a photoshoot like that in my entire life. When you are served filet mignon, how the hell can you go back to baloney?” When people ask her my rate, they balk, and she replies every single time: “you get what you pay for.”

And it made me think. That is what I have that separates me from the next photographer and that is what separates the good photographers from the great photographers and ultimately, that is what keeps them coming back.

It doesn’t matter if you produce stellar images, but the experience was awful. By the end of the day, the only thing the client will remember is the bad experience. If you produce a stellar product AND give them an experience that they can remember, they will do two things:

1. Become a repeat customer; and
2. Tell others about their experience with you

And in the end, that is what you want.

It doesn’t matter if I shoot a model, a family portrait or a corporate executive. They come to me to have their photograph taken, they leave me having had an experience.

That is ultimately what you provide as a photographer: an experience.

Always make it a good one.

DOES IT BENEFIT YOUR BOOK?

2011-09-01T07:52:00.000-07:00

Model: Kate Moss
Photographer: Mario Testino

My first blog for September, my dear readers. The air is getting that nice little crisp feel. School is about to start and before you know it, we will have little children running along the streets screaming “trick or treat.” I love the fall. It’s the start of the new fashion season. I have my September issue of Vogue and admiring the work Anna Wintour has put together for the upcoming fashion year (by the way, Kate Moss must’ve made a pact with the devil, she looks AMAZING on the cover), and in a few days, New York’s Fashion Week will be upon us. I can’t wait.

When Fashion Week comes around it is honestly a rest period for me. I am not one of the photographers that frequent the events. I am certainly not a runway photographer. I like to sit at home, tune in to the Fashion Network from the privacy of my home (in between bouts of retouching) and recap the day’s events.

Today’s blog, however, isn’t about Fashion or New York’s Fashion Week. It is about the rights and wrongs of a model’s portfolio.

In previous blogs, I’ve discussed the importance of choosing the right photographer, the importance of not being a photowhore, and lastly understanding yourself as it pertains to branding. Today we will discuss the importance of your hardbook portfolio and why.

When people actually see my book for the first time, they marvel at the fact that I don’t have a lot of men in my book. What I mean by that is this: if you Google me, or look at my photography on Facebook, lots of times it is inundated with scantily clad men, in various states of undress, most often wet, most often in various forms of sexual arousal. So upon meeting me, they open my book and are amazed that none of those images are in my hardbook portfolio. Then they asked why.

“I am a primarily a beauty and fashion photographer, shooting these guys do not benefit my book.”

I will repeat that. Shooting these guys do not benefit my book (however, it does benefit THEIRS). If you learn nothing else today, being a model, when you decide to shoot with a photographer, how does that benefit YOU?

As I stated before, there should be a handful of reasons why you should shoot with any photographer during your modeling career.

A. Portfolio building

B. Magazine submission

C. Work related (commercial usage, campaigns, etc.)

D. Payment

E. Development

There are lots of times I have come across models’ portfolios and I see beautiful artistic work, where the model is not featured, their face is hidden, or the model just isn’t showcased properly. The first question I always ask is this: “What was this shot for?” If your answer is “I shot it for my book.” Then you need some serious evaluation.

Your portfolio is a representation of you. It should always show you in the best possible light. Your book should be photograph after photograph after photograph of photographic wonder based on you. A lot of models have this undying need to want to do couples shoots. Why? Does it benefit your book? Unless it’s going to be used for something, it is honestly useless to you. What if the other model is better looking than you? What if the other model is more dynamic than you? What if other the model is awful? All of these factors play in the aspect of bringing down your modeling stock. Therefore, is it honestly worth it?

There will be times when a photographer may want to do some “over the top work” with you. Outrageous costumes, dramatic lighting, “avant-garde” makeup. The photos are fabulous – but for the photographer. This won’t benefit your book, unless, of course, it is going to be used for something, so when the question comes up “what was this shot for?” you can proudly give the answer. So can you see where this is going?

There will be times when you will have shoots, and your agent will not use at all. You may like them, they may be hot, but they may not be a good photographic representation of you, or it may not be a “look” in which the agent wants to market you. So therefore, these photos will not benefit you.

If you were to look at a photographer’s portfolio, every single image in that book should be there to showcase THEIR work, THEIR lighting, THEIR concepts, THEIR angles, THEIR photographic prowess, because the bottom line is, they are trying to get booked. So the next time you see me and get a chance to look at my portfolio, now you will know the reason why my book is not filled with a bunch of naked male models.

Because it didn’t benefit my book. Think about it.

IT IS NOT YOUR TIME... YET

2011-08-19T07:33:00.000-07:00

Rivers of Re:Quest Model Management

Can you believe I am writing yet ANOTHER blog? I know, I know. But I do have one thing to say. Do NOT get used to it. It is a paranormal activity that should be passing very soon, but enjoy the ride now while you can. Now on to the blog.

A lot of us want to be famous. A lot of us want to be rich. A lot of us want to be recognized for our talents, looks and gifts and a lot of us want it NOW. I remember when I first picked up my camera and realized this is what I wanted to do, I was ready to grace the covers of Vogue and wanted to see my images on billboards that littered the Champs-Elysees avenue in Paris, France. I would look at my images and imagine to myself, “yes, these images are JUST as good as Ritts, Weber and Meisel!” (God was I a lofty one!) But as I matured in my craft and artistry, I looked back on those images, and they compared to Bruce Weber like a child’s coloring book rendition compared to a Picasso.

But I digress. Right now with more than 5 years in the professional game, I am JUST starting to make some noise. I am JUST starting to see the fruits of my labor and I am JUST starting to make a name for myself. It took five years. FIVE LONG YEARS and even though I have influential art buyers looking at my work and making major decisions based on the images I place before them, I am STILL a ways off from shooting Kate Moss for the cover of Vogue or Jon Kortajarena for a billboard for Tom Ford and you know why? It has nothing to do with talent, skill set or know how. It just isn’t my time yet, hence the title of this blog.

Show business is a tricky industry (yes, fashion photography falls under show business). The race is paced differently for each and every individual. Just because you’re a vocalist that sounds like Mariah Carey with the looks of Eva Mendez and the talent of Missy Elliott doesn’t mean that you should pop on the scene the moment you laid a vocal track. It doesn’t work that way.

The same holds true for models. Just because you’ve done one test shoot, got signed to an agency, you think you’re ready for the big times. It doesn’t happen like that. If it did, everyone would be a supermodel and there would be nothing “special” about you and since you didn’t put any sweat equity into your career, you won’t appreciate the rewards.

The reason for this blog was recently I had a couple of conversations with a couple of models. Model A at the moment appears to be on a meteoric rise. His face is getting known, he is getting snatched up by agencies from coast to coast. He is making a little bit of noise, HOWEVER, he isn’t a superstar yet. He hasn’t done any major work, and he hasn’t walked his first fashion show. Could he be an international star? Maybe. Only time will tell. He hasn’t paid his “karmic” dues yet, and the only thing he suffers from now is the agony when he gets dropped from a job. Sometimes I am glad he gets dropped. It humbles him a little bit and it tells him something. It is not his time yet.

But Model B has a completely different story. Beautiful man, uprooted his life and made his way to a metropolitan city from a small town in the South. He thought he was going to step off the plane, walk into a modeling agency and then step onto the billboard with the ranks of Tyson Beckford. Never mind that he was new face in a new city. Never mind that he didn’t have a secure place to live or a steady income. Never mind that his book needed to be worked on and built so he can compete with the likes of Model A or better. He just thought that he was going to come take the world by storm and why hasn’t it happened? I can tell you why. It is not his time yet.

I wrote a blog called “It Takes A Success Team to Build A Successful Model” (http://dallasjlogan.blogspot.com/2010/09/it-takes-successful-team-to-build.html). The reason for the blog was, by the time you’ve seen these models (or actors, or singers, or writers, or photographers or, etc. etc. etc.) reach the level of fame that they have achieved, there is a lot of behind the scenes negotiations that are taking place. You don’t just take a photograph and appear on a billboard. There are castings, meetings, focus groups, lawyers negotiations, agents negotiations, manager negotiations, photographer selections, the list is endless. There are late night phone calls, clandestine meetings, sometime even arguments and strong discussions of persuasions, because every model is not for every body. Just because I took a beautiful photograph of you doesn’t mean that the powers that be are going to think you are beautiful, too (please read “Who the Fuck are You?” http://dallasjlogan.blogspot.com/2010/03/who-fuck-are-you.html).

Patience, faith and loyalty are a far more paramount equity in this business than a beautiful face, abs and a great smile. It takes time to rise up the industry ladder. It takes times to develop those relationships in order to make the good things happen. And while you are sitting there wondering why it appears that Model A is getting all the play, and you’re not, I can answer it in one simple sentence. It is not your time… yet.

Think about it.

CONTROLLING YOUR BRAND

2011-08-12T12:39:00.000-07:00

Tiana Young for Emerald Essence Makeup

There is a lot of malice in the world today. Most of it is intentional. People hating on you for whatever reason. Spreading lies, gossip and ill-will. Unfortunately you cannot control all the bad publicity that may come your way, when a person hates on you it let’s you know one thing. You MUST be doing something right. So guess what? Continue doing it.

But there is that second type of malice that comes under the radar that if you don’t pay attention you just might miss it and sometimes that malice may even come innocently enough from yourself, and that is the reason for this blog.

Today’s world is built on a phrase known as “branding”. And for the neophytes, a lot of people misconstrue branding as just the “image” of themselves. As long as a good photo is floating around out there about them, then you would seem to guess that that is the only thing you need to worry about, right?

WRONG!

In my previous blog “Stop It!” (http://dallasjlogan.blogspot.com/2011/08/stop-it.html) I discussed the importance of not being a Photo Whore and producing the best possible images with the best possible photographers. If you go through my blogs you will see a history of me discussing doing the best possible image of you that can possibly be done. But in this blog I am going to discuss the “whys”.

True Stories

Story One: A friend of mine came to my studio for a fun shoot. We were just killing time and she got in front of my lens and we took harmless photographs. She was playing in a tee-shirt, big smiles, great images. She posted them somewhere on the internet (this was 4 years ago). Fast forward, she applied for a job in Finance. They ran an internet search on her and these images came up. Needless to say she didn’t get the job. Why? They felt that “she was not a good person to suit the representation of their company.”

Story Two: A model is applying for a television show. She got in contact with all the photographers that she worked with because the network wanted to use her images. During the time of shooting her, I was featured on a retouching blog which showcased her image. This time she did an Internet Search which brought that blog to light. She begged me to have it removed. Fortunately there was enough time and we got the blog changed. She did make it to the television show, but things could’ve went a completely different way if I didn’t have that blog pulled. We will never know.

Story Three: A male model was trying make some extra money before he decided that he wanted to become an actual legit model. He was featured in some underground pornographic videos. It didn’t take long for them to surface. The major modeling agency he was signed to had to drop him immediately. A major company is not going to have you represent them and you are tied to activities that can sully the name.

All three instances above ALL have to do with branding. The public’s perception of who you are. It didn’t matter that the girl in the first story was doing something on her own time, in a time of her life that she wasn’t thinking of even joining a finance company, but her “brand” was viewed in a negative light. The second story the girl simply had poor skin at the time of the shoot, the third was a simple case of “you do what you have to do to eat.” I get it. I don’t hold judgment, however, the major populace does. Even with me, there are times I have to step away from projects, because they may be viewed in a negative light (no pun intended).

Branding covers everything that is publicly known about you and it only takes a single indiscretion about you that can put you in an unfavorable light. So when you are being cavalier with the attitude of "I don't care" realize that it may come back one day. You must be aware of yourself and your image and how you are portrayed at all times. In the world of instant information, anyone can do a simple search on the internet and find anything they want about you, without your control, or your knowledge. So when information/photos/stories/interviews/blogs are released about you, you should know at all times what is going on if you have control over it. There is an old saying “you are only as good as your last __________________” [I will allow you to fill in the blanks].

So when I come along and tell you about shooting with bad photographers there is a reason why. If I tell you not to associate yourself with a project, there is a reason why. If I tell you not to release something about you, there is a reason why.

There is also a reason why Google exists. Use it and use it often.

STOP IT!

2011-08-05T09:55:00.000-07:00

Marisa of Fenton Moon

Hey Blog followers. It’s been a while since I’ve posted and I have to apologize for that (yeah, I know. You don’t want to hear it). For real, though. It’s hard for me to just right a random blog. My blogs have to be inspired (or I should say triggered from something that I occurred in my life) and it affects me so much that I am compelled to write about it.

This blog may come across conceited and that is sooooooo not the case, but lately (well honestly it’s been a while). I’ve been noticing a really poor trend. Photo whores.

Photo whores? What’s that you asked? Well a photo whore is a model (or “model”) that likes to amass lots of photographs of themselves for no apparent reason. They are constantly shooting and “building their book” when there is no need to do so. They stalk photographers in hopes to get shot so they can get bragging rights, or if nothing else “hot” photographs (please see previous blog: “Don’t Shoot With Me” http://dallasjlogan.blogspot.com/2011/04/dont-shoot-with-me.html) I never really understood the mind of the photo whore, but I guess it’s no different than the GWC (Guy With Camera) trying to get as many “models” in front of their camera for no apparent reason (except I guess to get them naked - that's ANOTHER blog for another time).

Well there are two types of Photo Whores. Those that amass quality photos from quality photographers. They want to build their book with the best possible images that they can. They are constantly testing upward and constantly looking for better photographs and constantly trying to keep their look “fresh” in the public’s eye and then there is the “model” that just doesn’t give a damn. And guess what “model”? This blog is just for you.

When you are running around and jumping in front of every Tom, Dick and Harry’s camera without the understanding of how it is going to benefit you, you produce poor photographs. Because of the poor photographs, you develop a reputation which tells professional photographers to steer clear of you, because you are not considered serious. It also lets quality photographers know that you have no idea what you are doing and you don’t know quality, so why should we waste our time with you.

I am constantly approached by “models” wanting to shoot with me, and I look at their track record of photography. When I see their photographic line up and it is full of poor photographs, bad retouching, awful, unattractive angles, inexperienced lighting, etc., I then ask “why do you want to shoot with me.” The usual retort is “because you will give me quality images (aka “hotness.”) I always wonder to myself: “then why did you shoot with all these bad photographers?” At this point I honestly do not wish to shoot with you, because you wouldn’t know “hotness” if it landed on you in a RangeRover SUV.

True Story:

There was a beautiful female model that I shot for a hair campaign. I always wanted to work with her. She was new to New York and I was one of the first photographers to work with her (this time I am bragging). We produced beautiful photographs and she proudly displayed me in her book.

Whenever she want to castings, my photo was usually the opening image shortly followed by a series of photos that could not compete. She never got called back. Why? “Her photos are inconsistent. She looked great in one set of photos, but the rest turned out to be garbage” This is the words from the Casting Director’s own lips. “We can see that she is beautiful, but we cannot tell if she can PHOTOGRAPH beautifully, because she was only photographed well one time. The rest of her book is garbage.” So in essence, my photos of her, though good, was killing her career, because the other images could not compete. This is not a bragging right situation. This is a wake up situation. CHOOSE YOUR PHOTOGRAPHERS WISELY.

Good photographers like to be in the company of good photographers. It tells us that you value our work, and the work of our peers and that you wish to produce the best possible photos for your portfolio. Like I said in the previous blog: If our photos are not doing their jobs, then we as the photographer are not doing OUR job.

Again, “models,” this is YOUR career. If you don’t want to take it seriously and want to shoot with inept photographers keep doing so. I guess working at Hollister is all you'll ever want to do.

Think about it.

WHEN SHOOTING IS NOT SEXY

2011-06-02T08:58:00.000-07:00

I am FINALLY going to write a blog geared strictly to photographers. It’s not about how to deal with models. It is not about the perils we go through in a photoshoot. It is not about discussing anything about bootcamp (finally a blog without bootcamp). I am discussing some serious issues that photographers face with regards to this business known as photography.

Photography can be a very sexy and exciting occupation. You are surrounded by beautiful people, exotic locations and ending up with magnificent billboards, magazine covers and big ad campaigns. It is there for the taking. But something a lot of photographers fail to realize, those jobs are really hard to come by and secondly, you don’t get them overnight.

So what does one do when they are sitting there waiting for GQ to contact them? You have to build a consistent form of revenue if you wish to stay alive in this business and now it is time to discuss the unsexy business aspects of this business, hence the title of this blog.

To a lot of people photography is just photography. If you own a camera, you can shoot a wedding. If you own a camera you can shoot an event. If you own a camera you can shoot a magazine spread, and we (photographers at least) know that this is soooooooo not the case.

I’ve been the conssumate professional in this arena for five years now, and it is JUST now that I am finally turning a profit and making sustainable income. Could I have done it faster? Quite possibly, but then I didn’t have anyone schooling me along the way in the business aspect and a lot of work came through hit and miss.

I try to tell upcoming photographers that you do not make a lot of money testing for modeling agencies. The market is flooded with photographers that are probably a lot better than you that will shoot beautiful models for free, so it would behoove a modeling agency to go with the photographer that is free than to actually pay you to shoot their models. Models don’t have a lot of money, so if you are lucky, you MIGHT make $300.00 on a test shoot. If it is a female, you will have to pay someone for hair and makeup. You may have to pay someone for styling, so in the end, you end up LOSING money shooting for an agency. How does one counter that? Shoot 4-5 models in a single day. Discuss a flat rate with the crew and everyone will walk away with something for their books and a little something in their pockets. If you can book 4-5 models in a single shot you stand to make $1,200.00 – $1,500.00 for the day. Which is why a lot of photographers will shoot males. A lot less overhead and a lot more money in their pocket. If you are lucky enough to book this three times in a single week, that can make anywhere from $3,600.00 – $4,500.00 for the week. Not bad for a week's worth of work. But when you get down to the nitty-gritty of this, that turns out to be 20 – 25 models you will shoot in a single week. That is A LOT of work. So in the end you will EARN that $4,500.00. When you do test shoots, it is not about the bells and whistles. It is about getting the models in there and getting them out. New York photographer Rick Day (http://www.rickdaynyc.com/) does a complete 3-5 look shoot in a matter of 45 minutes to an hour. You can’t devote a 4-5 hour session to a test shoot. It turns out not to be cost effective.

So how do you make an agency send you 4-5 models at a single time? Who says it has to all come from a single agency? If you pull a single model from 5 agencies, you got five models. You develop a formula and shoot them all the same way (or in a similar style), so you're not playing with lights and trying to get all artsy (save that when you shoot YOUR work). Right now it is about a business, and this is why you see some photographers work and it appears to be the same thing over and over again. They don’t have the time to sit up there and changing lighting set ups, building sets and doing crazy styling. Look at the work of New York photographer Shameer Khan (http://shameerkhan.blogspot.com/), he has all the major agencies practically eating out the palm of his hand with very little overhead (if any). When you are testing for an agency, all they need are clear concise images of their models so they can be booked for paying gigs. That is the job of a testing photographer.

Not all money will come from agencies and you have to develop an income that will sustain you over the course of a year. I shoot corporate headshots for many of the law firms in New York City. Is it glamourous? Hell no, but guess what? A single headshot from any given photographer can run from $150.00 – $300.00 depending on the deals you work out. If you are lucky they will keep you on “staff” and when they get new hires (which usually happens after the summer), you will be called in to shoot their headshots. So at $300.00 a pop a session of 10 lawyers that is $3,000.00 just for headshots. Nothing changes, they sit, you click, you’re done. Something to think about.

I do work for various clothing manufacturers for their websites. They will contact me to shoot clothing for their websites. INCREDIBLY unglamourous. But for a quick $3,500.00, you go in, you shoot clothing on mannequins, you are out. My last shoot was shooting Christmas sweaters. They had a complete staff. All I had to was shoot front, side and rear of each sweater. It was boring as hell, but it got the job done. So you see where this is going.

There are multitudes of ways of making money as a photographer where in some instances a model isn’t even part of the equation:

Food
Architecture
Actors
Theatre
Furniture
Forensic
Crime
Art
Street
Dental
Product
Wedding
Event
Court
Pet
Children
School portrait
Insurance
Sports
Photojournalism
Landscape
Still life
Abstract
Marine
Paparrazzi.

Art galleries need to have their artwork photograph for catalogue and insurance purposes. Insurance companies need work photograph for insurance purposes. Schools need to have their students photographs taken. College campuses need photographs taken for their brochures. Law firms need exhibit photographs for court cases. Real estate companies need photographs for their listings. The list is endless and there is NOTHING sexy about it. The only thing that is holding you back is that you are sitting by the phone waiting for that phone call from Vogue.

Think about it.

JUST HOW BAD DO YOU REALLY WANT IT?

2011-05-20T10:41:00.000-07:00

Model: Sandley Jonathas
This blog was originally going to be titled: “Sabotage Yourself, Not Me!” and as I thought about it, I realized that it may seem like a regurgitation of my previous blog (Self Sabotage - What Models Do Best http://dallasjlogan.blogspot.com/2010/07/self-sabotage-what-models-do-best.html), and in some ways it is, but now it’s coming from a different point of view.

I don’t like to do a lot of testing of models. Firstly, it doesn’t make me any true money, most often it usually isn’t anything I am going to use in my book and lastly, when doing test, as a photographer you don’t have complete control over the shoot.

Let me repeat that again. As a photographer, you don’t have complete control over the shoot.

An agency would hit me up and they will tell me what they need for a model. I comply. If I am inspired by the model, sometimes I may push their limitations and boundaries, because you see, if this is a business you REALLY want to get into, just how bad do you really want it? Most often if I can get the model to come out of themselves and push them out of their comfort zone, the agency is ultimately pleased.

When you live in a fashion capital like New York, or Paris, or London, or Japan and you are a model from some rural part of the world, you have to realize that when you come to these places it is a different ballgame when it comes to modeling. Things you may have done in let’s say Memphis or Michigan or even Philadelphia may be considered “hot” in those locations won’t hold a candle to what is happening in the real world of modeling.

A lot of would be hopefuls make the trip to the Big Apple in hopes of becoming a star and quickly realize that the thing that may have made them “hot” in their hometown means nothing to us in the big cities. There isn’t too much we haven’t seen, done or experience, so when you bring your closed minded, hillbilly ways to us to try to mold you, you allow your upbrining and beliefs to hold you back.

Let me repeat that again. You allow your upbringing and beliefs to hold you back.

So you go into a photoshoot and the well known, well established photographer says get naked, you, the model panic and reluctantly get undress. The well known, well established photographer tries to photograph you, you come across stiff, scared, nervous (for whatever preconceived reasons you may have). If you are lucky, you produce some stellar images (again, IF you are lucky). They are beautiful, they are tasteful, they blow away anything you ever shot before, and guess what you do with them? Nothing. Because you are afraid of the backlash of friends, families and loved ones (please read: Who Are You Modeling For? http://dallasjlogan.blogspot.com/2010/09/who-are-you-modeling-for.html).

So we the photographer know our job and knows what it takes to get you where you need to go, but now we can’t. Why? Because YOU are afraid to go there. Well here is a dose of reality: the next model WILL go there. The next model WILL take the necessary steps to do what needs to be done. The next model could care less what their friends, families and loved one thinks. The next model WILL book the campaign but guess what you will get?

A bus ride back to Bubblefuck USA.

Think about it.

HOW’S THAT PHOTOGRAPHY THING COMING ALONG?

2011-05-05T10:24:00.000-07:00

Naoumie Ekiko of Q Models

A beautiful aspiring model said to me last night “Well I am going to give this modeling thing a chance...” I had to stop him immediately. No matter what you do in life, in order to be successful, you have to give it 150% or nothing at all. It is just that simple. I don’t care if you are a model, a surgeon, or a Navy SEAL. No one can take your passion away from you and no one can make it more important than you. Remember that.

For those people who are not in the arts (be it dance, music, painting, etc.), they don’t truly understand what it is to have a driving artistic passion. They look at what we do as hobbies, or something to do to pass the time, or better yet… A phase.

It is usually met with the question of “How is that [FILL IN THE BLANK] thing coming along?” I have to give pause to such a question, because if you actually THINK about it, it really is an insult. Do you go to a doctor and say “how is that medical thing coming along?” Do you go to a lawyer and say “how is that lawyer thing coming along?” Do you go to a married person and say “how is that marriage thing coming along?” Of course not. So why do you belittle what we do and reduce it to a “thing”? Is it the monetary aspect? If I made the salary of Bruce Weber or Steven Meisel and had billboards at the Crossroads of the World, would that make me more legit?

When I first embarked SERIOUSLY into photography, I got that question a lot and at first it didn’t bother me. I guess in their eyes, what I was doing was a hobby or side hustle. But as I proceeded to bust my ass with sleepless nights and endless hours of technical study. Learning to understand focal planes, memorizing mathematical equations that resulted in Fstops or understanding the science of light, I realized very quickly that this was not a “thing” that I was doing. It was a serious, unadulterated craft that I was partaking in and I won’t let anyone take that away from me.

I remember something that my mother said when I was a teenager. “Be the best that you can possibly be, and never be ashamed.” I walk with that quote in my heart and little did she know, she planted a seed of personal excellence in my heart. Anything I decided to do in my life I did it to its fullest. When I sang, I practiced a minimum of 4 hours a day. Due to that intense training, I received a full scholarship for college and traveled the world. When I decided to become a personal trainer (yes, believe it or not), I took it to the level of Master Trainer, when I decided to pick up the camera, I decided to be the best that I could possibly be (and I am still on that journey).

If you know anyone in the arts (be it your child, loved one or friend), encourage their gifts. Never doubt their talents or ability. It can make the difference between a John Doe and a Michael Jordan.

If you’re a model, pose like Kate Moss and walk like Naomi Campbell.
If you’re a singer, be sure to make God cry and the angels weep.
If you're an actor, deliver your lines like Lawrence Olivier and light up the screen like Elizabeth Taylor.
If you're a dancer, glide like Gene Kelly and moonwalk like Michael Jackson.
If you’re an artist, paint like DaVinci, and sculpt like Michaelangelo
If you’re a photographer, shoot like Avedon, and light like the sun.

But above all else. Never let ANYONE reduce your passion to a “thing.”

Think about it.

THANK YOU FOR MY BIRTHDAY

2011-05-03T12:27:00.000-07:00

The Special Greeting That Went out on Facebook

Hey everyone. It took me a moment to gather my thoughts when it came to writing this blog, so forgive me if you find it long or boring or long overdue.

A wise person once said, “if you want to know someone, meet their friends.” It has been a mantra that I’ve stuck by my entire adult life.

I know a lot of people. When I say a lot, I mean hundreds (possibly thousands), however, I have very very few true friends. In my cultivation of friends and loved ones, I have been blessed by God to have amazing and wonderful people in my inner group and because of them, I feel complete. Because of my completion through these people, I never desired material things to bring me happiness. An iPad would be nice, don’t get me wrong, but a call from a friend to say “I love you” is far more valuable.

The reason for this blog is simple. I want to thank the people in my life that made my 45th (ugh) birthday the most amazing one I have ever had. To give you a little background on me, I have never really REALLY been fond of my birthday. When my family moved to New York in 1980, my father passed away the day before my 14th birthday due to the over consumption of alcohol. It was a VERY devastating time for me. We were new to New York, I had little to no friends and no one to turn to. In a time where entering my teenage years, a male (especially one of color) needs a positive male role model in their life was suddenly gone and I was then had to grow up and become a man. My father was my best friend, confidant, rock and shoulder. When he was removed from my life, I was never the same (for years). He gave me my first life’s lesson: we all will die one day. And because of that lesson, I no longer fear death. It is beyond our control.

Therefore, my birthday was never a truly joyous occasion for me. In my twenties I had my first surprise birthday party and I met that with reluctance (much apologies to the people involved with that [Kare Alford and Daryl Goodwin]) and throughout the years, my friends have learned that when it was Dallas’ birthday, don’t make a big deal. It is just another Tuesday or Wednesday, or whatever day it may have fallen on in a particular year. Because they loved me, they honored it. And because of their love, I never thought the need or want for anything. I was complete.

I have always been the solid foundation in all my friends’ lives. If anything was ever needed, they know that they can always call on me, and if I couldn’t do whatever was needed, I made it a point to make sure I can find someone, somewhere to get it done. However, when the roles were reversed, I often shunned the offers. I always took the stance of I can do this myself.

One day a friend of mine wanted to do something for me, I turned him down, he replied with tears in his eyes (and I will never forget): “you are the only person I know that can make someone feel bad when they want to do something nice for you.” It hurt me to my heart, and from that point onward, I never did that again.

So now that you have an understanding of my sick and twisted pysche, let’s fast forward to my actual birthday, which fell on a Wednesday in the year of 2011. It was the first time that I actually told myself I was not going to work. So I moved away from the camera, the Wacom tablet and from the computer and just decided to enjoy the day. It was a gorgeous day for April in New York (which was the birthday gift from Mother Nature).

As I am relishing in my day off feeling naughty, I hear a song linger through the apartment I share with my best friend, Butch Johnson.

“Thank you for being a friend,
Traveled down the road and back again
your heart is true you're a pal and a confidant
And if you threw a party
Invited everyone you knew
You would see, the biggest gift would be from me
and the card attached would say,
Thank you for being a friend.” (For those of you who don't know, it's the theme song to "Golden Girls")

The Results of That Special Greeting

As Butch entered into my room, in his arm was a wicker basket overflowing with birthday cards from around the globe. My good friend and business partner, Michael Maddox (with his magical team of supermodel helpers) commandeered Facebook and made my birthday one that I will never forget.

I received cards from as far as France and Japan, well wishes from everyone and anyone on Facebook as well as birthday video greetings. The moment was so overwhelming that I had to take a moment and thank God for the people in my life and I actually took another moment to cry.

I am not a person who likes a lot of fanfare and I personally will never know HOW they pulled it off (now as I write this blog, I NOW know why I didn’t get any mail two weeks prior to my birthday). Cards came for almost two weeks after, which is why it took me so long to write this blog (I wanted to make sure I said thank you to EVERYONE).

I want to thank:

Michael Maddox (for everything!)
Ursula M. Alberto
Cristian Alexander
Vince Allen
Sanba-Naudin Babacar (all the way from France)
Zion Babb
Jayce Baron
Brian Baskins
Adi Batista
Charlotte Berry (thank you for a great lunch!)
Tonya Blowe
Mark Bower
Chris Bowie
John Brathwaite
Catherine Brown
Ella Brown
Jeff Brown
Jeremy Brown
Jordan Brown
Noah Brown
Donna Buch
Michael J. Butler
Kevin Calloway
Michael Calloway
Brendon Campbell
White Cedar (all the way from the west coast of Canada)
Kaila Charice
Kelleen Lim Chea
Pearl Chin (there is nothing like You and Haru!!!)
Iris Colburn
Stephen Cole
Lloyd Cook
DeAngelo Davis
Tina Davis
Rick Day
Cassie Dee
Sheree Devereaux
Destinee Dickerson
Melvin Diggs
Robert Dowdy
Isaisah Duckson
Lauren Dundee
Brown Family
Barbie Flores
Shae Fontaine
Terrel Fraser
FaceBook Friends
Philip Gadsden
Leo Gallo
Mother Gallo
Armond D. Goodin
“Hercules” Lamar Gordon
Rick Gore
Courtney Grant
Chris Gray (Kobe!!!!)
Cottrell Guidry (to my fellow James Baldwin fan, thank you!)
Amber Guzman
Joseph Hall
Nick Hamilton
Rich Hardt
Petra Hayek
Gretchen Hemmi (for the delicious hand delivered carrot cake)
Lendl Henderson
Justin Ceasar Hingleton (beautiful basket!)
JoAnne Hoffman
Remy Hou
Broderick Hunter (please, don't sing... just model)
Stephanie Morris Hunter
Cuffy Johnson
Butch Johnson (for suffering through it)
Tim Johnson
Willie Johnson III
Ebony Jointer (from Tokyo, Japan)
Sherian Jones
Steph Jones (loved the video! You have a great voice!)
Claudia Jordan
Greg Konop
Russel Krus
Shelby Lackey
Jae Lamar
Nathanial Lamar
Seth London
Brandon Lucas
Manderson (of Austin Texas)
Maretini Manumalo
Goldin Martinez
Autumn McCauley
Dwight McMillian
Erica Mitte (and company)
Caroline Monteverdi
Michael Moore
Ne’Kandra Muhammed
Yusuf Myers (what a way to end the night MOJITOS!)
Eric Nagle
Megan Newberry
Morris Nuamah
Alva Page
Billy Payne
Spencer Phillips
Zenith Pimental
Esquire Quarterman
Ajaya Ram
Max Reed (the first card delivered!!!!)
Arlene Rewti
Brandon Rice
Tim Ricks
Dennis Robinson
Daniel Rogers
Mamadou Sall
Sergio Sanders
Kristine Scott
Justin Shaw
Ursula Sumler
Jimi Sweet
Dushawn Tapper
Brandon Thomas (A shout out to the most hilarious video!!!)
Nicole Thompson
Jaimes Timas
Retta Timmons (AKA NextLevel)
Cherise Trahan
Marcus Turner (I LOVE my cereal!!!!)
Carlene & Tyone (Thai)
Agu Ukaogo
Alexis Upton
Carla Walker
Andre Washington (God, if I could sing like you)
Elijah Wells (you better SING!)
Sharon White
Maria Whitjett
Ryan Wills
B.J. Williams
Ronald Williams
D’Angelo Wilson
Zack Yanni
Marlon Yates
Jennifer (of Medford Oregon)
Residents of 819 Hoffman Avenue

For anyone I could’ve possibly left out, please accept my apologies. It’s been a little overwhelming. Thank you for making my birthday a very special one.

Until next time…

YEAR FIVE: THE YEAR OF THE LIGHT

2011-04-13T08:05:00.000-07:00

Happy Anniversary to me.

Yes, I am now embarking on year five of my career. Who would believe it? My anniversary always creeps up on me and how I remember is when I am about to do my taxes (yeah, I am one of those always rushing to the post office on the 15th trying to make the deadline). That’s how artists are.

But some other things have come to my attention as well over the past five years:

I haven’t been in a serious relationship in the past five years
I’ve let my body go to pot in the past five years (believe it or not, I used to look a lot like the models I shoot).
I’ve been financially struggling for the past five years (every dime I have ever made went back into my artistry in forms of studio rent, insurance, lights, cameras, retouching tablets, lenses, portfolios, prints, frames, modifiers, lunch dates, retouching lessons, computers, rams and the list goes on)
I haven’t had a real vacation in the past five years

And guess what? I don’t regret any of it.

But some amazing things have happened as well:

My lighting seminar “Light Is Light” is making some noise (I am being asked to take the show on the road)
My first lighting book is complete and in the works for creating a DVD tutorial
About to appear on some major television shows.
Shot more campaigns (in hair, beauty and fashion)
My name and photography are now recognizable from coast to coast and in Europe

So, yeah, I have to admit making some major sacrifices in my life for my art has gotten me where I am today. Am I appearing on billboards at the Crossroads of the World? Not yet, but I feel deep down inside that yes, one day it will. Just wait and see.

But the most important thing that has occurred in this journey that has struck a nerve is this: my ability to transform lives. I’ve shown models their true beauty even when they didn’t see it. I’ve inspired photographers to better their crafts. I’ve even help launch careers in some of the unlikeliest of people. You never know who you touch with your artistry and when I get an email from some unknown person saying: “Your work has inspired me, one day I want to be like you.” That makes me feel good inside. That I can take a photograph that will move someone so much that they want to be just like me, like I want to be just like Herb Ritts, or Bruce Weber, or Richard Avedon.

All the long, laborious nights of staying up late studying photographs. All the trips to the museums to see how the Renaissance masters painted with light. All the times I would walk the streets of New York and wonder just how God’s light affected my vision. I wouldn’t change it for anything in the world.

Today my passion for this art is as strong as it was since I began this mission.

I want to thank you all of you who believe in me. I vow to never let you down.

I want to thank the models that seek me out.

I want to thank the designers that allow me to bring their creations to life.

I want to thank the art buyers that push to use me.

I want to thank the art directors that marvel at my light.

I want to thank the creative directors that push me out of my comfort zone.

I want to thank my core group, because without you, there is no me.

I want to thank the haters, because you let me know just how well I am doing.

Let’s see what we can do in the next five years.

Remember... Light Is Light

P.S. Happy Birthday Shae Fontaine (http://www.shaefontaine.com/)

DON'T SHOOT WITH ME

2011-04-06T12:49:00.000-07:00

Yasmine Lewis

There I said it. And yeah, I mean it. Don’t shoot with me (or any other photographer for that matter). If you hire a photographer there should a reason. We are in the customer service business. It is our job to produce a photographic product for you. If we don’t do our job (or can’t do our job), don’t shoot with us.

In my history of dealing with models, I am seeing an alarming trend. Models shooting indiscriminately with just anyone and everyone, for no apparent reason, just to gather photos and bragging rights. Why? Just so you can say, “I shot with Dallas.” And then what?

Nothing.

Then there is a problem. Being a model, there is really only one reason you should be shooting with a photographer. Because it needs to get you somewhere. Because it needs to get you into a door that was previously closed to you. Because it needs to assist you in booking a job that wasn’t available before. Because it needs to get you in the public’s eye in a way the public has never seen you.

But what do YOU do? Take "hot ass" photos that you post on FaceBook to get accolades or use it to get dates. Or better yet, you shoot with substandard photographers that produce garbage images. Or even better still, you shoot with a photographer that shows you no love. If you approach a photographer and they aren’t excited about shooting with you, LEAVE THEM ALONE. Because they have no interest in working with you, it will show in the work. You WANT a photographer to be excited about shooting you, just as much as you are excited about shooting with them. It shouldn’t always be about the money, there should also be some sort of love involved. But you shoot anyway, and if you’re lucky, you get some hot photos, but did the photo do its job? No? Then guess what? The photographer didn’t do their job.

When models approach me about work, my first question is always: “how did you find out about me?” The usual answer is: “I’ve seen your work/I’ve been following you for years/You shot a friend of mine.”

The second question is always more telling. “What kind of photos do you need?” The answer to this question is paramount, because it will immediately determine if we are going to work together. If you come to me and say: “because I think your work is hot!” Most likely we won’t be working together. Thank you for the compliment, but no. Why? Because you are taking an opportunity to advance your career and you are approaching it in a very cavalier fashion. You are hiring me for a job. That means I have to produce something that is going to work for you. I approach your photo shoot just like I would approach any other paying job. We map out a course of action in order to give you what you need. You need beauty shots in your book, let’s do beauty. You need editorial fashion in your book, let’s do fashion. You need body photos, let’s do body. These are the reasons why photographers ask you what is your book lacking (or better yet, we ask to see your book). We want to give you what you need. Anyone can take a hot photo (New York is filled with some of the greatest photographers in the world). But if we take that hot ass photo, and it doesn’t do its job, it’s really not a hot ass photo. Do you see where this is going?

Understand the business for what it is worth and understand YOUR worth as it pertains to the business. We can shoot all day long everyday, and I can continue to take your money. I can continue to give you photographs, but they have to do their job.

Remember… They have to do their job.

Think about it.

SO YOU WANT TO BE A SUCCESSFUL MODEL? THEN WHY DON’T YOU LISTEN?

2011-03-09T07:38:00.000-08:00

Tatsiana
Fenton Moon Media

Hello, dear readers. Here I am in the month of March, writing yet another blog. I was feeling kind of bad when I realized that I didn’t write a blog until we were in the third month of the new year, however, when I went back over the previous year, it was the same thing. I didn’t start gaining speed until March. I guess because I’ve been so busy with work (again, thank God), but also if you’ve been following the winter in New York, it’s been absolutely horrible.

The reason for this blog is I’ve been coming across a lot of models (both male and female) who have been asking me for advice with regards to their careers, and even though I am flattered, I have to let you people know something: I am not a modeling agency. I am a professional photographer with a career of my own to manage, therefore, I really don’t have the time to follow you and your career. When I DO decide to help a model, it is usually one reason why. They listen. It’s just that simple – hence the title of this blog.

When I decide to work with a model, it is because I see potential in them. I see beauty in them. I see grace in them. I refuse to work with stuck up models, arrogant models, untalented models or wannabe models. The model that is the absolute WORSE to work with is the model that does not listen. When I (or anyone in the profession that are able to help you, are wise, or can get you - as you like to say “put on”) you should take that valuable advice and run with it. I have two colleagues that come to mind when it comes to getting a wealth of information regarding the modeling business. That’s Karen Lee (http://www.karenleegroup.com/) (formerly the director of scouting for Elite Models) and Michael Maddox (http://www.dearmichaelmaddox.com/ and http://www.michaelmaddoxseminars.com/). Right there before you is a wealth of information. Most times when models approach me, I refer them to their websites. The owners of these sites have been in the modeling industry for well over 20 years. They knows the ins and outs of the industry, the whys the wherefores, what to do, and what NOT to do. If Michael Maddox was to say “stand in the middle of Times Square at 12 noon and spin three times” you better to do it and don’t ask why.

But you know what I get when I tell models to go check it out. They go to these websites, but it gets to a point that you have to actually sign on and join (for a small fee). That means you have to pay. Guess what? They don’t want to. They expect the information to be handed to them on a silver platter. In the age of instant information and instant gratification, they feel they shouldn’t have to pay. These are the same models that think they shouldn’t have to pay for a photoshoot as well. But think about it: for the price of a decent lunch, you can have a wealth of information placed before and even ability to speak to the them personally. Isn’t that worth its weight in gold? To think that if they could bestow a few pearls of wisdom upon you, that you can possibly get into an agency, possibly get to the next level and possibly get put on? Why won’t you do it?

Because you don’t want to listen. Therefore, since you don’t want to listen why should they waste their time with a model that doesn’t heed the advice given to them.

The reason why there's a Marcus Hill, Marlon Yates, Steph Jones, BJ Williams, Brandon Thomas, Anthony Gallo, and Mehcad Brooks, because they listen. Michael Maddox started these boys along with numerous others, and together they’ve created an undeniable team of success. Thinking that you know everything when you really don’t gives you a losing result every single time. I always likend Michael Maddox to Anna Wintour (the Editor-in-Chief of Vogue Magazine). She shakes and bakes Vogue. People may not like her that much, but she gets the results of success. Personally, I would rather listen to someone who knows the business rather than pay exorbitant amounts of money running all over the place and listening to people who can’t do anything for me, in all honesty you're not getting anywhere or gaining anything. Then what happens? You get angry with the world because YOU didn’t listen, or YOU didn’t follow the path to guaranteed success. There is an old saying that goes “the grass is always greener on the other side”. Be careful of the other side. The roots of that grass may be weak. Listening, patience and persistence will give you a win-win outcome every single time.

So if I tell you to lose weight, then lose it. If I tell you to cut your hair because it will make you more marketable, then cut it. If I tell you that you are NOT a “high-fashion” model that you will be better as a “commercial” model, take heed. If I tell you that a particular photographer is not suitable for your book, I am not hating on that photographer, I am telling you what you need to do to advance your career.

I gain NOTHING by telling you the truth. I gain NOTHING out of bestowing knowledge on you. I gain NOTHING out of giving you my industry “hook ups”. That’s all for you and to help you launch your career.

I have a proven track record for the work that I’ve produced for models (ask any one of the many models I helped get signed). If you let me do my job, you will get signed. If you do your job, you will get signed. If you listen, guess what? You will get signed.

The rest is up to you. So if you’re serious… REALLY REALLY serious… Then LISTEN.

SHUT UP AND LET YOUR WORK SPEAK FOR ITSELF

2011-03-02T08:40:00.000-08:00

Billy Payne

Credit: Photographer Daniel Serrette via hodginsphotography

Wow. Look at the date (March 2, 2011). This is my first official blog of 2011. Sooooooooooooo Happy New Year, Happy Valentine's Day, Happy President's Day and Happy Ground Hog's Day. I can’t even BEGIN to explain why I haven’t been writing. I apologize for not writing sooner (yeah, yeah, yeah, you’ve heard THAT before). I’ve been busy with shooting (thank, God), building my brand (finally realizing what I need to do to make that happen), upgrading equipment (new studio lights are on their way) and promoting my lighting seminar (http://www.lightislight.com/). So dear readers, I want you to know that even though I haven’t been writing, I’ve been busy plugging away making things happen for me (and others) behind the scenes.

I will do a re-cap of what’s been going on in the past few months and when time allows address each one of these topics in their own blog.

Let’s see. I FINALLY met the wonderful and illustrious Michael Maddox face to face and we had a modeling seminar (that will definitely be a blog). He was so much fun.

I was introduced to a new and talented designer by the name of Vaughn Jereaux Adams (http://www.vaughnjereaux.com/) and did some shooting of his women’s line.

The shoot for Adha Zelma called “Autumn” (http://www.adhazelma.com/) was met with rave reviews.

I was featured in article in Style-ology Magazine and finally my long awaited and much anticipated editorial with the wonderful and talented designer/stylist Robert Durant for Bleu Magazine finally on the shelves at various bookstores and newsstands (http://www.robertdurant.com/).

I was approached by the African-American painting phenom Kihende Wiley (http://www.kihendewiley.com/) to be his lighting technician and photographer for some upcoming art projects. (Let's see what our agents have to say).

And lastly, what I am known to do, I shot a few models and changed their lives.

But back to the topic at hand. When I write a blog, it usually pertains to the fashion and modeling industry as a whole, however, anything that is discussed here can be used in any walk of life. Just change the occupations and some of the anecdotes to suit your particular lifestyle and voilá, you have your own life altering epiphany right before your very eyes.

The reason for this blog was a person asked me most recently “do you consider yourself a talented photographer or a skillful photographer?” I didn’t have to give it much thought. My answer immediately was “skillful.” That prompted the next question: "How so?"

There are a lot of talented photographers out here. With the advent of digital photography, the learning curve has dropped into the toilet and almost anyone can pick up a camera kit at your local Wal-Mart and start snapping away. If a person takes 10,000 photographs, its inevitable they will eventually take a nice picture. I will venture to say they may even take a good one. They may go on to take several good pictures. It does take a certain amount of talent to produce a good image every now and then and most photographers when starting out (if they know what they are doing) have some sort of talent, passion and drive, hence the reason for this blog.

So where does the skill part come in? The hours upon hours upon hours of perfecting my craft, the endless sleepless nights of understanding just where to put a particular strobe to achieve an effect that I want. To understand the precise moment of the sun rise or sun set and how it glints in a subject’s eye. To figure out and master the most exact ratio where the blending of flash and ambient light comes together to produce a stellar and dramatic image. To understand that if I stand just right at a particular point in the room, I can look at a model and see just how the light is going to flicker in his or her eye to create an image the will make the viewer heart skip a beat. That all takes a level of skill. You will only get so far on your talent. You need consistency and wherewithal to get the job done time after time and that can only be done with skill. And lastly, knowing enough to never have to talk about just how good you are, because honestly, your work should speak for itself.

As I said earlier in this blog a lot of people are buying cameras, lighting equipment, building a website and setting up shop. They are charging unsuspected and gullible models fees at a time when they should really be learning their craft. The unsuspecting models think that they are getting quality images from a skillful photographer, because they don’t know any better. But when you hear from someone (usually the horse’s mouth) about how FABULOUS they are, you tend to buy into the hype.

It’s bothersome and even hurtful for those of us who have made this an actual livelihood of producing consistent, quality images. We put in the time, the effort, the love, the passion, the hours and the money. When we set a particular rate it is because we have proven track records. If a model comes to me and says “I need photographic images that will help me get signed.” I know what to produce for them time and time again. If a client comes to me and says “I want to shoot like a Revlon campaign” they need not say more, I know what to give them. When a person says “I need actor’s headshots not model’s headshots” I know EXACTLY

It took me almost three years of studying and learning my craft before I even thought I was worthy enough to start charging for my services. It takes a lot more than just pointing your camera at a model and clicking away before you could (or should) call yourself a professional photographer. I’ve seen countless “newbies” come on to the scene and say “Yes, I am just as good as Dallas and I don’t charge as much.” Oh yeah? I have YET to say I can shoot like any of my peers or contemporaries (which I am constantly compared to other photographers – I get that), but I am not going to brag I am just as good or better than the next guy. You came to me for a product, either you’re going to like me or you’re not. You’re going to pay my rate or you won’t, but I will not have to brag about my work. I am at a point of my career, I don’t have to.

So to all you so-called photographers: Learn your craft. Master your artistry. Stop bragging. Get to a place where you are producing quality images (time and time and time again). Stop taking money from unsuspecting models and producing substandard work.

So, shut the fuck up and let your work speak for itself.

TO TF OR NOT TO TF… THAT IS THE QUESTION

2010-11-22T10:13:00.000-08:00

Video provided by photographer: Tiran Winston
Website: http://www.awintersfoto.com/

Happy Thanksgiving to you all. As you are sitting around giving thanks for this joyous and fattening occasion, I've decided to leave you with some thoughts on the world of TFing.

For those of you outside of the Industry the term TF means “trade for”. It can be TFP (trade for print) or TFCD (trade for CD-ROM). I was introduced to this phenom through a website called Model Mayhem (http://www.modelmayhem.com/). It can be a useful tool when you are looking to build your portfolio, test out new creative ideas and to test out new talent. It goes a little something like this:

There may be a makeup artist that I may want to test out because I am building my beauty repertoire. The makeup artist will give their talent and time and I will shoot. Once the shoot is over I pay the makeup artist in photographs. I get the talent of a skilled artisan, and in turn they get photographs. It turns out to be a win-win situation for all.

This can be a good thing, because usually through this method, you build good solid business relationships as well as build a team. I would not be where I am today without the expert talent of some of the people that I’ve worked with. I have an incredible team behind my photography and every time I get a compliment or praise, my team gets complimented and praised as well because without them, there would be no me.

So as I embarked on this photographic journey, this is pretty much how I build my team, as I gotten better at photography, my team has gotten better because as you get better you begin to attract bigger and better talent, as you get bigger and better talent, you get bigger and better photographs. When I received paid gigs, my team is the first I call on for the job, because if I get paid THEY get paid. It is a very loyal and monogamous relationship.

However, this holds true with wardrobe stylists, designers, hair stylists and models. The magic of magic of the mythical TF is that it becomes a situation where all parties involved will walk away with something useful for themselves, hence the reason for this blog.

The above video clip illustrates the concept that TF means shoot for free and that really isn’t how it goes (at least in my world). I am constantly approached by models who wish for me to shoot them for free, because they think they will be a “welcoming addition to my portfolio.” Most often they are not. Understand models, there are two ways that a photographer will shoot you: (1) they love your look and you will be a great addition to their book, (2) you’re paying them. It’s just that simple. Most often than not, models who DO approach me would never make my hard book portfolio, nor will my team get anything out of it, so it becomes a waste of my time to do any work of that calibre. Models, be willing to pay for the photographer/photographs of your choice. There is a reason why you approached that photographer and want to work with them.

Most models don’t realize the time, talent and money spent to produce photographs. A simple TF shoot already puts me in the hole for $100.00 because of studio rental time alone. This does not include travel and gas time. I cannot speak on behalf of other photographers, but I cannot take a TF so lightly.

So the next time you think a photographer should shoot you TF, ask yourself. Is it worth it for them?

BEHIND EVERY BILLBOARD THERE’S A STORY

2010-11-09T07:39:00.000-08:00

Nole Marin

Behind every campaign, there’s a story. Behind every photo shoot, there’s a story. Behind every casting, there’s a story. Behind every model/booker meet, there’s a story. Behind every designer’s fitting, there’s a story. Behind every “Polaroid” shoot, there’s a story. Behind every successful model’s career, there’s a story. It’s the nature of the beast. There is a motto that you models need to know. “What you won’t do the next model will.” It is just that simple.

Is it time for you to leave the business? Perhaps. I can’t make that decision for you. But you models (especially the males) are in a business that is predominantly run by the homosexual community (please see my previous blog “Modeling and the Ugly Fat Chick” http://dallasjlogan.blogspot.com/2010/03/modeling-and-ugly-fat-chick.html). If you wish to succeed in this business, you will have to play the game if you like it or not. It is just that simple.

The reason for this blog is that allegations came to light that celebrity stylist Nole Marin is being charged with making unwanted sexual advances upon wanna-be model Nicholas Hamman-Howe. Is it true? Who’s to say? There are three stories in this particular Greek tragedy. The model’s side, the alleged “perpetrator” side, and what really happened. Since I wasn’t there, I can't tell you what really happened, but I can tell you one thing. I think I know how it went down. It is a very common movie.

Act One / Scene One

Beautiful “model” with great physique is approached by someone in the fashion industry. Information is exchanged, and a professional relationship is forged. Fashion Industry Person (“FIP”) tells model that they can have a great career. Starts to fill their head up with dreams of becoming the next supermodel. (No one can make you the next supermodel. Remember that).

Model becomes intrigued and FIP may or may not start making sexual innuendos to the model. It can be playful banter, it can be sexually suggestive comments, etc. The model (who may or may not be straight, MAY play along). (At this point, if the model wasn’t interested, it should’ve been nipped in the bud).

Then once the model is open to the prospects of possibly being a professional working model, FIP may say something like “I can make you a star.” (No one, except the person SIGNING the checks can do anything like that for you).

Situation ensues where the model and FIP are in a place where the FIP “takes advantage” of the model. The model acquiesces. Then the FIP got what he wanted, but the model didn’t, and guess what? The model cried rape.

End Scene.

This is a common scenario in the world of modeling. For both male and female. People in the industry will offer you advancement and some are in the position to do so. You, being the model, are an adult and it is up to you at this point to make the decision of what you are willing to do, or not. What you will allow, and won’t. What will happen, and not. But what you shouldn’t do is go through with the game plan and then bitch about to others in the industry. That is an ultimate NO-NO.

The fashion industry is very very tiny. And what you say or do will be heard around the modeling world in a matter of minutes. I remember a friend and wonderful photographer in Australia, George Favios (www.georgefavios.com) had a casting, and a model came with photos of mine in her book. He knew right away it was my work and a conversation commenced. Though nothing bad happened between me and this model, if it had and the model decided to badmouth me, I can guarantee you once that meeting was over I would’ve received an email about the situation. It is the nature of the beast. I used this scenario to let you know that anything (good or bad) can reverberate around the globe in a nanosecond.

I know a lot of the sexual proclivities of my colleagues. From CEOs of modeling agencies down to the interns that assist for photographers. I know the sexual appetites of various models and what they will and won’t do. I know of models on the “DL”. I know of the sexual antics of stylists and their stable of models. And I am quite sure a lot of them know about mine. But you want to know something? The difference is you won’t hear it from my mouth, because honestly what occurs between two consenting adults is none of my business. I could care less what happens between Photographer A and Model B. I could care less what happened behind the scenes of a photo shoot between a designer and a model. I could care less what it took to get the “fullness” in a model’s underwear. It is none of my business. And how do I know all these things? Because some models have big mouths. They are good for letting me know what so and so did to them at a photo shoot. Or what was texted, or said or done. My usual retort to that is “did you get what YOU needed?” If the answer is yes, my usual reply is “then shut the fuck up.”

As I said, this world is very small, and I associate with a lot of powerful people behind the scenes. If a model comes at me with their stories, I listen – with a grain of salt and I weigh out the consequences of what this person is telling me, because I have to make a mental decision of “am I going to alert my colleague of this particular incident?” “Is this model telling the truth?” “Should I mind my business?” Most often I mind my business because it let’s me know something. This particular model has a big mouth and if he is telling the business of the next professional, then 10 to 1, he will tell my business as well. And guess what models? Once you’re labeled as a big mouth, no one is going to want to work with you.

Now I am not telling you to go against your own moral fiber. Nor am I telling you what goes on in the fashion industry is right or wrong. I am just laying the scenario before you and you being an adult make the decisions for yourself. But don’t go crucifying the person because you allowed yourself to be put into a situation, and then things didn’t work out for you. You knew what you were doing when you got involved with this particular individual. You can’t cry wolf, after you let the wolf out to play.

So did Mr. Marin make unwanted sexual advances to Mr. Hamman-Howe? I don’t know, I wasn’t there. All I know is that there were two consenting adults in a room and what occurs between two consenting adults is none of my business.

THE MAKING OF A WELL EQUIPPED MODEL

2010-11-03T07:57:00.000-07:00

Amy Ploof of Identities

Yes, it's me again, and yes another blog is coming your way, just after a short interval of time since the “oath” blog. When people come to my blog (especially models), I always want them to walk away with something that may help them along the way. A lot of the things I say may not affect them now, or even make sense, but somewhere down the line, the model may be in a photo shoot perhaps and a light bulb will go off an they will say to themselves: “THIS is what Dallas was talking about.”

If any of you follow me on Facebook or Twitter, models from coast to coast constantly hear me talk about boot camp, boot camp, boot camp. My dear friend and world renowned runway coach, Michael Maddox (http://www.michaelmaddoxrunway.com/, http://www.dearmichaelmaddox.com/, http://www.michaelmaddoxrunway.com/) talks about it in his seminars. My good friend and amazing hairstylist Tim Johnson explains it to models he is trying to develop in the southern states. I extol the fundamentals of modeling. The understanding of light, the understanding of a model’s angles, the importance of posing, the importance of emotion, the understanding of presence, how to connect with the camera/photographer, the true meaning of head to toe modeling. I’ve boot camped veterans and neophytes alike and every single time I was met with a “no one has ever told me that before.” Yeah, I’ve become that photographer.

So you, the model, will now think: “well I got some really great images now. I’ve worked on my personality. I’ve learned how to flirt. I went through Dallas’ boot camp. What more do I need to know?” A lot.

Honestly I am surprised I have never covered this topic before, but a model posed a serious question to me a couple of days ago which prompted this blog. He asked, “how do you prepare for a particular photographer?” To say the least, he stumped me.

Different photographers want different things and unless you know the photographer beforehand, or know what the project is going to be, you really don’t honestly know. Some photographers are very precise at how they want their models to pose. Some photographers are more organic at their approach and let the models pose for themselves and the photographer will look for the best possible angles. Some photographers want movement (be it hair, or body), and other photographers want you to pose like stone. It’s a crap shoot (pardon the pun), but if nothing else, you should always be prepared for anything which is the reason for this blog.

Models, how many times have you been booked for a particular designer, and you go online to look at their previous collections? That’s homework. How many times have you gone and actually studied a photographer’s website? Other than going to see if their work is “good or not?” Most of you haven’t. You normally just go to a photographer’s website to see if they are any good, and if they can give you "hot photos". This is also a time to study. What is the MODEL doing in that shot? What emotions are the model conveying. What kind of lighting is the photographer using to set a mood? How are the models groomed? This is very very very important.

Models, I cannot stress this enough, if time allows, always do your homework on who you are going to shoot with. When you go for a job interview you try to find out as much as you can about a company, it isn’t any different than studying a photographer’s work. Secondly, you should always be groomed at all times.

On more than one occasion, I have had models come through with unsightly body and facial hair (this is both male and female). Photographers HATE having to retouch hair that could’ve been taken care of in a quick shave, be it the lip line, the arm pit, the pubic area, jaw line/cheeks, or the back of the neck. Ladies, that pretty downy fluff that sprays across your cheek may look cute for your boyfriend, but if a photographer tries to back light you with that over the shoulder lighting, it comes across like Santa Claus. Males, if you are going to shave your torso, shave your arms and legs as well. Remember black models, hair on the body can photograph like dirt. How do you do your homework? If you go to a photographer’s website, look at the guys. Are they smooth? Hairy? Let that be your benchmark.

Deodorant. I cannot stress this enough as well. Gels everyone. Or sprays. Those blocky, chalky anti perspirant wreaks havoc on wardrobes as well as anything else that will require the model to bring their hand over their head and expose their armpits. Keep perfumes and colognes to an absolute minimum.

Hands and feet. Manicures and pedicures are paramount. You have no idea what may be captured in an image. Gnarled nails, and bad finger nail polish are a no-no. Remember ladies: neutral colors, short to medium length. Most of us prefer clear polish, or the rudimentary ¼ inch French manicure (anything longer and it comes across like an extra on Jersey Shore).

Hair. Gentlemen always keep it neat. If you are prone to being photographed with facial hair, always have it photo ready. If you can’t then in your bag of tricks bring your shaving equipment, be it shaving cream or clippers. Same holds true for ladies. This means eyebrows as well (gentlemen a neat eyebrow is different than a “done” one). Take care of those pesky nose and ears as well. And ladies, if you are prone to doing beauty, a well established photographer will normally have a well established crew. We prefer to have a model with freshly washed hair and no products in it whatsoever. At the shoot all of that will be taken care of. What happens is, if your hair is dirty, or weighed down by products, the hairstylist can’t achieve their end results, because they are fighting the product that is already in your hair and you start gunking up their equipment. If you have dye jobs, make sure they are fresh, there is nothing more frustrating then Photoshopping in the correct color of the roots. If you have weaves and extensions, make sure they are shoot ready and that you have qualified people doing your hair (REAL hair is much more preferred). And speaking of extensions, if you have clip on hair pieces or wigs, throw them in your bag of tricks (same rule holds true, make sure they are clean). This helps the hairstylist out tremendously if you have thin hair and they may need to build a style.

Makeup. Come with your face free of makeup. Most times, a lot of models don’t know their true color foundation and “shoot” makeup is a hell of a lot different than “every day” makeup. If per chance you have the fortunate discovery of finding your true foundation, always have it available at a shoot. It lets the makeup artist know that you are serious about what you do and that you are well equipped. This goes for guys as well. And all models should know how to apply the fundamentals of makeup. Both male and females. Most important: Skin moisturizer and LIP BALM!!!! Toothpaste and floss are also good to have. If your eyes are never at their “whitest” Visine is always a must for every model’s bag.

Underwear. Always carry fresh underwear in your bag of tricks and possibly different kinds of underwear. You will be surprised how underwear will photograph under garments. This holds true for bras, panties, thongs, briefs, boxer briefs and so forth. Gentlemen you should always have clean socks (both white and black) and ladies you should always have a pair of stockings.

Now that you’ve come well equipped and you had a stellar shoot, one of the most important things is a simple thank you to all you’ve worked with on the crew. A successful photograph starts with a team of people to achieve a required result. If possible, get a business card from each person involved and send them a thank you follow up. You would be surprised at the results. Many times I am contacted about the usage of a model and more often than not I am recommending the model that gave a damn versus the model that I never spoke to again. I’ve asked models about a particular photograph in their portfolio and the worse thing a photographer can hear is: “I don’t remember the photographer’s name.” Ultimate NO-NO because that tells me that you didn’t give a damn about that person and the work they went through to create a beautiful image for your portfolio. So let’s recap, shall we? Things that should always be in a model’s :”bag of tricks”:

Clippers/razors/shaving equipment. This also means that you should have a towel, wash cloth and soap.
Deodorant should be clear.
Change of underwear, bra, socks, etc.
Simple pair of fitted black jeans and a pair of casual black shoes.
Hair products (clips, weaves, etc.).
Fingernail polish / remover (you may have to change your nail color while you are there). Fingernail clippers.
Makeup products and makeup remover as well as a good moisturizer and lip balm and Visine.
Don’t forget thank you.

I can guarantee you that this list may get a little longer as my colleagues bring items to my attention. I know it may seem like a pain in the ass, but there is nothing more beautiful than a well equipped model.

MY OBLIGATION TO MODELS - BUILDING CAREERS ONE PHOTOGRAPH AT A TIME

2010-11-01T11:39:00.001-07:00

Model: Renee Thompson for Adha Zelma "Autumn" Collection

Hey you guys. This has been a tremendous couple of months for me. I’ve been so busy that I didn’t even get a chance to do a single blog for the month of October. I vowed that I would at LEAST try to write a one blog a month. The month of October has been a very busy one. I shot an album cover for an upcoming artist (Ashley Carpenter). I’ve shot Adha Zelma’s “Autumn” line with Toronto’s model Renee Thompson (I will be blogging more about it in the future). I’ve shot for Heather B for their website. I shot Saks Fifth Avenue Spa/Salon for their Facebook page. The accessories editorial I’ve shot with the amazingly talented Robert Durant for Bleu Magazine has finally come out. And I helped yet another model (Justin Shaw) get placed with an agency and he is going to make some noise, which is the reason for this blog.

When I first embarked on photography, my goal was very simple: I wanted to learn how to operate a SLR to the best of my ability. It didn’t matter if I was shooting a waterfall, a rock, a flower or a blade of grass. My intentions were clear: take the best possible photograph I could possibly take. Now four years later, I am here transforming the lives of young models across the United States with photographs I never dreamed I would take, not to mention my images are now becoming recognizable. I actually had someone call me and ask if I did a shot that appeared somewhere, I asked how did he know. His reply? “I know your work in a single glance.” Wow. That made my day.

But I digress. As I was saying all I wanted to do was take good, technically sound, artistically compelling images. As this journey set forth, what my plans may have been, the Universe saw it differently. It was with my craft that I am able to open doors for models (especially models of color) and allow them access into places where before, no one would see them. And I thank God for that talent for allowing me to do so. I can’t photograph everyone that asks me (though I wish I could), but I will vow to do one thing: I will shoot you (the model) to the best my ability and try to produce the most amazing image possible for you. If you allow me to fall in love with you, I can promise you stellar photographs. If you allow yourself to trust me, I will be able to teach you to reach down into the recesses of your soul and make you a better model.

Is that my job? No. My job is to become a successful campaign photographer. But right now, my oath is to help you to the best of my ability with the talent that God has allowed me to developed.

This is my oath to you.

Model: Kortney Williams for Bleu Magazine

Singer: Ashley Carpenter for Walking into Sunshine

Model: Justin Shaw for NTA

Model: Angelique Velez for Adha Zelma "5" Collection

IT TAKES A SUCCESSFUL TEAM TO BUILD A SUCCESSFUL MODEL

2010-09-15T07:34:00.000-07:00

Brandon Lucas

Most often when people read my blog, it’s usually industry insiders who have knowledge about the business. So most often, I am just voicing opinions and concerns from fellow photographers (and others). I tend to give voice to the frustrations that we go through in everyday life, but today’s blog (the third one in two days) is honestly geared to those outside of the industry. It is for the people who really have no knowledge as to what it takes for a signing of a model to take place.

When a person (and when I use this term it will mean someone not affiliated with the industry) sees a billboard, a magazine campaign, etc. They are seeing the finished image to sell a product. They have no idea what it actually takes to get that image to the point that it is a giant billboard in Times Square.

People involved (in no particular order)
Model
Casting Director
Art Director
Location Scout
Studio Heads
Designers
Tailors
Seamstresses
Fit Models
Artists
Sketchers
Investors
Model Scout
Agent
Booker
Corporate Entity
Textile Firms
Studio Booker
Caterer
Hair
Makeup
Stylist
Photographer
Photographer's Agent
Payroll
Lawyers
Security
Camera Rental
Light Rental
Insurance
Camera Crew
Video Crew
Retoucher
Advertising Firm
Advertising Executive
Graphics Department
Printing Company
Billboard Company
Dermatologist
Dentist
Personal Trainer
Landlord (who owns the billboard)
Fashion Bloggers (who talk about the model)
Maintenance Crew (to put up the sign)
Lighting company (to light the sign)

And all of this is done in order to place a SINGLE SOLITARY IMAGE in Times Square. And all you see is the wonderful iconic photo in place. Each and every job title is a tiny, microscopic and important piece in the puzzle that is needed in order to make all of this happen. Remove any of the puzzle that is listed above and guess what? It won’t happen. I know it may come across a little melodramatic, but there is a hell of a lot that goes on in order to make an actual campaign happen.

But even before we get the model on the billboard, it all starts with getting a model signed and it all starts with the scouting. In this instance, the scout involved is California’s own Michael Maddox. He scouts models and instills in them the idea of being a model. If the “model” takes the bait, it is now Michael’s job to start to groom them. He educates them on what it takes to be a successful model. He may have to take interest in their grooming, in their oral hygiene, in their personal appearance. He may tell a model that they may need to lose weight, gain weight, put on muscle, how to walk, how to talk, take care of their skin, teeth, eyes, hair, etc. No one is walking out like Naomi Campbell right out the box. This may take MONTHS for him to prepare. Michael will then take digital polaroids and start creating a buzz about the model. After the model starts to develop into something he can then see which agency will be the best suit for the model (here comes the behind-the-scene discussions). Michael will go to the firing squad with top agencies around the United States and Europe. A particular model may not have the look for a particular area (California has a different “look” than New York, or Florida). If a model has to relocate, Michael will then start developing connections for the model in the foreseeable future if the model has to move. Michael will assist in housing, in job placement and in making professional connections in order that it is a smooth transition for a model. Now it is time to build a model’s portfolio and this is where I come into the picture.

Michael will send me candid snap shots of the model. He will ask me what I think. How the model should be shot, etc. After that is determined, if the model is not from New York, arrangements are made in order for the model to get here. In order to get more “bang for the buck” through Michael’s connections (or mine), we arrange other photoshoots with other established photographers while the model is here. In the interim we also try to set up appointments with various agencies. If the New York agencies are interested, I then make connections with them to show them finished images from the various shoot(s) that have been arranged.

I arrange photoshoots by pulling together teams of people (other photographers, stylists, makeup artists, locations, etc.) so when the model goes back to their place or origin, their book is complete and they are ready to walk in the door.

After all the photoshoots have been completed and Michael has received all the photographs, he meets with the model yet once again to now build their books (building of a book means putting their portfolio together to present to the agencies). While all this is going on, Michael is back to contacting the agencies with finished images of the model. He will even give the nay-sayers another call, because sometimes they don’t “see it” the first time and now 3-6 months may have passed and now they may see things differently. Michael may arrange a model to get with more than one agency for various reasons but in the end, if all is successful, and the model gets signed, then we all did our job.

It is a proven formula and it works every single time. So remember models: It takes time and patience and it takes a successful team to make a successful model.

TO BE SUCCESSFUL - YOU MUST BE ON AT ALL TIMES

2010-09-14T11:41:00.000-07:00

Terrance Gant

Don't get excited. Please. It won't happen again. Two blogs in the same month? Not to mention in the same day? It will go down in history! There has been a lot of issues that have been popping up lately and instead of just writing one long continous blog, it was far easier to break them down into separate blogs.

One question I am asked constantly: "When will we shoot again?"

There are two types of photographers out there. There is one that actually likes to build a “stable” of models in which they like to shoot from. They develop connections with models and because of it, photographers are able to express themselves artistically with a particular model, whereas with other models they cannot. They are very monogamous. Then you have the second type of photographer. They rarely like to reshoot models. Usually if they’ve gotten that awe inspiring image, they really don’t go back and revisit. The will usually move onto the next model and produce more magic. I tend to fall in the latter group. I cannot speak for other photographers, but the reason I do it is because I am constantly building my book and it is an ongoing process. Every shoot that is worthy, I present to my agent. I don’t need him saying to me; “you shot this model already, why are you shooting them again?” Unfortunately I cannot have an entire book of 2-3 models.

There are instances where I will revisit a model. I have a few projects pending that may require their look (for either my coffee table series, or exhibit series). There have been times where I’ve been hired for a particular job and the client liked the work I did with the model and wished to use them, but other than that, I am sorry to say I am a photographic whore and once the model and I have achieved what I like to call “hotness”. I move on to create more hotness (with another model, of course).

But there is another side to this coin, and that is the side of the model. I find that once a model has found the photographer that was able to actually capture them, they tend to want to work with that photographer repeatedly. This has its plus and minuses. A model develops a level of comfort with a particular photographer and they produce stellar images. Time and time again, and the more they work with a photographer, sometimes the better the images get. The downside? They will only work well with a particular photographer, hence the reason for this blog.

One of the ultimate goals of a model is to get signed with a professional modeling agency, and once they are signed, they want to start making money with this agency. If you are not one of the few fortunate ones who can walk into the door and wow the agency strictly on your looks, you have to build some type of portfolio. They (the agent) want to see how you photograph, how you look in images and are you a marketable product. So you stroll up there with your book of great photos (albeit coming from just one or two photographers) and they like the magic that they see. Guess what they’re going to do? They are going to send you on a slew of tests to fill up your book with images of other photographers. Herein lies the issue.

A lot of models (especially new faces) are very very comfortable with me. I take the time and patience that is needed for them to grow and develop as a model (not all photographers will do this, or have the patience to want to do it). Most often a single modeling session with me can be as long as 6-7 hours (especially if Boot Camp is involved), because I am teaching the understanding of light as it pertains to the model. I am teaching expression. I am teaching emotion. I am teaching head to toe posing. I do it not for the money, but for the love of the science, and for the growth of the model and my desire for them to succeed into greatness. In the end I want the model to leave my studio with a sense of purpose and a bit of know-how that I want them to take with them on their next photo session. If you ask any model I have shot, I am known to say “from this point onward, whenever ANYONE points a camera at you, TURN IT ON. I don’t care WHO it is. I don’t care WHERE YOU ARE. YOU ARE A MODEL AT ALL TIMES.”

Remember that: You are a model at all times. Therefoer, you must be on at all times (especially at a photoshoot). You will not have the luxury of Dallas Logan at all your future shoots. Do not rest on your laurels because you had one or two photoshoots with the same photographer and got good results. Whatever feelings, emotions, energy that was needed to create those magical images with that one particular photographer, remember that energy and take it to every single shoot you go to.

I’ve seen countless books from models and you can go through the images and know when and where the magical connections were made. I would look at model’s books after they have shot with me and INSTANTLY be able to tell if they used our Boot Camp lessons. Sometimes they do, sometimes they don’t. Trust and believe, if you don’t raise the bar at every single photoshoot, you will come across boring and one dimensional. And guess what happens next?

You are no longer signed. Think about it.

WHO ARE YOU MODELING FOR?

2010-09-14T10:21:00.000-07:00

Model: Renee Thompson

There will come a time in your modeling career where you will be asked to pose nude. Artistically, editorially, commercially or otherwise. Remember that. Kate Moss, Tyson Beckford, Naomi Campbell, Christy Turlington, Cindy Crawford, Djimon Hudson and countless others have all done it in the course of their careers. Do you think it is going to be any different for you?

I don’t know if other photographers go through this, but I’ve been having this particular incident happen recently and it prompted me to really sit back and take a look at how things are going.

A lot of models fail to realize that a photoshoot is a complete collaborative effort of all parties involved. Once they leave the studio, the true work of the photographer at that point begins. Forget the planning of the shoot. Forget the set up and break down of the shoot. Forget the actual shoot. Forget the time needed to proof the shoot. Forget the time needed for editing the shoot. The model has gone along on his/her merry way to their next venture and they sit there and wait for photos, while we, the photographers, slave away at creating photographic images that we all can be proud of.

For those of you who follow my work, you know I do a lot of nude work. Some full nudity, some sexually driven, most of it artistically implied. I’ve been approached by galleries and even a couple of museums to do complete series for them which are in the works. It is a slow process, because when a particular vision first takes hold, I personally do not have “exhibits” in mind. I just want to produce the best possible photograph I can produce with the model of the moment. Then what happens is, the photograph will take on a life of its own and next thing you know, I am getting an email from a man named Gustav in a country that I can’t pronounce, much less locate on a map.

But I digress. When I (I should say we) decide to shoot nude work, it is never with the intentions of shooting nudes. It is usually a comfort level that is developed between model and me and at that precise moment, we are in a collaborative vortex that takes us down a path of personal exploration. They allow me to push their boundaries and I allow them to be comfortable with themselves to explore things that they may have never thought otherwise. Sometimes it’s a simple as me saying “the jeans ruin the shot.” More often then not, it is the model’s doing to remove their garments and once they do, they are much more free to explore their inhibitions and we in turn produce beautiful images.

Let’s fast forward. You (the model) know people know me. You know people follow my work. If you say that you are shooting with Dallas, people are expecting to see images. So why is it such a pain in the ass when I produce such images, and post them (not even nudes per se, but let’s say the images that posted at the top this blog), you get freaked out because you don’t want others to see it? Can someone explain that to me?

On more than one occasion, I’ve posted such images on let’s say Facebook, only to get hit with the email of “can you please not tag me on that image, I don’t want my family to see it.” What? Why? Don’t they know that you are model? Don’t they know there will be times when you will be taking photographs of an artistic nature? Are you embarrassed of such things? If so, then why the fuck did you get undressed in the first place?

If you were David Agbodji would you have gone to Steven Klein when he shot for Calvin Klein and say “oh no, Steve, please don’t put that anywhere, I don’t want my friends to see it.” What if Naomi Campbell said that to Herb Ritts or Demi Moore said that to Annie Lebowitz? Or Kate Moss said that to Mario Testino? They and countless others produced beautiful, iconic images showcasing the human form for the world to see. So if you ever going to be embarrassed, guess what? Don’t model. It's just that simple. I understand the erected penis and the spread labia images are not for everyone’s artistic taste, but this isn’t want I am talking about and I get that. But there comes a time in your adult life that you have to take a stand for your career and say I am doing this and I am proud. You may never know who will see that image and go “I want to book that model. He/she is beautiful.” Trust me, I get that a lot.

I am proud of the work that I do with models (clothing or otherwise). I am proud when I am approached by art buyers and curators because they see the artistry I see. I am proud when a model allows their inhibitions to be release and they can be themselves so we can take stunning photographs. What I am not proud of is when I must stifle my creativity because of their reticence.

So think about it. Who are you modeling for?

CHALLENGE US - MAKE US RISE TO THE OCCASION

2010-08-10T12:16:00.000-07:00

Harvey "Zenith" Pimental

Models, models, models… Here I am, again, writing another blog, again. About something that is bothering me, again. That I should school you on... again. (Okay, enough with the “agains”). As I’ve stated before, when something – for lack of a better word – disturbing – happens in my tiny microcosmos, it prompts me to write about it and like some of my other blogs, this one was a long time in the making.

In my photographic career, I’ve seen models clamoring to shoot with this photographer, shoot with that photographer, for whatever reason. It could be because they really admire the photographer’s work, it could be because that particular photographer will catapult their career to the next level, or it could simply be to have bragging rights. “Yes, I’ve shot with so and so.”

I’ve had a multitude of models wanting to shoot with me for years. I’ve gotten inundated with emails of “God, I love your work. I want to work with you,” “You are one of my dream photographers,” “when I come to New York, you are the first on my list!” And this is an ongoing litany. For the most part I am flattered, just like my colleagues are flattered when they receive similar emails. I realize as of late, photographers have a lot of power and in some instances we are like rock stars to the modeling community. But there comes a time in a model’s career that they need to sit back and look at us objectively in terms of what a photographer can really do for their career, and not be blinded by the “Oh My God” status that you’ve placed on us. You should say to yourself: “can this photographer help my career?”

Photography like any other is a business. However, this business for the most part is our artistry and we shoot with passion and love. When others admire the love and beauty that we put forth, it puts a smile on our face. When we take what we like to call our “defining shots” is when we take photographs that no matter what we do in the future, these images will always, always be remembered.

For example:

Photographer: Maya Guez
Model: Porter

Photographer: Tarrice Love
Model: Art Stroman

Photographer: Rick Day
Model: Unknown

Photographer: Dallas J. Logan
Model: Catherine Frances Scott

Photographer: Laretta Houston
Model: (It's A Secret)

Photograher: Bruce Talbot
Model: Layaria

Photographer: William Springfield
Models: Naija Nne and Kiersten Alexandria

Photographer: Jerris Madison
Model: Eva Pigford

Photographer: Gregory Prescott
Model: Ambrielle Webb

Photographer: Stephen Eastwood
Model: Maria

The above images are indisputable and will forever be acquainted with the photographer that has taken them. When we photographed these images, they are a magical moment in time. Yes, we’ve produced stellar images before and after, however, these images will forever be burned into the psyche of photographic history.

But I digress. This blog today is about the models that seek out our photographic skills and will do anything to achieve a photoshoot with us, even to the point of accepting mediocre, repetitive and mundane work. And the reason this weighs so heavily on my head is because a couple of instances happened this week that made me sit back and take notice.

A celebrity photographer of campaign magnitude recently did a test shoot of a model. Without giving any names, this particular photographer shot campaigns for Revlon, Nine West, etc. as well as celebrities such as Jessica Alba and Halle Berry. So when you are shooting campaigns and celebrities of this status, it raises the bar substantially. The model was wanted to work with this photographer and it seemed that the feelings were mutual, however, when the photos were produced, the model sent me the link and asked me for my professional opinion. While I don’t like talking negatively about another artist’s work, the images themselves were lackluster, boring and downright bad for a person of this calibre. They did nothing to show case the model, hell they did nothing to show case the photographer’s talents. In fact, they were so poorly done, it forced me to go back to the photographer’s website to see well maybe something is wrong and I am associating this person’s work to another’s name. No, alas, the same photographer, same great name, less than stellar work. I repeatedly looked at the images trying to find something, anything that would’ve made this shoot salvageable. Nothing. In essence, this shoot was a waste of the model’s time. Did the model deserve a $50,000 campaign shoot? Of course not, however, he (the model) did deserve images he could at least be proud of - and use.

Second incident. A model recently posted images on Facebook with a well known, well loved and well established New York photographer. He was proud. I know he was. He was so proud that he sent me an email blast to say “Hey Look at my new photos, what do you think?” I sat there and looked at the images, which were indeed lovely. Great lighting, great composition, great post production, however, I’ve seen this same image from the same photographer, not once, not twice, but literally over twenty some odd times, so the image for all its merit is now boring, dull and uneventful. This wasn’t the first time that I have seen the two above scenarios happen, but to happen days apart from each other, it bothered me enough to want to address this.

I remember I had an incident where a model came to me seeking images that I shot before. He loved what I did with another model and wanted a very similar shoot (almost exact). Though it was against my better judgment, the model demanded this and he had his money. I shot what was asked. As soon as the images were posted, my dear friend Michael Maddox slammed me with an epiphany.

“Dallas,” he says. “You did not do that model justice, because you shot that before. You shot the same exact thing with so and so and now the original images that made so and so unique is no longer special and dear to him. Because you shot this model the same exact way, he in turns has nothing that makes him special and unique.”

“But Michael,” I retorted. “This is what he wanted. He paid for this.”

“I don’t care," he replied. "You should’ve said to him; ‘I can’t do that for you. That was for him, however, I will do something special and unique for you.’ That should’ve been your response, these models get so caught up in wanting to shoot with you that they turn around and lose their identity and in turn you lose your edge because you are repeating what you did before. So now you don’t look fresh and new. You did the model a grave disservice. Make each and every model special and unique in their own right. ”

And you know what? He was right. The model had a preconceived notion of what he wanted the images to look like. He was hell bent on shooting with me, and he wanted the same exact images and even though deep down inside it was against my better judgment, I did what he wanted. Were the photos nice? Yes. Were they well received? Yes. Did it raise the bar for him? Yes. Were they fresh and original? No. Did I do us both a disservice? I reluctantly have got to say yes.

Models, this message is strictly for you. We photographers are very set in our ways. We usually work out of the same space time and time again and what happens is, our own work begins to take on similarities. This is not to be confused with a style. I have a particular photographic style, so when you see it, you know immediately it is a Dallas Logan image, the same holds true for each of the artists listed above. But that is different than producing the same work over and over and over again and that is what you should try to avoid. A photoshoot is a collaborative effort between all parties involved (most importantly between the model and the photographer) and if you don’t push at us to give you something more vibrant, dynamic and different, you won’t get it. It can be something as simple as changing a lighting set up, to changing a location. It can be as simple as saying, "please try something different with me." Remember, models, this is about your career, and these images are to be used to your advantage and if you have lack luster, repetitive images in your book, who’s to blame… You or me?

Think about it.

SELF SABOTAGE - WHAT MODELS DO BEST

2010-07-29T08:59:00.000-07:00

sab•o•tage [sab-uh-tahzh, sab-uh-tahzh]

–verb (used with object)

1. to injure or attack by sabotage.

2. to disable, vandalize, cripple.

Throughout our lives (and this can take place in any walk of life), we as human beings want better things in our lives. Better health. Better finances. Better relationships. Better careers, etc. In order for anything to advance in a positive direction (or in the direction that you want it to go), you have to work at it. You have to nurture it and you have to make it grow, develop and mature to what you wish to have manifested as your ultimate goal.

When you were in high school and college, if you wanted good grades, you would study hard. If you wanted to excel in a particular sport, you would practice. If you wanted to excel in the arts, you would rehearse. It was just that simple. When I decided to make a conscious effort to be a professional photographer, what did I do? I kept shooting. I kept studying. I kept learning. I kept growing. (I am still growing). I remember looking at a video clip featuring Atlanta’s own Laretta Houston (http://www.larettahouston.com/) and she said something that struck home. "You have to practice. You have to keep developing your skills." She would sit at Barnes & Noble and read every single book pertaining to photography, retouching, etc. (and I thought I was the only crazy one). But as you can see, the bottom line is this: Anything you want, you have to work for it, you have to seek guidance from others in your field and then only can you excel in most cases. You can't keep shooting the same thing over and over and over again, year after year after year.

What if you don’t want those things? What if you don’t wish to excel in your decided career paths? What if you just want to settle for mediocrity? What do you do? It’s easy; Sabotage it. It is just that simple, hence the reason for this blog. For example, you hate your job, but you don’t have the guts to quit? Sabotage it. Do a lackluster job performance, come in late – hell don’t come in at all. Watch what happens.

Time and time again, I’ve come across model hopefuls that wish to excel in the field of modeling and all the time I am constantly asked “what do I have to do to make it to the ‘next level’? What do I have to do to excel? What do I have to do to be better at my craft?” I know if I am asked this question, my professional colleagues are asked the same damn thing. I get this question on an average of approximately five times a day. Most times when a model asks me this, I have to look at their track record, their body of work and their person in order to make an educated suggestion. Sometimes it is not as simple as saying “lose weight” or “take care of your skin.” I wish it was that easy. Sometimes it’s telling a model to make better choices in who they decide to shoot with. Sometimes it’s telling a model to be patient and slow down and stop making bad decisions. Sometimes it's telling a model not to forget where they've come from and whose guided them along the way. Sometimes its telling a model to stop going against the grain and realize that professional decisions are made for their own good (not every model is a Gucci model). Sometimes it's teaching a model how to build long term relationships. Sometimes it's telling a model to stop sabotaging the people who've helped you along the way (see Marcus Hill and Anthony Gallo - they listened). Sometimes it’s a simple as telling a model “you need to cut your hair.” Bottom line is a lot of hindrances a model goes through is because they are doing things to themselves and they are impeding their own advancement, because they just don’t want to listen. So when you don’t listen and don’t take the much needed suggestions given to you, guess what? You are sabotaging your own career. Hence the title of this blog.

I’ve come across sooooooo many models that would be a lot further along in their career if they would just heed the advice of not necessarily me, per se (hell I’m just a photographer), but to take the advice of noted and well established professionals. There has been more than one occasion when a model would ask me for advice and I would give it to them, I would get the bombardment of: “I can’t do that.” “I’m not cutting my hair.” “I’m not losing weight.” “I’m not changing my style.” “I don’t want to wear that to a casting, it will make me look gay.” “I want to keep my cornrows.” “I think I look sexy in a beard.” Oh really? If that is the case, then why the fuck aren’t you an established model? All the above remarks are actual retorts that I have received from models who are at a point in their career decided that they weren't going anywhere and wanted to know why. When things are repeatedly brought to their attention, they don’t want to listen, therefore, they are stuck in a particular rut and they don’t know why (well maybe they do know why, but they are being to damn stubborn to admit to it).

There was a male model of color I shot a few years back from Philadelphia. He is a very handsome man. His down fall? Too burly and too much hair. He was getting local work (church fashion shows and neighborhood mall work), however, he was shooting with third-tier local photographers and this really wasn't advancing his career. When he approached me about photographing him, my first response to him was “you got to cut that hair.” You would’ve thought I told him to cut his throat. His hair, though beautiful, was an incredible hindrance to his career advancement. Not many male models have that certain jene-se-quois to carry off a head full of hair. Some models have that magic (Google: Paulo Pascoal), however, most males just don’t have it. When you deal with a head full of hair (especially on a model of color), you limit yourselves to the types of job that you can possibly book, and it gets even WORSE if your long hair is dated (see: dreadlocks). Nobody is looking to book you. If you want to get more work, take heed, do the necessary modifications that will need to be done in order for you to advance.

Needless to say, he bitched and complained about wanting to keep his hair, and I replied: “Don’t waste my time. You have no idea just how beautiful you are, because your features are being hidden behind a shit load of hair.” Usually when a male model has a head full of hair, it usually comes from some girl telling him that shit is cute. Yeah, it may be cute for hanging out around the way, and possibly being booked as an extra on a hip-hop video, and if you’re lucky, you may book a Jimmy Jazz advertisement, but in the mainstream fashion/modeling world, that usually doesn’t fly. So gentlemen, (and some ladies can use a major makeover hairstyle as well), if a professional in the field is giving you suggestions, take heed. It will really help in the long run. In some instances, the hair just may work. Whose to say? Ask a few professionals. If the general consensus is to change something, that should be telling you to make that change.

To make a long story short, the model did cut his hair. And once he did, people began to take notice. He began to look more like a model. We had our shoot, and people began to realize just how good looking he really was and he started to get picked up by better photographers and started picking up better gigs. He actually cut off two pounds of useless hair. He thanked me.

So ask the professionals. See what they have to say. Take notes. Listen. Actually listen and open up your mind. Take control of your careers and stop sabotaging it. You will thank the professional (and yourself) in the long run.

So ask yourself. Are you sabotaging you own career? Think about it.

THE PHRASE FOR TODAY IS “THANK YOU” (AND OTHER THINGS THAT MODELS TEND TO DO – OR NOT)

2010-07-06T08:32:00.000-07:00

I know. It’s been an INCREDIBLY long time since I’ve written a post and I am sincerely sorry. I am not going to say that I am going to try to be more diligent. I am not going to say that I will start pumping out an entry once a week – hell even once a month (because we all know I would be lying). But when something bothers me, it will prompt me to have to say something to someone or I will scream.

To catch you up on a couple of things, I’ve been getting my hard book portfolio together. This means printing, printing and more printing. It was also the first time my book was viewed by my agent and NOT A SINGLE PHOTOGRAPH WAS REMOVED. So now I can be shopped full throttle. I’ve recently shot the new line of Euge Fashion’s look book. I’ve been shooting a lot of models from California (and three of them have been placed [Brandon Lucas with LA Models, Brandon Espy and BJ Williams with Red Model Management in New York]). I will try to give you some morsels on those guys in a future blog. I swear.

But I digress. Let’s get to the topic at hand and the reason for this post. I’ve come from a bygone era where etiquette and manners were paramount. Girls went to charm school to learn social grace and elegance. Young men were taught to walk up to a door of a young lady he was courting and knock on her door to announce his arrival (not blare a car horn, or text a message saying he is outside). I come from a time that if I had a party and received gifts, I had a week’s time to send out handwritten Thank You cards, because if I didn’t, there was an inevitable ass whipping in my immediate future.

As I embark on this wondrous career in the fashion industry, the average age of my subjects range from about 16 to 22. I can understand the communication and generational gap that stands between us (as wide and as deep as the Continental Divide), however, I’ve been noticing that a lot of the youth today are downright rude. I get tons of emails from models with questions about “how to be put on” “what can I do to advance my career” “can you help me out” “how can I get it to the next level?” “Introduce me to so and so.” Never do I receive a formal greeting. Never do I receive a simple hello. Never do I receive the customary how are you? Just the straight forward bombardment of what they need, can I provide the necessary information, and if not let them move on.

At first I thought it was me and maybe – just maybe I was being a little sensitive. When I am sent an email, I respond. When someone compliments my work, I say thank you. Remember ladies and gentlemen, if someone can take the time to write you, you should take the time to respond accordingly. Even if you are not interested. It is just the proper thing to do. If I am greeting someone in any form, it is a formal phrase of “How Are You, My Name Is… “ It is closed with a “Thank You for your time.” It is natural course of business and proper etiquette in a world that text messaging, video games and computers have removed all the social graces and taking us a step backwards in the realm of social norm.

The reason this blog came into fruition is I recently had a photo shoot for an out of town modeling agency. The agency owner is trying to groom and build a solid foundation of models (most of them were men of color). I’ve been in negotiations with this agency for a while and finally they came to my studio for their test shots. It was a hodgepodge of cornrows, tattoos, unkempt beards, bad hairlines and rotten attitudes. As I watched Mr. Doe (names changed to protect the innocent, of course) try to get these men into shape, he was greeted with attitude, surly come backs and flippant remarks. I stood there in wonderment because these models weren’t paying for their photo shoot – MR. DOE WAS!!!

Each model had their strengths and weaknesses. A lot of their weaknesses were cosmetic – most honestly, just grooming. Something that could honestly be taken care of right there in the studio. Everytime I discussed my concerns with the model it was echoed with a “see what did I tell you?” from Mr. Doe. So that means these suggestions were already raised prior to seeing me, but they chose to ignore it. So that means they didn't care what their agent has to say which in turns means they didn't care about their career. Every time something was suggested it was met with a negative bombardment of reasoning. I responded with “none of you would make it in New York. If an agent says X Y and Z, you do X Y and Z or you go home. It’s just that simple.”

When you are given valuable advice from a well known and well established person in the modeling industry, please take heed (remember, a lot of these professionals get TOP DOLLAR for giving you this information). We don't tell you these things for shits and giggles. We don’t get off on telling you things that will hurt your career. We are telling you these things and giving you the building blocks to help build a successful career. Don’t think that your good looks and great body is going to do it all and that you can have a rotten attitude and feeling of entitlement (remember NO ONE OWES YOU ANYTHING). For every one of you with that rotten attitude, there is another model waiting in the wings who's prettier, has a better body and has a better attitude and are GRATEFUL that someone has taken the time to express an interest in their career.

I’ve shot many models not for monetary purposes, but because they were humble, eager and passionate. They were appreciative of my time, energy and talent. Remember models of color (especially the males): you have to work three times as hard to get less than half the work of your white peers. You don’t have the luxury of an off day. You don’t have the luxury of a bad hair day. You don’t have the luxury of telling the industry to kiss your ass. It just doesn’t work that way.

So as I shot these models this past weekend, I pondered over the fact that a lot of professionals in the industry are being taken advantage of and if we were to step back and let these young men and women flounder in their ignorance, a lot of them would be sitting there spinning their wheels. I’ve taken a new stance. Approach me wrong, I probably won’t respond. If I offer you the proper suggestions to advance your career and I see that you don’t take heed, I will probably not associate with you again. If you can’t give me a proper token of gratitude, guess what? I will probably not work with you again. (No one is saying send me a Mercedes [though it would be really really nice]. A simple thank you would mean the world of difference to me – to a lot of us in the industry). It may also be the difference of you booking future work or not. (I get a lot of phone calls from people looking for models and trust me, I’ve turned a lot of models on to good jobs. Merely because they were appreciative).

Relationships are very important and every single thing I’ve discussed above can be applied to any aspect of life. No one in the professional world owes you anything, so when you walk in the door with your kiss my ass attitude thinking you are the shit and you feel like the world owes you something, guess again. I know a lot of photographers who’ve turned down paid gigs merely because of a model’s rotten attitude. There is a difference between confidence and conceit. There is a difference between bravado and belligerent. There is a difference between attitude and gratitude.

Remember, a lot of us can make a single phone call and you won’t get booked for a damn thing.

MARCUS RANDALL - CALIFORNIA'S BEST KEPT SECRET

2010-05-12T17:15:00.000-07:00

Sometimes you go through life blissfully (and ignorantly) thinking that everything you’ve been taught about the “industry” is “correct.” Models are to be a certain height, a certain weight, a certain look, or a certain [fill in the blanks]. And as you go along, you are so busy pounding in your head all the industry “standards” that you find yourself turning away models merely because they don’t fit the industry standard. I know I’ve turned away some gems, and I know some of my colleagues have done the same. It’s a shameful way to be, because we become guilty of the very thing in which we complain about (no diversity in the industry).

Every once in a while, God comes along and shakes things up a bit and goes “Dallas (or whatever your name is). It’s time to sit back and look with ‘new’ eyes. Sometimes it is your job as an image maker to step away from the rigid rules of “industry standard” and make an exception. Eventually that exception will become the rule.” In this case God is played by California’s own Michael Maddox, my dear friend and industry mentor. Please check out his website (www.dearmichaelmaddox.com, and www.michaelmaddoxrunway.com).

I’ve developed a keen relationship with Michael and there isn’t much he says to me that hasn’t come to pass and he is like a wise old Jedi Master. I realize now that when he says things to me, I no longer question, I go blindly along because before long he is calling me and saying in the mixture of Southern drawl and California twang; “Didn’t I tell you, my dear friend?” Hence, the reason for this blog.

In my relationship with Michael, he has introduced me to a plethora of West Coast models that have been making trips to New York primarily to shoot with me. Thus far it has been B.J. Williams, Brandon Espy and lastly Marcus Randall. My adventures with each model has been unique and beautiful in its own right, but the most unique adventure of them all has been Mr. Marcus Randall.

If any of you have followed any of my blogs you will know one thing. I could honestly care what a model looks like (because they are all beautiful in there own unique way). However, like other photographers I still had an industry standard “chip” lodged deep into my cerebral cortex and very rarely do I stray from it. And if I followed this rule of thumb, I wouldn’t be writing this blog today.

What happens with Michael is, he will tell me that he is planning to send a model to New York to shoot with me. He will send me their images, and if I agree, he will tell me a little bit of what he wants. Most often Michael has been sending me stunning models of correct height, correct stature, correct body proportions and correct looks, this particular day, our conversation ran a little differently.

The email read: “Marcus Randall – What do you think?” As I opened the email, I was greeted with a bunch of photographs from a very good looking young man (although nothing stellar). I immediately told Michael no. Please tell this model not to waste his time.

What I love about Michael is this, he hears you out. He doesn’t override and dismiss anything you may think, and like a true friend, conversations with him are always a give and take.

“Why?” He asked.

I went into the usual diatribe of not liking his features, I pointed out all his physical shortcomings, I pointed out things that I found wrong with his images. Though he was photographed okay, he came across like an actor (or a calendar model), he would never be seriously taken as a real model in New York.

The phone was silent for a moment and Michael took a deep breath and said (these words I will never forget). “Just say hi. If after speaking with him, if you don’t want to photograph him, I totally understand.” It was as simple as that. Two days later I said hello, one month later I was picking him up from JFK airport in New York.

See, once you get to know Michael, you will realize that no matter what you think, you will do as he says, but the magic of it all is this: Michael will not say in so many words “you will do this.” The scenario will play out before you like an amazing Shakesperean play and before you know it, you would’ve done Mr. Maddox’s bidding.

Michael knows that I go COMPLETELY on feelings when it comes to my photography and it’s as simple as falling in love with the model and if that happens, I will indeed shoot him/her and upon speaking with Marcus, what was there not to love?

Once he and I agreed on a shooting date, it was no my tasks to study him. Understand all his flaws and all the reasons WHY I didn’t want to shoot him. He wasn’t industry standard height for models. Though handsome, he still came across like a B rated actor in his photographs, though his body was a stunning specimen of anatomy, there always seem to be something missing. And it was my job to find out just what that was. I asked for candid photographs and it was then I found the missing puzzle. Dazzling smile, warm personality and a frankness that exploded off the photographs that I just wasn’t seeing with previous photoshoots.

As I met him in New York I realized a couple of things, he was taller than I expected (still shorter than industry) and a hell of a lot better looking than his photos. I was immediately excited to shoot him and when we met it wasn’t the usual conventional handshake, but it was the warm hug of an old friend.

We hung out for a couple of days and in the interim I got a chance to really really know him. (Even though I “knew” him, our previous communications were through emails, telephone conversations, Twitter comments and texts). And all the nuances that you can’t capture in a photo were displayed before me. And I knew then and there that though Marcus has been photographed on countless occassions, he has never truly been captured and I took it as my person quest to make that happen.

Marcus went through my Model Bootcamp Sessions and he soaked everything up like a sponge. He learned hand placement, arm placement, connecting with the camera. He learned his good side versus bad and things he thought looked good in the camera, didn’t. He would sit on my dining room floor with a multitude of editorial magazines and studying poses, and expressions and feelings. He was hungry and he wanted to prove to me, to Michael and to all the other nay-sayers that yes, he has what it takes to succeed with the likes of Anthony Gallo, Marcus Hill, B.J. Williams and all the rest. For those photographers who turned him away, he wanted you to know what you were missing.

With a single photoshoot he was able to walk into New York agencies and prove to them that yes, even though he may be an inch or two below standard, what he lacked in height, he made up in confidence and bravado. Marcus will let you know he’s here and he is a force to be reckoned with. From this point onward, he will always be known to me as California’s Best Kept Secret.

Ladies and gentlemen, I present to you and the rest of the world: Marcus Randall. Like I said, I will never doubt Michael again.

MODEL BOOTCAMP - RELEASING THE MODEL WITHIN YOU

2010-05-03T11:27:00.000-07:00

This blog was a long time in the making and I am living it through almost every photoshoot. You know when you do something everyday all the time, it’s no biggie to you, however, others are seeing amazing things and you just shrug your shoulders and go; “really? It’s what I do everyday.”

Every photographer has their strengths and weaknesses and each photographer should know to evolve and grow as an artist. It is our job to constantly crush those weaknesses and turn them into strengths, and make our strengths even stronger. I was recently asked this question: What is your strengths and weaknesses? Without delving into the realms of my twisted psyche my most horrible weakness is conceptualization. I see the work of someone like Ruven Afanador (http://www.art-dept.com/artists/afanador/). I would view his work and go “my God, how does he think of these things?” But of course, as you delve deeper into the actual concepts, there are budgets involved, art directors, creative directors and such, but I, too can try to attempt small scale concepts and create magic like the likes of Maya Guez (http://www.mayaguezart.com/) and someone like Luqman (http://luqmanfotography.com/). My strengths? I can only call on two. My lighting and my ability to connect with a model, hence the reason for this blog.

As a photographer, I am always getting bombarded with the statements of how amazing my work is, how awesome the subject is, etc. And one night it dawned on me. My photography, though nice, really isn’t amazing. It is no better or worse than my equivalent peers. What the viewer is really seeing is the connection I make with the model and the energy in which we create the image.

Most times when I am shooting a new face, they don’t have much experience in front of the lens. Agencies like to send me these new faces because I take the time that is needed to teach them some of the fundamentals of modeling. It can be a long and laborious process, but in the end, the model, the agency and I are quite pleased with the finished product. Over time it has developed into something known as Model Bootcamp. Ask any of the models that I have put through this (both neophytes and veterans alike), and they will tell you, it can be tough.

What is Model Bootcamp? Well usually before I shoot a model, if time permits, I actually study their previous photoshoots. If I am actually lucky, I get to study candid images of them (be it Myspace photos, party images, Facebook images, etc.), because I personally find when a model is in front of the lens, they tend to have a guard up and I cannot get a chance to see the “real” person. I am seeing a photographer’s rendition of them, so in essence, I am see what the photographer sees. This has its good points and bad points for me. We (meaning photographers) are magicians of illusion. We allow you to see what we want you to see. A model may be a little thick around the middle, a slight twist of the hip away from the camera may alleviate that. If a model is shorter than industry standard, it is our job to get lower than the model and shoot upward to make them appear taller, etc. However, I study these images to look for their physical weaknesses and strengths. Most often they are quite apparent, however, when they are not, it is my job to spot them out and to minimize them when I decide to shoot them.

If anyone knows me professionally, they know that I liken a photoshoot to a session of lovemaking. It is my job to make the model feel sexy, desirable, angry, whatever. It is the model’s job to convey that particular emotion back to me and it is my job to record it. The better the lovemaking, the better the babies (photographs) are going to be. That has always been my job and it hasn’t changed, however, it has evolved as I evolved as a photographer.

So now that I’ve had a chance to study a model, I figure out their angles and how best it will suit my needs in order to shoot them with regards to lighting, feel, etc., but then I also start looking at how they pose. Does it look forced, are their hands placed correctly, are their arm placements natural looking, is the feet well placed in the shot? If I start noticing common things in the photographs (even if shot by different photographers) it is now MY job to find out why. Has the photographer not pushed them enough, is there something going on that the model/photographer are trying to hide, etc. And lastly, I look at emotion and connection with the viewer. This herein lies the crux of the issues with most models.

When I first started shooting (like most of us), we were always looking for beautiful people. It made our job a lot easier, but as I evolved and my photographic eye evolved, I began to notice a trend of what I liked and what I didn’t like. And I noticed that the better models were producing something far more “magical” than the standard models. It was a connection with the photographer and with the connection with the photographer, you make a connection with the viewing audience. By doing that you create “life” in the eyes of the model. Emotion across the face and a connection that is indisputable and that is what I’ve began to develop in what is known as Model Boot Camp. I want to connect with the model. If I want the model to be sexy, it’s a lot more than just “looking” sexy for the camera. It’s about “feeling” sexy, so when the viewer views the image, I want to hear “God, that model is soooooooo sexy!” And sexy is a broad adjective and it means different things to different people and in each session it is my job to find out what that particular model’s sexy is, and teach them out to bring it out.

But it starts even before that. I would sit a model down and ask them what to they think their physical weaknesses are. It may be a weak chin, it may be a large nose, it may be eyes too close together. You would be surprised what kind of answers I may get from a model, because sometimes they just don’t know. They would tell me things that they may not like about themselves, but that is a whole different ballgame than saying what is your weakness as it pertains to the photographer. So we discuss these things and I take a series of photographs so they can personally see what I may see (yes, I allow the model to view the shoot as we go along, how else are they to learn?). A simple ½ inch turn of the head can make a weak chin look strong. Eyes that are too close together can come across slightly cross eyed, so changing the angle of the head ever so slightly will correct that. It is the little nuances in angles that can make a mediocre picture into a great picture. We find out what their best angles are, their good side versus their bad side, etc.. Once they get a clear understanding, you can see their modeling start taking on a particular shape and understanding that now they are not just standing in front the camera, they are actually modeling. Then from there we go into connecting with me as the photographer and viewer of the image. At this point is a psychological dance of the minds. I literally have to get into their business (and WOW some of the things I’ve learned). I need to know what it is that makes them feel particular ways about themselves and whatever that feeling is, they must learn to evoke it at the drop of a hat to produce the image. Most times I get it, and if not, we work at it until they’ve achieved it. The magical thing about it is this. Once they start viewing the images, it gets to a point that they tell me if the “it” factor is there or not. And it is how a model learns to grow.

Once I have achieved that special connection, we can then move on to the body. Most models I shoot are already in peak physical condition, but it is still my job to teach them how the equates to a photograph. A well built body can look blocky and square at the wrong angle, a woman’s waist can look thicker and thighs can look wider if they are presented to the camera wrong. So it is my job in Model Bootcamp to explain these things and how they relate to the camera. This is an ever evolving process. We discuss hand placement, arm placement, foot placement. And it is to get it to the point that it is natural. I strip away at the “model” façade and I force the model to become real and vulnerable with me, because when they do, I can guarantee you an amazing photograph. Most models have no idea what they are about to present to me, however, when we are done, it is not I that are picking out the final proofs it is them.

Is it a lot of work? Hell yeah, but it is also very rewarding. I love to hear an agent say to me “what in the world did you do to get this? These images are amazing! There is life in their eyes!”

It’s all about the connection. It’s all about the emotion. It’s all about the love.

It’s all about the Bootcamp.

Before Bootcamp

Model: Yusuf Myers

After Bootcamp

Before Bootcamp

Model: Anthony Lorenzo

After Bootcamp

Before Bootcamp

Model: B.J. Williams

After Bootcamp

Before Bootcamp

Model: Goldin Martinez

After Bootcamp

HAPPY ANNIVERSARY TO ME - AND THANK YOU TO YOU... YEAR 3 AND GOING STRONG.

2010-04-15T09:17:00.000-07:00

Michael Maddox said to me one night… “You have worth, Dallas. Your work is vital to the industry and never let anyone make you think differently. You have talent, you have passion and you have love for the industry. Just keep doing what you’re doing and make them hate you or love you because they ain’t you. You wouldn’t be shooting any of my boys if you weren’t good at what you do. Know your worth.” (http://www.dearmichaelmaddox.com/)

Since I’ve embarked on a career in photography, three things will always happen in April as long as I am alive. Taxes, my birthday and my photographic anniversary (which, to me is really the MOST important day for me).

As I looked at the calendar it didn’t dawn on me my 3rd anniversary was upon me until I looked in my appointment book and was booking a photo shoot. I always sit there in stunned amazement. April 13, 2007 I was sitting in Prospect Park in Brooklyn, New York with photographer Sean Toussaint. His first words to me was and I will never forget: “I cannot teach you photography, no one can. However, I can teach you how to use your camera.” And that he did.

Each year brought something new and different. Each year was better than the year before. My passion for my craft and artistry is just as strong today as it was the day I learned how to truly operate my camera. Today I’m shooting magazine editorials, clothing campaigns, fitness campaigns, body campaigns, hair campaigns, makeup campaigns. You name it, I may have shot it.

I’ve learned so much about myself in this journey. I’ve learned that photography, though a technical manifestation of lights, angles, distances and so forth, I also know that it is very very organic and there is no wrong way or right way to take a photograph. It is only your way.

I’ve learned how to stand in a middle of a studio with my eyes closed and “feel” the light dance across my body so I will know how I want my lights set up. I’ve learned that if something doesn’t work, don’t force it, move on. I’ve learned how to turn a untrained person into a professional model. When people talk about how “amazing” my lighting is, the only entity I can thank is God.

How? I can’t begin to tell you. I just know that when a model leaves my studio anything that they could’ve possibly picked up will go with them for the rest of their lives. I am eternally grateful for every single model that has ever graced my camera because with each and every photo shoot I’ve walked away with a nugget of information that will carry me over into the next shoot. Because of my skill set, I am building careers one photograph at a time.

Models are flying in from all over the United States to shoot with me, when only a few short months ago, nobody really knew who I was. Am I getting the giant campaigns yet? No, but I know with each image I take, I am getting closer and closer to the prize. It makes me feel good when someone forwards me a picture of a major campaign and says “this looks EXACTLY like something you would shoot..” I smile inside, because they see what I see.

This blog will not be a controversial one. No in your face. No making you take a long look at yourself (but one will be coming soon). This is a simple blog to say thank you to all of you who believed in me, you made me a better photographer. For those of you who didn’t believe in me, because it forced me to prove myself. For those of you who encouraged me, because I know that I’ve made the right choices. For those of you who said I sucked, because of you, I had to get better.

Year 4 will bring lighting seminars, modeling seminars, celebrity photography, major modeling photography, trips abroad, trips around the corner, billboards and magazines. Sean Toussaint, you may not have taught me photography, but you sure taught me how to take a fabulous photograph.

2007 Highlights

2008 Highlights

2009 Highlights

SPECIAL THANK YOUS

Sean Toussaint – Without the knowledge that you’ve bestowed on me, I would be entering my years in absolute darkness. Thank you for showing me the light. (http://www.seantoussaint.com/)

Butch Johnson – My best friend, my brother and my partner. When the chips are down, I know where I can always turn for encouragement. Thank you for never allowing me to just be happy with “good enough.” (http://www.styledbybutch.com/)

Cuffy Johnson – Something as simple as saying “I’m not feeling that” will always send me back to the drawing board. I thank you for being in my corner, and I thank you for loving me and my artistry and letting me know that, yeah, I can do this.

Goldin Martinez – When all others told you I my work was garbage, you’ve stood by my side through thick and thin. Because of you I have gotten some of the most amazing images that I have never planned for. Thank you for seeing my greatness even when I couldn’t. (http://www.getfocusedfitness.org/)

Jordan Brown – Thank you for just being my soul mate. No one will ever truly understand the true meaning of “following your dream” unless, of course, they are following their dream. Thank you for being Mother Logan when I need Mother Logan. (http://www.fullcirclecounseling.org/)

Kimberly Montgomery – Through the ups and downs and richer and poorer, you’ve pushed and pushed and pushed me. Without your undying support I would not be the professional, the artist or the person I am today. I thank you.

Amy Dresser – Girl, you know what you’ve done for me. Keep doing it. (http://www.amydresser.com/)

Kam Khan – Thank you for all the late night conversations and teaching me how to understand lighting better. Thank you for showing me all the cool photographers and learning to grow as an artist.

Maya Guez – Girl, you will never know how much you’ve influenced me. When someone even mentions me in the same sentence as you, I get butterflies. What is THAT about? (http://www.mayaguezart.com/)

Tarrice Love – Though we may have never seen eye to eye, you have been one of the most influential photographers in my life. Good, bad or indifferent, you made my game a true A game. You've made me understand the industry for what it is and you've made me want to promote my brothers and sisters to absolute greatness. Thank you, Mr. Love. (http://www.ice-itsocool.com/)

Shae Fontaine – Thank you for always being in my corner and being one of my biggest supporters. I am blessed to have a fellow Aries in my life that understand what it is to say “fuck it” to everything else and following my dream. (http://www.shaefontaine.com/)

Steve Reganato – To the man who has been INCREDIBLY instrumental in my growth as an editorial/fashion photographer. Thank you for showing me not only how to be a better more technical photographer, but how to be a better conceptualizer. (http://www.stevereganato.com/)

Marco Grob – To the man who taught me light and the magic of a beauty dish, because of you my life was forever changed. (http://www.marcogrob.com/)

Steven Eastwood – The Canon Master? I know I am on a looooooooooooooong list of admirers and followers. Thank you for forcing me to think outside the box and at the same time still keeping it simple and still being able to take a wow worthy photo on a shoe string budget. No one can compare. (http://www.stepheneastwood.com/)

Heather Wilson – I will be eternally grateful for all your support when I first started. You saw talent in me when others didn't. You’ve elevated me to heights I never thought I could imagine. What would I do without you. (http://www.makeupbyheatherwilson.com/)

Damion Gerado - We have come so far in such a short period of time. No one, and I mean NO ONE can beat a face (man or woman) quite like you. Thank you for being part of the team.

Robert Durant – Without your unwavering support in such a volatile industry, I thank you for your friendship and support. I thank you for bringing me hotness every time you show up to the set and letting me know that I can better every time I shoot. I salute you. (http://www.robertdurant.com/)

Tim Johnson – For opening my eyes to talent outside the triangle of New York, London and Paris. (http://www.timjohnsoninternational.com/)

Alva Page – For being there from the beginning. You have been instrumental in my career in so many ways you may never know.

Romell Duresseau – For your undying support at my craft, my life, my career and my growth. You made me look at the beauty world in a whole new light.

Man Man Nance – For the man that put the word “Man” in ManHandled. Thank you for understanding what true passion is and true work ethics. Thank you for never ever letting me be second best at anything I do. Thank you for teach me all about illegal cable. Some people will never know.

Greg J. Konop - Because you are always hungry for knowledge, you keep me on my toes. One day we will laugh about it all as we collect our royalty checks from Jed Root. (http://www.gregjkonop.com/)

Laretta Houston – From my early days of Flickr, thank you for the bombardment of some of the hottest photos I have ever seen. I am proud to be in the company of greatness, because, Laretta, you’re great. (http://www.larettahouston.com/)

Michael Maddox – In the third year of my career, I can’t think of anyone at this moment who has been the most influential in my growth not just as an artist or photographer, but as a human being. Thank you for letting me know that I can kick ass with a camera. Thank you for letting me know when I take a good photo, you turn around and say “do it again and make a great photo.” Thank you for having faith in me to send me models from across the United States. Thank you for letting me into your world without ever second guessing. Thank you for removing the 5 degrees of separation that needed to be removed. When God made you, my friend, he knew he had to throw the mold away. (http://www.dearmichaelmaddox.com/)

... And Others...
Adha Zelma Jewelry
Adolphus Amissah
Adrian Richards
AJ Oliveria
Alexa Banks
Aliza Williams
Amber Rima
APM Model Management
Art&Exile
Ashley Carpenter
B1 Model Management
BASIC Model Management
Bintou
BJ Williams
Black Ice Jewelry
Bleu Magazine
Boss Models
Bradon Espy
Brianna Michelle
Brittany Oldenhoff
Bruce Hawkins
Carline Dargenson
Carlos Arias
Catherine Frances Scott
Celestino
Celestino Couture
Charlotte Berry
Chelsea Irwin
Claudia Unabia
Click Models
Damion Adams
Dansk Magazine
Devon Stephenson
Diana Schmidt
Direct Models
DJ Halston
Don Harris
Donna Taylor
Dorsey & Whitney LLP
Double Exxposure
Dremmler Desil
Drew Felton
Drew Milan
Durant by Robert Durant
Eboni Sade
Edwin Perriot
Ema Masters
Emilio Miller
Empire Model Management
Engels Santana
Epic Models
Erik Ford
Ethan James
Felton Group
Ford Models
Full Circle Counseling, LLC
Fusion Models
George Brown
George Favios
Ger
Get Focused, Inc.
Glynn Jackson
Greg J. Konop
Gregory Prescott
Harry Leonard
Hosea Johnson Photography
ID Models
Identities Models
Ikon Models
Itaysha Jordan
Jackie Lui
Jalicia Nightengale
Jamie Charles
Jamie Hilfiger
Jerome Storey
Jerris Madison
Joe Wigfall
Jon Hylton
Jonathan Brodick
JS Dirty
Judith Ashley
Karen Lee
Kenneth Anderson
Kent Edwards
Kenyba Mclean
Lavante Isaac
Lisa Grant
Loa
Makari
Malik Williams
Marcus Randall
Mars Model Management
Marvin
May Satch
Memi Johnson
Messiah McNair
Michael Delao
Michael Stallings
Milan Christopher
MMG Models
Nathan Basset
Neo Anderson
Nicole Archibald
Nick Perkins
Noise Magazine
Numero Magazine
NUOVO Magazine
Obi
Orlane Benau
Patty Tyler
Paula Neilson
Paulo Pascoal
Pearl Chin
Porselene
Q Models
Qudamah Hamilton
Red Model Management
Renee Thompson
Richard Farino
Romell 4 Face
Rumando Kelly
Sailey Williams
Sarah Blessing
Seven Muhammed
Shamar Forte
Sidney Etienne
Silver Model Management
Stanley Kaplan Talent
Stephanie Auguste
Stephanie Garcia
Suzie Chang
Svitlana Glebova
Terell Mason
Third Ward Studios
Tim Harris
Trevor Green
Tyra Banks
Vincent Payne
Wilhemina Models
Will Springfield
Willy Whitfield
Yeikov Bermudez
Yusuf Myers
Zaquan Champ
Zenith Pimental

I know there are a whole lot more people to thank. Forgive me if I have over looked you. Going into year 4, and it’s time to start pushing it to the next level.

BORING IS NOT SEXY… BEING PRESENT IN FRONT OF THE CAMERA.

2010-04-06T14:12:00.000-07:00

Model: Renee Thompson of Code Model Management

Here I am at it again. Writing another blog (not bad for me, I might add). I get a lot of requests to be a little bit more frequent in my entries and I get tons and tons of requests and people throwing ideas at me as to what I should write next. Some are really good, and some not so good. I will let you in on a little secret: I get the best blog ideas from models. Almost every model I come in contact with will give me a nugget of something that is an instant shoo-in to be a topic on my blog.

The last entry (“Who The Fuck Are You?”) sparked some heated debates and some hateful comments – please keep them coming – but you know my pet peeve: If you are man/woman enough to write such hateful things, please be man/woman enough to leave your name and email. It’s only right. Another issue is a lot of models were pissed off to the fact that they seem insulted (“who the hell are you to tell a model that they can’t make it?”). Well let’s clarify a couple of things in that regard. For those of you who honestly know me, would know I would NEVER tell a model that they don’t have the potential to make it in this industry. Who the hell am I to tell a model to give it up? I am not a booker and what floats my boat often times a booker won't even want. There is more than enough work out there for everyone and honestly ANYONE can be a model. So, again, I am quite supportive when a person wants to take the plunge into this industry, because it is very very hard. It is very very competitive and it can be heartbreaking and unnerving for the faint of heart. But that goes for all of us in the industry (be it photographers, makeup artists, stylists, etc.) We are only as memorable as our last shoot and we must keep growing and evolving and reinventing ourselves. It’s about pushing the envelope and changing and growing and not being stuck in the proverbial rut and producing the same thing over and over and over again. So people, when I make a comment (or rant) in the blog, that’s all it is. I will not apologize for what I may say. I will not apologize for how I may say it, but I will apologize if you’re feelings are hurt. It isn’t about that. So let’s go onto today’s subject matter at hand.

When a model asks me for advice, or to critique them, my usual questions are: “Why?” “What do you wish to achieve with my critique of you?” I usually only cover the obvious if I have never photographed them before. It may be weight loss. It may be toning up. It may be shooting with better photographers. It may be telling them to upgrade their book. When they ask me about agencies. I tell them to do their homework. How to approach a booker. How to approach photographers, etc. I just give them the basic information that is needed to get them on the right path. How they decide to use that information is up to them. I can’t control if a model decides not to diet, or exercise, or go to an open call unprepared. And when a model who has been trying to make it for some time and still doesn’t? I am quite sure that any advice I may have offered them has been offered before. You (the model) decided not to follow it and therefore you are hitting a brick wall.

I digress. I had to get a few things off my chest before I could continue. Before this particular blog entry came to light, I’ve discussed with a lot of photographers about some of the issues they have with models (and this is usually the new faces and up-and-comers). And it is the issue of presence. Being aware and being in the moment at the photographic session.

Time and time again I have dealt with models and I usually give this monologue. “Ralph Lauren is looking for the new face to launch his line. You are the correct height, type, look that they are looking for and in a single photograph you have to show me why Ralph Lauren would want you to be their new face and not the next model.” It seems rather easy, doesn’t it? You would not believe it is one of the hardest things that a model would do.

Being a model, you are a performer. You are the silent actor. It is your job in a single image to convey emotion. And in most instances, that is all the time you have. A Casting Director is looking at hundreds of photographs in a single day for a major casting of that magnitude. They don’t have time to filter through images to “find” you. Either you will show it to them or you won’t. It doesn’t matter what the emotion is. It can be sexiness, happiness, sadness, anger, etc. And you have to say it without ever going over the top and mugging for the camera. This particular deed is a lot harder than most people think.

It is a fine line between love and hate, it can be something as simple as raising of an eyebrow, the widening of an eye, the parting of the lips. There is a fine line between sexy and sleepy. I’ve photographed models and said give me sexy, they go slack, the eyes become droopy and they think it's sexy. When I show them the image from my point of view, they realize that there nothing sexy about it. Then there are times when the model just doesn’t even emote at all and those are the models this blog is geared to.

More than one occasion I photographed models and it was frame after frame after frame of the same exact expression. I would say “say give me happy,” click. “Give me sad,” click. “Give me angry,” click. And when you put all three images side by side, there isn’t single change of expression in the face and models, this can be quite frustrating for the photographer trying to achieve an emotion from you. Beyond practicing how to pose and how to walk - the most important thing you can do in your career is learn how to create emotion in your face. How to create that photographic tension that separates a good model from a great model. It is about connecting with your inner-self and reaching deep down inside to find that one emotion that when you release it, there is no mistaken what you were trying to emote in the eyes of the viewer. It is about being present in the moment and being present with the photographer and making that one connection so at the instant that photograph is snapped, the photographer can proudly say “we got it!”

I study a lot of portfolios and the first thing I look for is expression in a model’s face. If I come across 4 or more images in a row and I am seeing the same exact thing, I instantly know it’s not going to work for me and therefore I am not going to want to shoot the model. When I am asked, my reply usually is: “They’re boring.”

Are you boring?

WHO THE FUCK ARE YOU?

2010-03-30T09:08:00.000-07:00

That’s right, I know the title is rude. So what? Don’t look over your shoulder, don’t look at the model to the left of you and don’t look at the model to the right. I am talking to you. Have I got your attention? Good.

Every single time I decide to do one of these “in your face” blogs, it usually stems from something deep inside of me that’s been simmering for a long time on a very low fire. Each and everyday of my professional existence, I am bombarded by models with the same questions over and over again. Do I have what it takes? (Usually a resounding no) Can I make it as a model? (Anyone can be a model – look at the fat chick that holds the Pine Sol bottle – she’s a model [an actual paid model]). But the stellar remark that gets me every time is when one of them have the audacity to say “I am going to be the supermodel.”

Are you really? Do you really have what it takes to be a supermodel? Names like Naomi Campbell, Kate Moss, Christy Turlington, Agyness Deyn, Jessica White, Eva Marcille, Gisele Bundchen, Jon Kortajarena, Tyson Beckford and the list is endless. You have that certain jene se quois to stand in such an elite line up and demand the money they demand? Well, let’s get down to business.

I am going to lower the bar for the moment. Let’s not even take SUPERMODEL status. Let’s just be an honest to god working model. That means at LEAST 75% of your annual income is generate solely through modeling. You go out there shoot after shoot, hoofing it from casting to casting. Being turned down job after job. Going to the gym, eating right, sleeping right, just to get up and do it all over again, because the agency is trying to make money off of your superior DNA.

Agent? What agent? You’re not signed? OOOOOOOOOOOOOOOOH, you’re one of those. Those are the types of models that I like the most. Usually (and I am using the term loosely) this type of model is a person with above average looks, better than most body, had a couple of photo shoots under their belt, because someone told them that they could be a model. They go out into the world after a couple of photo shoots and want to start making money for their time, or thinking photographers should pay them to shoot them. What the fuck for? What are you bringing to the table that tons and tons of models before you (and most certainly after you) can’t bring to the table? What is it about you that makes you the “it” model of the moment? The model that is not signed usually and can’t get the campaigns. What is it about you? (Hence the title of this blog).

Models only seem to know about a handful of agencies (and trust me ladies and gentlemen, there are HUNDREDS of agencies out there)… The ones that are usually tossed around are Ford, Elite, Wilhemina, DNA, IMG, etc and the unsigned model has that lofty idea that they are going to walk into one of those agencies and the bookers are going to fall at their feet and offer them the illustrious contract in which they think they deserve. Guess what, models. It RARELY happens. These agencies are inundated with thousands upon thousands of modeling hopefuls that they turn down, so to think that in the possible SLIM chance you’re going to be that one is highly unlikely. Impossible? No. But highly improbable.

The reason this blog came into fruition, an unsigned black male model I shot came to me talking about he wants to be with Ford, Elite or DNA. I had to stop him in mid-sentence and look at him. First off, they think just because they’re signed with Ford, or Elite or DNA they are going to start raking in the money. So I humored him. I brought up DNA Model Management’s website. Just so he can see the roster. On the website, there were two black male models. Only two. Let me put it to you like this: only two obviously black models. So I turned to him and said, “DNA? Really? I can guarantee you a month ago, you didn’t even know who hell DNA Model Management was. Somebody filled your head with a bunch of blue chip agencies, you wiggled your ass in front of a couple of photographers and now you think you can enter that world. Guess what? You’re handsome, yes, but did you take a look at their board to see if you (a) have what it takes and (b) compete with the two STUNNINGLY beautiful black models that they already have?” Models, again, do your homework. Not all agencies are a good fit for you and vice versa. Pay attention to what they are looking for (if you went to Silver Model Management, for example, you would KNOW they wanted muscled out bodies, so if you were 6’2, 150 editorially built, why in the world would you go there?) If you look at a roster, you will see some sort of common denominator amongst models (it could be body type, it could be facial structure, it could be age, it could be national origin). You have to see if you can fit your peg into their hole. I know its wonderful to think big and lofty and you’re going to be “the one” to break the mold. I applaud you in that aspect, however, when you are applying to some of these agencies, they are looking at you in a money making capacity. If you’re unable to make them money, they are unable to do anything for you.

Time and time again, models send me photos for me to evaluate them. I see gang tats, tats covering more than 60 percent of their body surface (right up into the neck region [Ralph Lauren would LOVE that]), body piercings, eye brows with parts, long unkempt hair, du-rags, braids, gold fronts, bodies that are too short, too big, too skinny, bad skin, crooked teeth, slightly crossed eyed, ill body proportions the list can go on endlessly. However, you want IMG, DNA, Ford, Elite and Wilhemina to sign you? As my father would say “get the fuck outta here!”

This is a very competitive field ladies and gentlemen. And if you don’t have the goods you better (a) get out now or (b) get it together so you DO have the goods.

Here is a to do list.

1. Do you homework. Check out all types of agencies, you may be able to work your way up to one of the blue chips. Don’t frown upon a boutique agency you can learn a lot and they can mold you on the nature of the business.

2. You are a product. Take care of it accordingly. Modeling (unlike bodybuilding) is a year round job. Take care of your face, skin, hands, feet, body. Keep your drinking, drugging, smoking to a minimum. No one wants to see a tired, washed out model on their campaign or in front of a photographer’s lens.

3. Listen to those to can honestly help you. You will come across a lot of people telling you a lot of unnecessary information. The world is incredibly small. Do you homework. See if these people who say they can help you can honestly help you. If they are in positions to help you, that means they see potential. Don’t waste their time.

4. Study your craft. You should breathe, eat, sleep modeling. That is not only your job – it should be your LIFE. Find out who the “it” models are and find out why. Elevate your game. Study walks, magazines, campaigns, etc. Stay on the pulse of the industry.

5. Invest in your career. That can be getting a gym membership to paying a good photographer to photograph you, to working with a runway coach. A single picture can make the difference between booking a job and seeing the front door. A bad walk and you are laughed at. Talented photographers invest their time, energy and artistry to produce good quality images for your portfolio. So invest and invest wisely. Keep your book current and all photos should be “oh my God” status.

6. Speaking of photographers. Not everyone with a camera is necessarily a photographer, be careful who you decide to let photograph you. If they are not going to elevate your book, don’t waste your time. The true motto is this: Test up, don’t test down.

7. Watch who your friends are. This industry is very very small and the internet has made it even smaller. You have no idea who may know whom. So be careful about what you say and who you say it to. A simple dismissive conversation may come back to haunt you.

8. Build lasting relationships. Loyalty is a viable commodity in this industry. If you are developing lasting mutual relationships with bookers, agents, photographers, etc. keep them alive. You may be the next one for that campaign merely because you’re a friend of the right person. Most times it’s not what you know, it’s who you know.

9. Be patient, be diligent, and be thick skinned. You will receive a lot of rejections in this industry. It is up to you to be strong. Every rejection is a learning process. Not every model is right for every job. A career is not made overnight. Don’t think you’re going to shoot on Monday and by Thursday you’re running to the bank to cash that Prada campaign check. It doesn’t work that way.

10. Be loyal. I cannot stress that enough. Thank those who took their time, money, energy, connections and knowledge to invest in you. Those who arrange photo shoots with photographers who would’ve turned you away. Those who pulled strings to have a booker meet with you. The people behind the scenes. Be loyal to the ones that believed in you, because when the chips are down (and trust me, there will be some dark times). Those will be the ones you can always rely on. Never shit on them, even as you grow and excel in your career, never forget where you came from.

Whew… Time to get back to photos. Until next time. Next up...

Brandon Espy - the Grown and Sexy Shoot

MODELING AND THE UGLY FAT CHICK

2010-03-03T13:43:00.000-08:00

First off my dear fans, I apologize for not writing sooner. There have been so many things going on in my life (both professional and personal) that I could not get to this blog sooner than March. With all the horrible weather we’ve been getting in New York this winter, I am so surprised that there hasn’t been a bunch of suicides because of seasonal depression. I can guarantee one thing though; there will be a tremendous baby boom sometime in the fall.

I digress. I knew that as soon as I titled this blog: “Modeling and the Ugly Fat Chick” it was going to make waves. This blog is essentially what happens to models (especially males) when they don’t play the game. This is not a fat bashing blog entry and it's not a gay bashing blog entry. It is merely calling a spade a spade and it is up to you, dear models, to make the decision if you wish to play in this arena.

It is no surprise that the modeling industry is run by the homosexual community. Some of the most powerful people in fashion (approximately 85 – 90%) are homosexuals. This starts at the top with designers, stylists, agency owners, agency bookers, photographers, makeup artists, hair stylists, runway coaches, show promoters, etc. and the list can go on and on and on. We know that. If it wasn’t for the gay community, the world would honestly have no fashion. So what new wisdom could I possibly extol on you, you wish to know?

Well, when it comes to the male model, there a large sector who are gay, also. So to be in a world surrounded by homosexuals, some will feel right at home (provided, of course, they don’t deliver that certain je ne sais quoi on camera – check out one of my earlier posts – GATEKEEPER TO THE GODS http://dallasjlogan.blogspot.com/2009/02/bookers-gatekeepers-to-gods.html). But the handful of male models who are not gay, this causes the inevitable issue.

If any of you know me personally, or have read any of my previous posts know that when I have a photo session, I liken it to making love. My usual spiel is “It is my job as the photographer to make you feel desirable, wanted, sexy, etc. It is your job to convey that emotion back to me, and it is my job to capture it. The better the love making the better the babies [pictures] will be.” This doesn’t matter to me if the model is male or female. It is just a fact.

And if you know me, you also heard this: “Make your booker fall in love with you.” Doesn’t matter if they are a man or woman, gay or straight. The bottom line is this: If your booker loves you, they will send you out. If not, you will sit on their roster and collect dust. It is just that simple. I frequently have had models calling me lamenting over their treatment at agencies and their booker and I can guarantee you in a series of two or three pointed questions, I can usually get to the root of the issue.

Question 1: Is your booker male or female?
Answer: Male.

Question 2: Is your booker gay?
Answer: Yes.

Question 3: Are you gay?
Answer: No.

And therein lies the issue. It doesn’t take rocket science. Men (both gay and straight) think with their penis with regards to looks. Personally, if we were able to separate the two, the modeling industry will be a lot better off, but we are drawn by our instincts. If a booker happened to approach you as you are walking down the street, chances are he found you attractive. Doesn’t matter if you’re a model or not. Same holds true for a photographer. We have to find something about you that is attractive enough for us to want to shoot you and for a booker to show interest. Most times it has nothing to do with looks, but with sexual appeal. If bookers were able to separate that, I can guarantee you that you would see a wider range of diversity when it comes to model boards. Look at some of the modeling rosters. Once you’ve start putting names of models faces to the bookers who’ve “discovered” them, you will start to see a trend and you will also start noticing the booker’s taste. So let’s say you are the “taste” of the booker, however, you’re not gay? You better believe that you better become gay-friendly and become gay-friendly fast. Am I telling you to go against the moral fiber of your being? No. Am I telling you to have sex with the booker? No (that is RIDICULOUS). But I will tell you one thing. You better learn how to flirt – hence the title of this blog.

It is a sexually charged dance that goes on between a booker and a model and the models that dance that dance will have a lot more going for them than the model that doesn’t. So what do you do? Flirt back and think of the booker as the ugly fat chick. The ugly fat chick has something you need (work) and though you have no sexual desires for the ugly fat chick — and that is okay, however, if you don’t flirt and learn to play the game, the next model that will flirt will book the job. You know you'll never fuck her, but it doesn't hurt to flirt. A little eye fucking and a lunch or two will go a loooooooooooooong way to getting what you want. A well placed hand, a lingering handshake, hell even a late night phone call expressing interests in the booker’s day will put you in the forefront of their mind when a client contacts them for the next campaign or editorial. You want to be that new face? You want to be the model every designer books? You want to be the one to grace the runways during Fashion Week? You want to be in front of that camera of that well known photographer? Learn to flirt. Learn to play and your career can sky rocket. If you don’t believe me, just test it out.

So the next time you feel that your booker just isn’t feeling you. Ask yourself. Did you flirt?

P.S.
There will be more to come… Remember these names in my future blogs (Recent Models Who've Graced My Camera):

Brandon Espy

Svitlana Glebova

Justin Hingleton

Jalicia Nightengale

HOW DO YOU TEACH?

2009-12-23T14:37:00.000-08:00

Model: Ebony Sade
Class: Beauty Retouch 1o1
Instructor: Dallas J. Logan

This will be my last official entry for the year of 2009 and what a year it has been. It has been about personal growth, change and learning about myself. The new year will bring new challenges and one that's been coming to me is in the form of teaching. A talented and wise colleague of mine (and an AMAZING photographer I might add [please look him up - Joe Wigfall]) said to me when I first embarked on this wonderous journey; "you will be teaching soon. It is just a matter of time." I laughed at his comment never thinking in a million years that anyone would want to come to me to learn anything, because, I, myself, am in constant learning mode.

One question later, one assistant later, one protege and now I stand at the precipice of the possibility of teaching and I am scared. Not scared that I don't know what I am talking about. Trust me, I know what I am doing, and if I didn't know something, trust and believe I will ask. But as I look at soooooooooo many talented photographers around me and I study their lighting, their composition, their post production and all the while going "how do they do that?" The question(s) are now being thrown to me. How do I do what I do?

In an honest answer? I don't know. I just know what I do comes from the inside and once I tried to show/explain/teach I realize that I could not. Because, in all honesty, you cannot teach photography.

That was the very first words out of my mentor's mouth. "I cannot teach you photography. No one can." I was perplexed by that comment. I see you produce beautiful photos time and time again. I see you light a shot time and time again and I see you develop both film and digital time and time again, so what do you mean you cannot teach me photography? His reply. "I can teach you how to operate your camera. Everything else is up to you."

And that he did. And today it makes sense. Whenever anyone approaches me about photography, I cannot teach them. I can show them how their camera works to achieve a particular image, but I cannot tell them how to capture magic. To capture that defining moment. To make an awe inspiring image. You cannot teach that. That comes from within. That's like asking Leonardo da Vinci "how did you get the mouth on the Mona Lisa to look like that? Teach me."

Am I comparing myself to da Vinci? Not hardly. It is just an analogy to artistry. There's been times I've been in a photosession and the model is in hair and makeup and I am setting up lights, then I look at the model and I go "no, this light isn't going to work for her" while she is still being prepped. There's been times when I've had models getting prepped and walked in front of me and I've had to do complete lighting changes, because what I conceived in my head and the artistry of my makeup artist and hair stylist has put before me will not "connect." Or when I look at the face of a female model and say to myself "I have to light you like a guy." I know this on the inside of my core, but to stand in front of photographic neophytes and try to teach this is impossible.

Can I teach lighting? Yes, of course I can. No, let me rephrase that. I cannot teach lighting per se, but I can teach what light does. I can teach the rudiments of what a beauty dish does, what a softbox does, what a parabolic umbrella does. Practically any photographer can teach that, but what I cannot teach is why I would use one over the other in a particular case. Why hard light would work in one instance, but not in another. Honestly, no one can. That is something that you're going to have to pick up and figure out on your own.

So when you decide to approach a photographer and asks for lessons, understand exactly what you're asking, because odds are he/she will not be able to teach you anything, but the mechanics of photography or lighting or post production.

Have a happy and safe new year. I hope to see you in class.

ADHA ZELMA JEWELRY - FOR THOSE WHO LOVE THEMSELVES...

2009-12-01T10:10:00.000-08:00

I bet you didn't think I would be writing yet another entry before year's end. Well guess what? Fooled you!!! Seriously, this entry was honestly written in October. I was just putting on the finishing pieces so I can now release it. Just in time for the Christmas Holidays!!!! Ladies and Gentlemen, I present to you Adha Zelma.

I had the wonderful fortune of photographing the new and exciting collection of Adha Zelma's jewelry known as "Rock and Bone". It's bold, vivacious, colorful and beautiful. It names means just that, the collection is an amalgamation of beautiful semi precious stones, animal bones, exotic feathers all in an amazing webbing of precious metals. It is eye catching as well as breathtaking and once you've seen an Adha Zelma creation, you will never forget it.

... Especially for those who love to adorn themselves, Adha Zelma is a jewelry line that connects you to your power and sensuality....

When one does a search for Adha Zelma, the above quote will appear in one of the entries. What does that mean? ... connects you to your power and sensuality....? I decided to find out more about this beautiful and amazing line belonging to Brooklyn's own Sheanan Bond and Cherise TrahanMiller.

Upon reading the profile link in their website (http://www.adhazelma.com/), you can get a gist of exactly what this dynamic duo is all about:

... Adha Zelma is an audacious and distinctly international, jewelry line created by long time best friends Sheanan Bond and Cherise TrahanMiller.

Inspired by world culture their line blends edge and elegance. The designs reflect a distinctively sexy yet sophisticated point of view. Adha Zelma experiments with traditional adornment concepts and reinterprets through a modern eye.

Each piece is handcrafted and, therefore, each is one of a kind. Themes include earth, air, fire and water.

Adha Zelma created the accessory line for MTV’s Spring Break Fashionably Loud in Cancun, Creations have also been featured by Dirty Girl Productions, worn by Jennifer Lopez, Ananda Lewis, Rosie Perez, Keri Hilson and celebrity make-up artist Scott Barnes.
All pieces are created in the Adha Zelma studio in Brooklyn, New York.

Just what makes this jewelry amazing... Let's ask the designers.

How long have you been designing jewelry and what is the process to how a Adha Zelma piece is designed?

I have been designing since I was about eight years old. It all started with my first doll, who I thought was quite boring. So I deconstructed her clothes and created a pair of earrings and a necklace for her. My designs are centered on bringing elements of traditionalism into the modern world, while allowing spirit to flow organically through the designs. Sometimes there is a specific design in mind and other times there is not.

As I see your colleciton grow and change you gone from "Rio" to "Aria" to "Rock and Bones" explain to us the transformation and the inspiration.

Rio came about on a rainy day in Brazil, the foliage, Ipanema, carnival, the colors, the spices and the history. The city had truly transcended me to another place on earth and that collection is the manifestation of that trip. I was inspired by a simple raindrop falling from a leaf, the color of the ocean and the relaxed nature of the city.

The transformation to Aria happened when I realized that a great deal of the pieces I design, sing when worn and are often quite light like air... hence, Aria. Just like arias over time, the collection moved from simple melodies into structured forms, which became the Aria collection.

The latest collection, Rock & Bone was inspired by the Papua; each tribe has its own beliefs and the people recognize spirits, deities, totems and ancestors unique to their clans. The Papua use a great deal of teeth and bone in their jewelry, worn as a remembrance and as a way to attract spiritual power. The Jivaro was also a huge inspiration. A variety of myths have been passed down through the generations to explain the origins of the Jivaro people. In one story, the Andean foothills were subject to a severe flood, killing all but two brothers. When the waters receded and the brothers returned to their shelter, they found dishes of food laid out for them by two parrots. One of the brothers caught one of the gift-bearing parrots and married her. This is where the inspiration for the use of feathers came into play. To bring in a modern twist I started thinking about what we as a culture see as deities, the Gods and Goddesses of Rock, Janis Joplin, Jimi Hendrix and Betty Davis. These are just a few artists who have influenced the collection.

As a woman, when you look at jewelry (your own and others), what exactly draws you to it?

Before written language, or the spoken word, there was jewelry. I am often lured by my desire to capture the essence of beauty, to posses its secrets, and to unlock its mysteries. It is funny because I am actually quite shy and what often draws me to a piece of jewelry is anything that draws attention to you. I look for jewelry that is bold, and that makes a statement.

What determines the materials used in making your jewelry?

I am interested in the balance of nature and explore material that represents earth, air, fire and water. I enjoy incorporating materials used traditionally for adornment like leather, feathers, snakeskin, minerals and bone, while mixing modern elements such as 24k gold electroplated Czech Charlottes.

Some people find jewelry to be an afterthought to the completion of an outfit, however, Adha Zelma seems to be the outfit. What are your thoughts?

Accessories are typically used as external visual symbols or for function. My designs are meant to be the complete opposite and form the fashion and anything else you choose to dawn is secondary to the statement.

Complete this sentence... "Adha Zelma to me is... "

Power and sensuality...

It most certainly is.

Rock and Bone Collection:

Model: May Satch
Photography: Dallas J. Logan

Rio Collection:

Photographer: Sean Toussaint
Model: Fabyiene Miranda

Aria Collection

Model: Bintou
Photography: Sean Toussaint

Places to purchase Adha Zelma Jewelry:

Michelle New York
376 Atlantic Avenue
Brooklyn, NY

Pieces of Brooklyn
671 Vanderbilt Avenue
Brooklyn, NY

Thistle & Clover
221 DeKalb Avenue
Brooklyn, NY

ShopFlickhttp://www.shopflick.com/stores/Adha-Zelma

By request
www.AdhaZelma.com
E: iwantmore@AdhaZelma.com
718.638.2822

WHEN INSANITY COMES TOGETHER...

2009-11-27T12:29:00.000-08:00

Yeah, yeah, I know... Another entry!!!! And so soon! I had to tell you this. If I didn't, I would burst.

And I had to show you, because if I didn't, you would not believe me.

There are moments in our lives when events just come together in such a way that there had to be divine intervention in order to make it happen. When it occurs in a photo shoot, sometimes it has its plus and minuses. The plus is: a well thought out plan comes together to produce glorious photographs. The minus is: you wish to always achieve that kind of spectacular work all the time.

For those of you who have been following my work over the past few months may have noticed a shift in my direction of photography. As to where my work work was glitzy, polished and shiny, it is now going into a more editorial approach of story telling with photographs. Being the photographer that I am I was just plodding mindlessly down the road of commercial fashion and beauty photography looking only to shoot major campaigns, however, secretly deep down inside, I was longing for the beautiful photography of editorial style.

By then I came across Nick Perkins and Damian Adams the dynamic duo of ArtandExile. They saw the potential in me to develop an editorial eye. Under the art direction of Nick Perkins, he began to mold my eye and style and retouching in a whole new direction. I will always be grateful.

Let's fast forward... Here comes Steve Reganato a wonderful photographer who has been a TREMENDOUS TREMENDOUS influence in the technical growth of my shooting. When my 5D MarkII was stolen, he loaned me his 5D so I was able to continue working (without his help, I don't know what I would do), but then, he pushed yet in another direction. The magic of medium format photography.

I've always been a fan of medium format photography and I even own a Mamiya RZ67 and through Mr. Reganato's company (Digital Transitions) I was fortunate to get my hands on a Phase One P45 digital back. Steven, I am eternally in your debt.

Noooooooooooooooow let's fast forward, Tuesday, November 24, 2009 I am sitting in front of my computer, wondering just who was I going to shoot with this magnificent piece of machinery. It's Thanksgiving weekend approaching and I have no models to shoot and I have a P45 sitting in my lap. An instant message comes across my screen: "Dallas, I got this really really amazing stylist, do you have any time to shoot?"

Did divine intervention walk into the room? To make a long story short, California born model Lavante Isaac pulled together an incredible team of styling, hair and makeup together for one of the hottest editorials I have shot to date. It is based loosely on Hannibal Lecter's Silence of the Lamb... It is insanely hot and insanely beautiful. Look for it in the future in one of your favorite fashion magazines.

Hotness personified.

Time for Change...

2009-11-23T09:23:00.000-08:00

change - [cheynj] –verb

To make the form, nature, content, future course, etc., of (something) different from what it is or from what it would be if left alone: to change one's name; to change one's opinion; to change the course of history.

Life is about change. It is about growth. It is about transformation. It is about evolution. Remember, either you evolve or you die. You can take this figuratively or literally. If a human-being doesn’t learn to change, form and adapt they die (think of a baby). If someone has a career, product or service, if they don’t evolve, they die (look at WordPerfect…). If you as an artist don’t grow and evolve over time, guess what? You will die as well. (Pick any artist of the 80s) So your whole life inside and out is about change and growth and that is the message of this blog today.

When I would look at photographers’ work, I would marvel at how the “biggies” evolved with their styles, talents, techniques and technology. When the Richard Avedon exhibit was in New York, I was amazed at the wonders of his photography and manipulation of negatives and prints (the precursor to Photoshop) to when he picked up a digital camera and moved along with the times. Could he have stayed with shooting film? Of course. He was (and still is) one of our film producing masters, however, he knew back then that when the digital world took hold, he had to shit or give off the proverbial pot. He chose the former and we are so much better for it today.

As a photographer and artist, for those who know me over the span of my life, I was always one to embark on something and give it my myopic obsessive all. I’ve studied and got my degree in classical music, I’ve traveled the globe as a singer. I’ve moved along with the vocal tides of the world’s changing music. I crossed over into health and fitness and began a career as a personal trainer for a short time. It was the same when I picked up the camera. It was an artistic tool for me to pick up and transform whatever I saw in front of me. I remember when I took my very first “professional” image (at the time, for me professional was not necessarily getting paid per se, but about to take a photographic image and knew what the hell I was doing). I was up and well on my way and through the influence of all things around me, like other photographers I began to develop a photographic style. Of those of you who know me, it developed into a very slick, glossy, vibrant expressive style (the kind of work you would see on campaigns). My lighting is intriguing, almost cinemagraphic in its approach and when people would ask me about my lighting, they would marvel at the simplicity of it. Photographers are about smoke and mirrors. It is our job to create an illusion that we want you to see. I got an incredible crew in place and we produce wondrous images.

But you get to a point where you go “been there, done that” and you have to go about making changes in yourself for yourself. I’ve seen photographers work I’ve admired two – three years ago and I view their work today, and guess what? Nothing has changed. It is still the same images they took yester-year. The same thing that would originally draw you to an image is now boring, mundane and lackluster. I realize that if I want to be successful in this business, I have to get on the bandwagon and go about changing my photographic style, yet, still keeping the true essence of Dallas in the mix.

How does one go about this? It may be something as simple as a lighting set up. All photographers have a signature lighting set up. If they tell you otherwise, they are lying. Some are so secretive about it, that they won’t even let you on their shoots. So you may change your lighting set up. You may change the angle in which you shoot. You may change the type of models you photograph, the styles of the garments, the way you wish to have hair and makeup done. It may take place in the post production. Whatever it is. It is about change. Not everyone is going to like it, and you know what? So what. Not everyone will like what you are doing now. But if you don’t challenge yourself and evolve, you and your talent will die. Those that were hot a few years ago are not so hot now. Think about it.

I’m moving onward and upward towards change. It is scary, it is exciting and it is new. And I am going to love every minute of it.

Talk amongst yourselves.

Over the years...

2007

2008

2009

2010

Wait and see...

THE GROUP SHOW - THERE IS HOTNESS IN WILLIAMSBURG

2009-10-14T08:18:00.000-07:00

The Group Show: The Best Emerging Photographers

October 16, 2009 - October 25, 2009

Exhibit Opening is 7pm - 10pm (can be viewed anytime). Please visit www.3rdward.com for studios hours of operation.

Location: Third Ward Studios, 195 Morgan Avenue, Brooklyn, New York 11237, (718) 715-4961.

The show is sponsored by Rear Flag, Resource Magazine and Third Ward.

There was a photo competition sponsored by Third Ward Studios. Please check out their website for more information. The judges were: Peter van Agtmael (Magnum Photographer), Sean Fader (Fashion Institute of Technology) Amani Olu (Humble Arts Foundation) and Alexandra Niki (Resource Magazine).

Thousands of entries were submitted and this talented selection of judges picked 1 grand prize winner and 25 top photographers from entries submitted from not just the United States, but from around the world. The winners selected were:

Joshua Zucker Pluda (the grand prize winner).

Adam Abel
Jenny Anderson
Jesse Avina
Clint Baclawski
Craig Blankenhorn
Blane Bussey
Delphine Diallo
Amy Fichter
Ben Goddard
Erik Hagen
Ingrid Juliana Hernandez
Andrew Hirodo Grob
Frank Ishman
Jonathan Kambouris
Jito Lee
Dallas J. Logan (yours truly)
Chris Mackenzie
Evan Madin
Catharine Frances Maloney
Aaron McElroy
Elizabeth Raab
Jessica Rowe
Bernadette Torres
Cedric Yhuel
Joe Zorilla

I would love to post the images, but I want all of you who wish to attend to be pleasantly surprised, shocked, amazed and awe inspired (of course, next week, I will post the entries of each artist, but that will be after the exhibit opens). I wish I could say there was some central theme as to how the images were chosen. There was a wide range of selections from ethereal landscapes to road kill. The only thing we all had in common? We all produced some kind of hotness! Come through and join us. I know I will be there. I hope you will, too.

I will be updating this blog next week with everyones images.

ORIGINALITY?

2009-10-06T09:33:00.000-07:00

I know as I type this blog it is going to cause a lot of controversy. But it was a long time coming. I also know that I will receive a lot of backlash because of it, but you know what? I don't care. It is something that needed to be discussed.

Photography has been around for almost 200 years in that time, everything and anything that can possibly be photographed has, from spectactular sunsets to awe inspiring landscapes. A baby's face to a flowing Valentino creation. Guess what, people? Nothing in photography is truly, truly original, which is the reason for writing this blog.

Photographers go through life viewing the world with their eyes. We see things that triggers emotions inside of us that forces our creative juices to bubble and froth and produce images that we as artist think are original, beautiful and one of a kind. Then you come to find out, that no, it isn't original, it isn't one of kind, however, it is yours.

Back in July, a wonderful California model (Milan Christopher) flew into town for a few short days and I got the inevitable call of "Dallas, I'm here, let's do this!!!!!" I rose to the occassion and I thought to myself; "just what am I going to do with this young man." I thought about it and lamented and in my quest to find something to do with him, I came across an beautiful Herb Ritts photograph where Naomi Campell is wrapped in black fabric that is blowing in an invisible wind. I loved it. I thought to myself; "that's a hot idea. Let me get some fabric."

Photographer: Herb Ritts

I thought about Milan's beautiful dark complexion and I thought about which color would go against him. I chose red. I set up the shoot, I shot it, I was was proud of it, and I posted it. Then, the fun began.

The first comment came from a model named Mike Mizzle. He says "damn, I know that imitation is a form of flattery, but couldn't you be original?" I asked myself "where did that come from?" Then I saw his image (he was photographed similarly by Tarrice Love just two week's prior - however, it wasn't until I posted this image that I realized this). The similarities? Black male models, entombed in flowing fabric.

Photographer: Tarrice Love
Model: Mike Mizzel

That was where the similarities stopped. Eventually it became a barrage of nasty slinging comments from Tarrice Love supporters as well as Dallas J. Logan supporters and all I wanted to do was produce a beautiful image. Does it look like Mr. Love's image, that is for you to decide. Did I look to Mr. Love for inspiration, no. But the ruckus this image caused almost made me want to shut this whole production down (and I am glad I didn't). I wasn't going to allow myself to be bullied into altering my artistry, because someone else thought something different about it. A piece of fabric and a fan and a model is not original. I wasn't the first to do it, and neither was Mr. Love (I can guarantee you that even Ritts wasn't the first to do it, either) and neither will we be the last. But it is amazing how such a simple concept caused such nonsensical uproar.

I know one thing it did prompt me to do. A series. And because of that series, it has now been commissioned into an exhibit. Adversity is the building blocks of strength.

Go figure.

Model: Milan Christopher

Model: Paulo Pascoal

Model: Rumando Kelley

There will be more to come.

UPDATE TIME - IN THE LIFE OF DALLAS J. LOGAN

2009-10-06T07:31:00.000-07:00

Oh God...

Oh God, oh God, oh God. I don't want to even look at the date of my last posting. If I do, I think I will throw up. I've been getting tons of Facebook messages, twitters, emails, textes (is that a word?) asking me when will I be doing another entry into my Blog. There are so many things going on in my life that I had to take a step back and regroup. This particular blog will just be a synopsis of to bring you up to date with the good, the bad and the ugly going ons in the life of Dallas J. Logan.

Let's see. I shot a jewelry campaign for a wonderful designer called Adha Zelma (look for the upcoming blog entry)

I had an entry selected in a photo competition for up and coming U.S. photographers and it will be on exhibit shortly (thank you, Bintou - look for the upcoming blog entry)

I've been commissioned by a museum in Amsterdam to shoot a series of artistic male work (and I will discuss the drama that unfolded behind that one).

I've been accused of stealing an photo concept, which incidentally turned into the exhibition that will be done for Amsterdam.

I photographed a wonderful fitness organization "Get Focused" (be on the look out for that entry).

I've shot some amazing magazine editorials with the team of Nick Smith and Adrian Adams also known as ArtandExile (be on the look out for that entry).

Created some amazing hotness with designer/stylist Robert Durant (he will be getting entry shortly).

And, lastly, my beloved camera (my Canon 5DMarkII) was unceremoniously stolen from my locker at Third Ward Studios in Brooklyn and I am not allowed to talk about it, because of legal proceedings that are forthcoming. I have a new one and I am back in business, but it was a devastating situation.

And of course, a bunch of new faces along the way... I will make sure you get to see them as well.
So you see people, between the death of Michael Jackson (RIP), and New York's Fashion Week, a lot has been going on and I stayed under the radar, however, I've still been shooting and producing hotness.

As you can see, I have my work cut out for me. So let me get started.

Dallas

RETOUCH - THE GOOD, THE BAD AND THE UGLY...

2009-05-26T13:19:00.001-07:00

I know, I know, I know. I know that I promised to be more diligent with my blogging entries, however, these past few months, Dallas has been a very busy man. I guess I can bring you up to date.

I've been shopping my book around to various agencies to seek representation. To date I've been to:

Jed Root
See Management
Ken Barboza Associates

I've received good reviews and good critiques from all as to how to tweak my book and bring it back. The few questions that were asked at each agency:

(a) how long have you been shooting?
(b) who does your lighting?
(c) what do you shoot with?
(d) who does your retouch?

Each answer was received with a surprise. All of them thought that I've been shooting for double digit years. They thought my lighting was impressive and they all loved my retouch. (I am currently working for all of them on retouching). Which prompted this blog today.

So as I am in the process of filling in the blanks of my portfolio (they wanted more "hair" work). They think beauty will be one of my biggest selling points (think Lancome, Maybelline, Pantene, etc.) not only were they impressed with my beauty work, they were more impressed with my retouching. To the point that a number of them now hire me out to some of the "biggies." Because I am under contract, I am not able to show some of the "before" work of some of these photographers, but once you start working with some of their "before" images you really get a good grasp as to what it takes to make an image magazine ready.

Before I even picked up a camera, I would always marveled at how in the WORLD did these models have such amazing skin. I would look through magazines and see pages upon pages upon pages of beautiful models with perfect figures, perfect hair, perfect eyes and perfect skin. I would always wonder where in the world did these models exist? They always seemed to be "discovered" in the unlikeliest of places (the subway, the library, the mall, etc.), however, I have never seen anyone that looked like this whenever I took the A train. Then my foray into fashion and hearing the terms airbrushed, and retouching and all of a sudden, it became an entirely different world for me.

I used to do desktop publishing years ago and I used to worked with a company called Manhattan Color Graphics and it was there that I had my first introduction to the world of retouch. These retouchers would work on these amazingly large screens of what appeared to be already beautiful models and I would see waistlines being slimmed, eyes being altered, necks being elongated, ears being reshaped. So once an advertisement was ready to go, the model eventually looked NOTHING LIKE the God given beauty she originally was. It was amazing. And since my eyes were opened, I was no longer impressed by any of the professional models that I did see.

Once you enter the world of fashion and beauty photography. it is an unrealistic world of perfection that most often times than not is unachievable. These models are the epitome of perfection. Understand that beauty isn't about looks necessarily (because honestly, looks are subjective), it is about symmetry. The distance between the two eyes in relationship to the ears. The shape of the nose in relationship to the cheeks. The size of the mouth in relationship to the chin/jaw line. It is true, that DNA gives us the foundation to play with, however, it is the magic and artistry of the retoucher that brings it to life. Most photographers have the ability to retouch, however, when you get up into the realms of the Michael Thompsons, the Steven Meisels, the Bruce Webers, the Jill Greenbergs, your work is outsourced to a few digital artist that takes the face and body of an already beautiful Naomi Campbell and take her looks to otherworldly!

So every time you look at a magazine ad and fashion/beauty editorials, those images have been retouched in some way shape or form.

In the real world business of photography, it is the job of the photographer to light and capture the image. From there he/she sends a proof of images to the client. Once the client has made their final selection, it is sent off to a retoucher to do the finishing touches and make it magazine ready. I am privy to a lot of photographers images now that I been hired to do retouching, and let me just say one thing: wow.

Before:

After:

Before:

After:

Before:

After:

Before:

After:

Before:

After:

HAPPY ANNIVERSARY TO ME - TWO YEARS AND COUNTING...

2009-04-06T13:22:00.001-07:00

Destiny /ˈdɛstəni/ noun, plural -nies. The predetermined, usually inevitable or irresistible, course of events.

There was an actual series of events that led to me being an active, professional photographer. These events molded and shaped my life to where I am today. Incredible forces and influences shaped my style of photography and change and growth.

December 2006 I made a vow that I would learn how to simply operate a SLR correctly. I've always been into photography and I've always enjoyed photography since I was in highschool. I would save my money and buy the most expensive camera that I could afford (and all the while the button never left AUTO) and I was ignorantly bliss for years. Remember those moments of low light when you took an image and the shutter stayed open? You thought something was wrong with your camera? Well, that was yours truly.

During this time I owned a Nikon E5700 where I would take it on trips around the world... It's been to Germany, Italy, London, Australia, Hawaii. I loved this little camera. No fuss, no muss. However, I was not a photographer at the time, just a man with a camera. I started using it to photograph people (nothing special, just something to enjoy)... Then (as destiny saw to it), the camera died. I was heart broken. And because of that, I purchased my very first DSLR (at this point, I have approximately four film cameras in my apartment) a Sony A100. Once I purchased this camera my life changed. I didn't have that camera very long. I quickly upgraded to a Canon 5D.

I am a pretty intelligent man and over the years I've purchased many many books on the subject of cameras and photography. I would sit with the camera in my lap and try to figure out Fstops and shutter speeds and for the life of me it was all Greek, however, waaaaaaaaaaaaaaaaay in the back of the recesses of my brain, it retained all these tiny nuggets of information awaiting to be released and once it was, I was a force to be reckoned with.

In April of 2007 a really good friend of mine (fashion photographer, Sean Toussaint) came to my rescue. I went to him asking for lessons and the first words out of his mouth was: "Thank God. I was so sick of you buying these expensive cameras to take pictures on vacation." At that moment, a star was born.

It was simple. Sean and I would meet up once a week and we would have a single lesson each time. With a simple turn of the knob, he showed me the magic of shutter priority, aperture priority, manual!!! Depth of field, Fstops! All the knowledge that I have tried to understand over the years was said in simple English and the floodgates of my mind opened and my mind flooded with all the information that as retained and everything made absolute and complete sense (cue in angelic voices... aaaaaaah). Even Sean was amazed. "Things that would take people weeks to grasp and understand, you've figured out in a half an hour!" So one week we shot only in shutter priority and I would shoot the entire week. Then we would look over the images and discussed them. The following week would be aperture priority. Each week was a new and fascinating way to use my camera and then my life was forever changed. I am eternally grateful that this man has opened my eyes to the magic of photography.

Here is the very first photo I've taken when I learned how to operate my camera:

and

When it comes to photography, photographers are moved by other photographers in their growth and development and I was no different. I am constantly wanting to change and grow as an artist and technician in my craft. More often than not, once I've mastered a particular look or lighting I immediately become bored with it, hence, me pushing forward to study the next best thing. Through my journey, I've come across many photographers that took the time to teach and show me things and you will see their influence in my work.

Maya Guez
This amazing photographer hails from Israel and her talents and skills are breathtaking. Her usage of color, composition and ideas are staggering and her images do two things (a) makes you go "how does she do this?" and (b) leaves you wanting more. She's done everything from actors to famous singers. I came across a beautiful image that Ms. Guez shot of a model named Obi and it was as if Obi was dipped in a deep rich chocolate... I had to know how this was done. I contacted Maya and she was gracious enough to share information with me. At this point, my life began changing.

http://www.mayaguezphoto.com/

Her influence:

My work:

Marco Grob
I was introduced to Marco Grob by a good friend of mine, Kam Khan. When you live the life of a photographer, there are two things that you are constantly doing... Shooting and retouching. Most of the time late at night. I've given myself a 2:00am cut off to get to bed. Well one night, around 1:30, I get an instant message from Kam telling me to look at Grob's work. Needless to say, I was up until 4:00am. I've seen him shoot everything from classic beauty to Levi, Adidas and Rolex campaigns. What I've learned from Mr. Grob is usage of different kinds of light. There are situations where I would go: "how would I light something like this?" Mr. Grob was graciously enough to have on his website a "behind the scenes". It opened up my eyes a lot.

http://www.marcogrob.com/

His influence:

My work:

Vincent Peters
I came across Vincent Peters when my team and I wanted to do a film noir sort of feel and at the time, he just shot Christina Aguilera for Stephen Webster's jewelry. A simple manipulation of light and plays on shadows has taught me how to light the eyes (and jewelry) just right to achieve masterful effects.

http://vincentpetersphotography.com/

His influence:

My work:

Stephen Eastwood
New York based photographer, Mr. Eastwood is masterful at beauty photography and easy to talk to. It was because of Mr. Eastwood that my beauty work has gone to the next level and doing something as simple as taking a beauty dish and spray painting it silver on the inside and placing a mirror at its center. The thing I enjoyed about all the photographers I am presenting to you is this: They don't hide their skills. It's as simple as asking them. If you want to learn something, all you have to do is ask. True, you will never take an image like them, but they have no problems sharing the tools in which you need to make it happen for yourself.

http://www.stepheneastwood.com/

His influence:

My work:

Lope Navo
By far, one of the most amazing photographers on the male form. Through him I learned out to light the male body with a mixture of flash and sunlight. Because of him, I will always be a learning photographer. He recently released a beautiful coffee table book tentatively entitled: Weapons of Mass Destruction

http://navostudios.com/

His influence:

My work:

Rick Day
Noted for his white wall desaturated photography, Mr. Day has by far influenced more photographers with fashion, lighting and post processing. His work can be seen around the world. Pick up a copy of his new coffee table book: Players

http://www.rickdaynyc.com/

His influence:

My work:

Joel Grimes
One of the "big dogs" based out of Arizona. A very humble, yet amazing photographer shows on his website how he achieved his iconic images. I've reached out to him most recently and because of him, my life is forever changed.

http://www.joelgrimes.com/

His influence:

My work:

So there you have it. These are my influences at the moment. Who knows who will influence me tomorrow? I just know this. Two years and I am still going strong.

Thank all of you who supported me and saw my talent, skill and vision. There will be more to come.

DONNA TAYLOR - THE UNLIKELY MODEL

2009-03-19T10:19:00.000-07:00

This entry was a long time in the making (at least since the inception of this blog) and I never knew exactly what to talk about when this model came to mind. Mind you, when I first met her, she wasn't a model. She was booker with Ikon Models. She is also officially my first success story. Can I say that I discovered her? I doubt it, but I will let you be the judge of that. I will, however, take credit for launching her career. This model's name is Donna Taylor. She is from Springfield, Ohio (where the hell is that?).

Let me tell you how she and I came to meet. I scheduled a test shoot with her boyfriend at the time (Kent Edwards) and he did the absolute horrible faux pas of asking "can I bring my girlfriend along? Maybe you can get some shots of her." Models, please let me bring something to your attention: never bring another person along on your shoot in hopes a photographer will photograph them. It is unprofessional. It is tacky and it shows a lack of respect. I am soooooo glad he did.

Kent Edwards is a wonderful commercial model based out of New York and he and I were in negotations for a test shoot. When he asked if he can bring his girlfriend along, I of course asked was she a model (at the time the answer was no). He said she was very pretty and I reluctantly said yes. I did, however, asked for a photograph to be emailed to me.

The email arrived and my stylist and I sat in front of my computer to see just what kind of woman would be accompanying Mr. Edwards for his shoot. To sum it up in a single word: hideous. The image was of a young girl wearing a black hoody with her face twisted up in a comical grimace for the camera. The scenery could've been anyone of your franchised restaurants (think TGIF, Ruby Tuesdays, etc.) I turned to my stylist and said, "what the hell are we going to do with her?" He replied sardonically, "it's your shoot" and walked away unimpressed.

They arrived to my studio, Saturday, July 27th. It was a beautiful summer day. Emerging from the car was Kent and he extended his hand to help out his girlfriend. In a word, she was stunning. At that point I really didn't want to shoot Kent. It was all about his girlfriend.

We did a simple beauty shoot. No bells no whistles, but her command of the camera was amazing. She took direction and criticism very well. We also did some GAP like black and white photos. She knew her limitations and she knew that she would never be anyone's supermodel and she knew that she would never be the new face for Burberry, but she is a great commercial find.

She was even comfortable shooting nudes (at least with me)...

I have to say, she was an absolute rare find. From that shoot she's booked quite a few jobs. To date, she's booked Palmer's Skin Care, Sephora, Benefit Cosmetics, Lancome Cosmetics. Essence Magazine, Modern Salon Magazine, Rockefeller Plaza, Coca Cola/Walmart Commercial, Divine Bradley Collection, Clearvision Optical, Harlem 125, John Legend's Video "Everybody Knows" and "Confessions of a Shopaholic" motion picture. To say that Donna is a busy bee would be an understatement.

So, Donna, are you currently a full time model?
It's becoming that way. I've been averaging about 6 castings a week

How did you land the Palmer's campaign?
I heard that they were looking for women, so I submitted the new images that you had just shot of me. This was a MAJOR casting and all the top agencies were working on it, so I didn't think I had a chance. They called me into audition, and I didn't even have a comp card. I got extremely nervous and decided 10 minutes before that I wasn't going. My coworker insisted that I suck it up, so I stood in from of a panel of 6 in my bikini (sooo not in shape) while the photographer took snapshots and videotaped me. I left relieved..but didn't think there was a chance in hell I had gotten it; I saw some of the names on the sign in sheet and knew I couldn't compete with them. A week went by and they called to tell me I booked the job!

Now that you are on the “other side” of the industry. Do you feel different towards models, now that you are one?
I haven't gotten used to being referred to as a "model." I have sympathy for the girls now that I'm running all around town trying to juggle a hectic schedule and still meet with demanding clients.

How was it shooting the "Everybody Knows" video? Tell us how you landed that job.
The John Legend video was fun. I saw it come through on "Breakdowns" which is a system agents use to submit talent. There was a role for real couples, so I submitted myself and Kent. We went to the audition and they loved us together. I'm good friends with John and his brothers, so being on set was great because I got to hang out with them all day. People tease me and think that John hand selected me, or someone set it up...but we really auditioned just like everyone else. It was an honest coincidence.

If there was anything you can change about the modeling industry (from your point of view, of course), what would it be?
Wow....there's a lot I would change. I feel sorry for these girls that go through the mental anguish of trying to live up to unrealistic expectations. I could go deeper into the psychological aspect, but I'll refrain til next time.

Are there any models that you look up to?
It was never a dream of mine to model, so I didn't follow the lives of anyone inparticular. However, when I was younger, I loved Supermodel Niki Taylor. She has always been so naturally beautiful and full of personality.

What is the hardest thing you ever had to do being a model?
I did a live body painting at Club Duvet. I was up on stage naked while and artist painted all over me. I was really nervous at first, but after standing in the same position for an hour until my body went tumb....I didn't care anymore, I just wanted to go home.

Are there any photographers (living or dead) that you would love to shoot with?
Doesn't every girl want to be shot by Annie Leibovitz and Bruce Weber?

If you had a chance to do it all again, would you have still shot with Dallas?
Uh....YEAH! Dallas is THE MAN!!!!!

Complete this phrase. Modeling to me is….
... A form of self expression and escape.

My all-time favorite pic. This image was my very first one, and has been my money maker.

I love this image because I amost look "Angelic". It shows my curves and my face looks sweet.

This image is hottt! Love my mouth and the gaze in my eyes

This was my first tear sheet with Benefit/Sephora

My first major job...which was shot about a week after Dallas took my first headshot

SEAN SMITH - NEW FACE ON A SUBWAY.

2009-03-17T07:49:00.000-07:00

Oh my God. Can I say that again? Oh my God. One more time. OH. MY. GOD. Now that I've gotten that out of my system, I can continue.

I vowed that when I started this blog, I would do my damnedest to update it at least once a week. I had visions of a calm Sunday evening with my favorite herbal tea, typing away my weekly anecdotes for those of you who actually take the time to read them. Witty sayings, insightful outlooks, fond memories. Nice, right? Well needless to say, my LAST post was a month ago about the illustrious Mr. Bermudez. I don't have to say it, but I've dropped the proverbial ball.

This past month has been filled with campaign shoots, cattle calls, castings, scoutings, magazine shoots, new faces, old faces, bad faces and good faces. So in between my hectic scheduling of my 9 to 5 (yes, I am STILL working a 9 to 5, President Obama hasn't handed me my bailout check yet) and having shoots, Dallas has been a very busy man. Thus, the "Oh my God" statement at the opening of this blog.

I guess a lot of you are now saying; "Okay, Dallas, get to the point. What tasty morsel can I get from this entry?" Well, I will get to that. I just wanted to justify why this entry was a loooooooooooooong time coming.

Cattle Call:
What is a cattle call, you may ask. My crew and I totally understand the downturn of our econcomic enviroment. We took it upon ourselves to offer a portfolio building special. You would receive a complete professional photoshoot with hair, makeup, styling and retouching all for 200.00. How my crew and I walked away with any money is we had to book a lot of people for the day. When I say a lot, we got a lot. I had the shoot two weeks ago and I am still editing photos. I am not complaining, it is part of the job. The sad thing would've been if NO ONE turned out for the event. So, my crew walked away with a little money, the models walked away with some photos and we are building our reputation out there putting out a good product. The reason we call it a "cattle call" is; once I posted the flyer for this special, EVERYONE came out the woodwork. Everyone. Were there any modeling gems in that call? Could be. You will have to wait and find out, now won't you?

Nuovo Magazine:
While that was going on, Mr. Duval (Editor-In-Charge of Nuovo Magazine) places a wonderful nugget in my lap. He informed me that the last shoot I did for him (The Unsigned Beauty) was a success (personally, I don't know what is meant by that), but he did say that the pictorial was well received, to the point that people wanted to know if it will be showcased again. Mr. Duval asked me if I would do it again. And not only do it again, but make it a monthly addition to his magazine. That was an incredible shot in the arm. He gave me complete carte-blanche over the models, the story line, the photos. All I have to do is meet his monthly deadline. So, of course, me getting this information mid-month, I had to do castings and locate models worthy of that title. Be on the lookout for it in Nuovo magazine (www.nuovomag.com).

JS Dirty International:
JS Dirty International is an underwear line put out by designer/model/photographer Jeffrey Salomon. It is a new line with sexy under wear (both tops and bottoms) for men and women. The line is approximately a year or so old and can already be found in fine boutiques. Mr. Salomon approached me about shooting his new campaign and he wanted it done like very sexy slumber party. Guess what? More castings. More meetings. More shootings. We've already received a two page spread advertisement in next months Bleu Magazine. Be on the look out for that and I will be showing images in the future.

Whew. I think I've covered just about everything that has taken place in the past month. But trust me when I say that I will go into explicit details in the future with all the above mentioned shoots. The good, the bad and the ugly of it all. But let's get down to the reason for this blog.

Sean Smith - Subway Model:
I've discussed in a previous blog (Gatekeeper to the Gods) that we (we meaning people in the modeling/fashion industry) are always on the lookout for the next best face. The new Tyson, the new Kate, the new Naomi. We all want to take the credit of "discovering" the next new face. Some photographers have some unbelievable luck at doing so (think Shameer Khan, think Tarrice Love). They have the ability of walking into a fastfood restaurant, a clothing store, a laundromat and finding that fresh new face. I, alas, don't possess that kind of magic and I often wanted to know why.

When you get into photography, you sometimes have to separate your photographer's eye from your personal eye and look at people in a plain and simple state. There are a lot of good looking men and women out there, but not all of them can be models. They just don't have that "it" factor that will translate to the fashion industry. It could be something as simple as having too short of a neck. Looks are pretty, but pedestrian. Eyes may be too close together. They may be a little too fleshy. Needless to say, something is "off" and not necessarily in a bad way. Just the way God's genetics have put them together to say "I cannot make you too perfect, so here is YOUR imperfection." And once you've placed your personal eye aside (which is the first eye that is always used), you start looking with your photographer's eye and you quickly realize that people start falling far from the mark.

However, there does come a time when you are in the right place at the right time and you do come across that face that maybe.... just maybe has the it factor. You sized it up with your personal eye and then you put on your photographer's eye. Height? Check. Weight? Check. Proportions? Check. Looks? Check. They seemed to be in order. Then you have to go deeper. Eye spacing? Check. Ear placement? Check. Cheek bones, jaw line, neck to shoulder ratio, the list can go on and on and all of these check points have to happen within nanoseconds, because you may be in a situation where you have to take the bull by the horns and make that move and approach this person, or are you going to say nevermind.

I always found myself to be the nevermind character. I was never one to approach a person in the streets. I've been fortunate enough to have models come search me out, however, as of late, I do carry my portfolio around whereever I go, because I never want to be in a situation of approaching a potential model and say; "I think you have a great look. I would love to photograph you." For some this approach may work, for me, I feel as if I am a perveted pedophile. Now, if I come across a face that I like, I can produce my portfolio (and/or compcard) and say "hi, I am a photographer. Have you ever thought about modeling before?" And for the first time, ladies and gentlemen, I did just that. I approached my first new face. Some of you may not agree, but I know one thing: this is my first step into this arena, so as my photographer's eye gets better, my models may as well, but first time out the box, I must say I am pleased.

Picture this: January 21, 2009 I am coming from a magazine photoshoot and I am on a photographer's high. For those of you who don't understand this, it comes when you have this amazing shoot. Everything was perfect. The model(s), the makeup, the styling, the hair, the lighting and the magic of the whole shoot just comes together. You leave the studio floating. You want to go and just look at the images over and over again, because you know you've recorded hotness. Well, it was exactly that feeling I had when I went home from this shoot. As I stepped on the Manhattan bound L train, I scanned the train for a seat and I see a young black male with a hoodie on his head. As I get on the train, he glances up to see the subway stop. It was only an instant, but wait, did I see piercing eyes? Did I see chisled features? Did I see cheekbones? I don't know. He put his head back down and the hoodie draped his face in complete darkness. In that one instant my entire high was blown because now the photographer's eye has taken over and I wanted to make sure that I saw what I thought I saw. What happens most times is you see someone in a glance, and you think it will be something good, and then you get a second appreciative look and you go; "nevermind." I was between the first glance and the second appreciative look and all I could do is wait for him to raise his head. And I waited.

This was a first for me. I took out my portfolio and a compcard and I waited patiently. I positioned myself on the train so if and when (please be when) he looked up, I could get a full view of his face and by the grace of God, the next subway stop, he looked up and I was able to get a full long look at his face and yes, in the second look, I was able to determine his features in that nanosecond. He glanced up, looked at the subway, glanced at me and then proceeded to put his head down.

Now I think I better put in some of the other elements into play, because this is playing out like a scene from the Matrix franchise. As if no one else was on the train, and everything was in suspended animation. No, that wasn't the case at all. I wasn't alone. I was with the stylist from the shoot, my assistant, a model and a few other people. We were all high from the shoot and were talking. This eventually prompted the young man to raise his head and look at all of us. My assistant noticed my photographer's eye go into play and I said "I like his look." At that point my assistant approached him with my portfolio. His name? Sean Smith.

He looked at my portfolio and was very unimpressed. Most people outside of the industry would be. You would say "nice pictures." Which is what he said. He also said "I am not a model."

"You have a great look. I would love to photograph you." I can say this now, because I had my book in hand. He took my card and I thought to myself: well, at least I tried.

One month later (literally). I received an email stating: "You may not remember me, but I am the guy you met on the train. I am not a model but if you want to take some pictures, I'm down." I had him in the studio the very next day.

Now at this point I was able to take full grasp of his looks. 6 feet tall, approximately 160lbs, chiseled features. Everything I saw on the train was correct. Great features, good eyes, great proportions. Now, what is he like in front of the camera?

In a phrase: he NAILED it. He was so comfortable in front of the camera, it prompted me to ask; "have you ever done this before?" He responded with a shaking of the head and said "no."

We continued to a point I said, "Don't have me shop these pictures around and people say to me 'Dallas, you don't know who this is?'" Needless to say, he had an incredible connection with the camera, he photographed well and wore clothing well.

I can't promise that he will become the next supermodel and I can't promise that you will ever see him again, but if I have my way, you most certainly will.

Ladies and gentlemen, I present to you... Sean Smith.

P.S. I promise to be more diligent with my entries.

WHEN YOU WORK WITH YEIKOV YOU NEVER HAVE TO ASK Y...

2009-02-18T12:00:00.000-08:00

And I will tell you why! New York's Yeikov Bermudez's work is eclectic, exciting, thought provoking, striking, rich, steamy, hot, colorful, playful, sensual, sexy. And this is all going on in ONE FACE.

To see his work, his signature style is legendary. You would only have to see it once, and you would never forget it. He makes it a point never to repeat anything twice, so if you come to him and ask, you may get flip of the neck, a wave of a hand and a dazzling smile, but you won't get the same exact makeup creation. However, when he is done with you, you won't be disappointed. To him each face speaks to him in a series of lines, angles and complexions. To ask him why he does what he does, he may answer with a "why not?"

I've been trying to work with Yeikov (sounds like "jerk off" but with a Y), and finally our planets aligned. I was told by my agent that I needed to "upgrade" my beauty so I could be shopped to a higher clientele, I thought of no one I wanted to work with more than Mr. Bermudez. He is easy going, a team player and most of all, he understands the market place and what is needed to make something come alive (he also does amazing hair). All make up artists can put on eyeliner, blush, lipstick and mascara, however, when Yeikov does it, it like watching a Piscasso masterpiece being born. Visit his work and each and every time you will go "damn!!!! How does he do it?" Well, ladies and gentlemen, he is about to tell us how.

So don't ask Why can't I get some Y! Just get it and you will never have to ask why again.

Yeikov can be reached at yeikovcouture@yahoo.com

What made you get into the make up game?

So a Game is what we call it now, ha? Well this is no game to me. But to answer your question, my story is kind of different. I was discovered by another amazing make up artist Mitch Rosado in my hometown of Puerto Rico. I was 14 and he said that I had a lot of potential. I had the honor and the pleasure of assisting him and in the beginning I was very reluctant but the curiosity had more willpower and I went on to discover the power of makeup. I discovered the drug that ruled my life, since then I’M hooked.

Who were some of your major influences in this business?

After I've learned a little bit from him and from some of my other friends, I was very influence by Thierry Mugler. I know you’re asking yourself Thiery Mugler isn’t he a fashion designer? I don't follow. Well let me explain. I have always been interested in painting, drawing, comics and fashion - amongst other things and one of my favorite designers that was happening at that time was him and I felt that he was a revolutionary in his craft in bringing the world of makeup and fashion together. So I was very inspired by him and the way his creations mixed with makeup. Even when the faces were “clean” you could still see the elaborate makeup. I also went to school of fashion design and I had to study many other designers like Gianni Versace, Vivian Westwood, Jean Paul Gautier, Galiano, Gucci and Yamamotho. Like others, I was always looking for inspirations to express myself in a different way. Now I look more into everybody and everything that surrounds me and I find inspiration for me somehow. I try to meet as many people as possible in the industry of fashion, makeup and photography and to be part of different creations and I think in the art of photography and makeup is where I can stamp my “name” using makeup for other people to see and to get inspired by as well. I think other people can inspire me when they make their own art.

If you could only take one makeup brand with you on a deserted island, what would it be and why?

Damn, why this question? It is so hard to make a choice. I don't marry any one company because for me makeup is makeup and I have things in my kit things that range from 99¢ to $150.00. Personally, I believe that is not the product, it’s what you can do with it. In this business I have done makeup from weddings which is all about beauty in a very real way to commercial to theater to photography to body paint so I cannot choose only one company cause it depends on the job that I have to do and if you know what that product can do for you, you can use the product to your benefit. But to answer your question (laughs) I would have to say MAKEUP FOR EVER. Why? Well as for now they are coming with the newest foundations for today’s technology. For example television – even High Definition, print, fashion, theater and everyday wear.

Name any model (dead or living) that you would love to paint and why?

Wow these are very hard questions, whats up with that, Dallas? Do you have a whole day to read the list of all the models that I would want to work with? (laughs) Dead and alive… hmmm. My favorite models of all time are LindaEvangelista (the true chameleon of fashion), Naomi, Tyra , Cindy, Grace Jones, Andrea Lima - should I continue? Why? Well where do I start? FIERCENESSSS!!!!! (multiple S is deliberate). Can we talk about celebrity as well? Aaaah and what happen to the new generation of models. I work with everybody and anybody, babe, and for me it’s all about creating and models are only part of the work. There is also the story behind the shoot for me to do my work.

Your makeup has been called "over-the-top". Do you agree or disagree? And why?

That is great, it doesn't matter if it’s called “over-the-top” or not. At least I’m FINALLY getting some recognition (laughs). But what is up with all the labelism? It’s great that I had been called “over-the-top” but let me ask you: Have you ever heard of someone that doesn’t do things "over-the-top" become recognized?

I think that is my personality (smiles and touches his hand to his chest). I have done things from brides to over-the-top makeup in this industry. I’ve also worked at a makeup counter for many years which let me appreciated different aspects of makeup. So, I think that for me it’s more about creating what is expected from me and at all times adding just a little bit of me in the mix. With the personality of my clients and the idea of what is behind it. For me is not about the makeup anymore, I am nothing without models and photographers and art directors and stylists and hair stylists. I feel that it is more teamwork from brides (that sometimes can be obnoxious if if you don't know how to deal with them [laughs]) to very high-end professionals that also have more stress because of deadlines. What I’m trying to say here is this: I have worked with many people and I guess I had post my more “interesting” work around and besides that, it’s part of who I am - so I put part of me as much as possible you know? I have a different philosophy on life so I enjoy what I do as much as I can in different ways but I think this is the best way that I want to be recognized and rememebered in the world by being different and putting in my 2 cents. Why only do simple work when there is another world I can mix with it? I want to be recognized by my work so when you see it in a magazine, video, model or celebrity you will KNOW that I did it! It’s like putting a signature to it. For me it’s all about the experience of working with as many people as possible and giving a little bit of myself, you know? I think that I love to create and when I meet a team that trusts me enough to let me express myself within the parameters of the job is when I can give it my all. But some people may see it as “over-the-top” and I'm cool with that, but what they don't know is what is happening in my head at that precise moment. I think it creates more pressure for me to be better and each model (canvas) is different so it’s more of an adjustment of the idea with the hair, the model with the makeup. That’s the real trick.

I will put it like this: it is my name that is out there and I’m hoping that the work is good enough to be accepted by others in a good or bad way, again most of my work is about the art, the editorial which is great. It is kind of like saying I think I have a couple of personalities like John Galiano who is in charge of two clothing houses, Christian Dior and his own clothing label and both of them are completely different but you still know that both of them are the same at the end and he still works with fabric and creating for everyday wear and more couture so in my case its all about makeup

If there was one thing you can change about the makeup industry what would it be?

I would love for women to embrace the use of more color freely, instead of trying to be natural at all times. Woman have the advantage when it comes to clothing, hair and makeup and I feel that they are not getting the best of it. They choose to be plain and simple when they can be gorgeous at all time. I'm not asking that every woman out there spend an hour on their look but you can do eyeliner and lipstick today, mascara and lip gloss tomorrow and choose so many combinations to look different. When it comes to men we are completely screwed because we can only be sport, elegant or casual and we only have pants and shirts to wear - when woman have an immense variety of clothing and accessories to choose from.

What is the most embarrassing thing that has ever happened to you (with regards to makeup)?

I used to work at a makeup counter for five years and this one time a bride came in to have her makeup done by me. It was the first time that we met and she had heard about me and I asked her where she was going and she said “I'm going to a wedding.” So I did the routine questions of what she would be wearing and she said she was wearing white. She didn't speak too much and she was very quiet. When I was finished with her makeup I made the comment “Oh my God! You look fierce! The bride is going to hate you! You look stunning!” and she turns to me and says “what you mean that the bride is going to hate me? I AM THE BRIDE!”

For me that was one of the most embarrassing moments because I had to do her face all over again even though she loved the makeup that I did, I had to explain to her that the previous application was more for someone to attend the weeding - not for the bride-to-be. She ended up loving the Bride makeup for sure and she completely understood the difference. Whew!

Finish this phrase. Make up to me is....

Makeup to me is my HUSBAND, WIFE, LOVER, LIVE, HOBBY, WORK. In other words makeup for me is everything and then some.

It most certainly is, Y, it most certainly is.

Model: Jamila
Hair: Anatalia Fernandez
Photographer: Y? Creations

This picture is very special to me in many ways. I know this model and I know who she is as a person and she is beautiful in the inside as well as the outside and here I only accentuated her beauty like her eyes and lips and skin. The beautiful thing about it this is that this model is only 15 and i think i was able to immortalize her age and make this picture timeless. If I didn’t tell you her age, you might not look at the picture again or you might. But that is the point of it I did create beauty without losing the model and for me she is a chameleon which brings my work to life.

Model: Cari Braxton
Stylist: Keva
Photographer: Zephyr for Zeo Productions

Working with her was an an amazing experience. The photographer give me all liberty of what to do in the makeup. She mentioned that she wanted it all over the top and for me to be as wild as I want it to be. The wadrobe that was made by Keva. Even though the makeup here is over the top, I think that everything fits in place without overpowering one another and the model is was fierce that she can handle the make up and then some. She made my work so easy and the vibe here was fierce!

Model: Amber Rivera
Stylist: Butch Johnson
Photographer: Dallas J. Logan

Hmmmmm… Let them Have it Ms.Amber! To this date this is one of my most awesome team projects. Wee were there to create some FIERCENESS in the house and everybody was ON POINT! It was so awesome. Butch Johnson worked his magic with the clothing and she LIVED IT! I just followed what was there and did what I had to do. I did my things for sure (laughs) I loved this and of course Dallas lit it and captured it exquisitely. So what more to said? Ahhh the behind the scene on this is awesome. ;')

Model: Lymarie
Styling/Photography: Sta'fon Shamayim

So here is when my mind goes to another planet. This photographer pushes my limits to a level that i cannot explain. The way he see fashion is brilliant! He knows what he wants and he styles it his on way but he he shows me a picture and says “Yeikov this is your inspiration with this clothing and accesories. This is Lymarie and she will rock this out. Do your thing.” Ok do I really need to tell you how was my experience on this one? I think I would write waaaaay too much. What can I say? I love my work ;')

Model: Anya
Stylist: Truman
Photographer: Laretta Houston

Ok here is another HALLARATION! I LIVE FOR THIS! This picture is what will describe my personality the most. This for me was a very real and BRILLIANT! Each time that I can reunite with a team like this is just a mind-blowing creation I beleive that you put three different minds that collide with each other without overpowering one another - combining a little bit of everything is a mixture of control and de-control in its usage of the words passion, elegnace mystery, glamour, edge versatility, fashion sexuality and sensuality. This picture represents a style and again was another special work that when all the pices came together the magic just flowed. It is always a pleasure working with Laretta Houston. Her mind is a Panodra Box. She, like me, is very visiual and she wants to capture something hot with the model in a Fashion way. She will ask for you to please her in a very extraordinary manner, She has a book of ideas that she works at all time so from there she picks her next shoot, then she comunicates the idea to Mr Truman who has an amazing mind when it comes to fashion and with his exquisite mind he brings the clothing and accesories to make the shoot happen and he know how much is enough for the idea. Anya was just in her element wjem she said to me; “Yeikov whatever you do I will sell it to you. Put as much makeup as you want. You know I know you will. Do your thing.” I came here cause I live for you was the thought in my head “Ok I’m just going to let your face speak to me and I will stop when is done.” I’m not sure when is that but I will, and I just let mind flow.

BOOKERS - THE GATEKEEPERS TO THE GODS

2009-02-12T08:31:00.000-08:00

Model: Kendy Almy

There is a definite hierarchy in the modeling industry. Every model wants to be the new face of a product (be it clothing, perfume, sports drink). Every booker wishes to be the one to discover that new face, and ultimately every photographer wishes to be the one to capture that image that launched that career. But the bottom line is (or I guess in this instance, the top line is), it is all about what the client wants and in that instance, the client is the God of the industry.

Clients can be very particular in who they want to represent their product. It is never a fly-by-night decision, because millions upon millions of dollars are married to the project of finding the face. There are castings, auditions, panels and sometimes even focus groups. So by the time you saw the billboards and magazine advertisements of Pierre Woods as the new African American face of Ralph Lauren, a lot of behind the scenes maneuvering went on to make that dream a reality.

The artistic/creative director sends out a casting call. Looking for the New Face of [fill in the blanks]. We want him to be this tall, this build, this complexion, this age. They are very specific. They go to all the agencies around the country (and some times around the world) to find this model. Every agency submit their best in hopes of their agency securing the job. Sometimes a rebel agency may submit a model that was not the description needed in hopes that maybe, just maybe the artistic/creative director may see this renegade model and go “hey, wait a minute. THIS IS THE ONE!” This kind of casting goes on everyday from casting for an underwear model, to the faces that grace the runway of any major city Fashion Week.

The entry into this arena are held by a very small, chosen and powerful group of men and women known as the Bookers. They decide who the client will and will not see. They decide who gets picked up and signed to an agency. They decide who they wish to invest their time, energy and resources in. It is a demanding job. It is a very powerful job. It can also be a very narrow-minded position as well.

When it comes to selecting a model, each Booker has in mind what they think should be the “it” face at the time. While Booker A may choose a model that is a little more buff, Booker B will turn that model away for the same exact reason. I’ve seen this happened even within the same agency. It all boils down to the matter of taste. There isn’t a blueprint that a Booker may follow that will determine if a model becomes a signed entity or not, because if that were the case, all the models would look alike and the agencies would look like a microcosmos of Chelsea. There have been times that I’ve submitted some beautiful models to agencies, only to have them say “thanks, but no thanks.” Being a photographer, I don’t have the “Booker” eye. I just see beauty and I just pass the beauty on to the Gatekeepers in hope that they will like the model. One unsigned model I photographed (who is tragically beautiful) was turned down by a major New York agency. I asked why, because this young man wasn’t just beautiful by let’s say New York standards, he was galatically beautiful (even the Martians could not deny this young man looks). The Booker was uninterested. His reasoning? “To femme. My clients would not want to use him.” How did this Booker know that? Does the appearance of this particular model, femme or not negate the ability of him selling a particular item in the right market? Most of the models in the big campaigns are not the most masculine fellows out there. That means, because the Booker didn’t like the model (even though he did agree that the model was indeed beautiful), it turned out not to be his personal taste. Once I understood that, when he did send me models to shoot, I saw a particular pattern of the types of models in which he liked. They were usually urban, rough around the edges, streety and a bit thug like – one model even had gang tattoos on his body and face. So the model I presented to him would have never had a chance, merely because he didn’t fit the criteria for what this particular Booker liked. However, when I saw this model, he could easily be placed in a Dolce & Gabanna campaign, Calvin Klein, Gucci or even Prada. But because he was of delicate nature and not thugged out enough, the Booker had no use for him. Was he good looking? Yes, tragically so. Was he the correct height? Yes. The correct weight? Yes. The correct look? Yes. The correct type? That depends on who you decide to ask. This will be a heated debate for times to come.

I find myself being the unsung hero for the unsigned models that have potential. I know that when I photograph a model and immediately get inquiries, that the model has something. The Booker may not agree to it, but the something cannot be denied. I then personally take it upon myself to advocate for the “turned down” models, because believe me when I say I push and push and push and once the model is signed, and is working, I usually go back the Booker that turned them down and say: “remember so and so? He’s the new face of…. [fill in the blanks]”

Some turned down faces looking for a home. Believe me when I say that it won’t be for long.

Desil:

Neo:

Goldin:

Guillaume:

Edwin:

Courtney:

Lavante:

Alexis Jorge:

Boyce:

BUTCH UP YOUR SHOOT...

2009-02-07T21:29:00.000-08:00

There is no other way to explain it. It's hotness. It's clean. It's superb. It's supreme! (Sorry about the rhyme - it fits). It is Butch Johnson, up and coming New York fashion stylist (soon to be internationally known - he is going to Europe soon to create editorial hotness over there). Mr. Johnson is based out of Brooklyn and he is here to discuss with us the eye in which he brings to a photoshoot.

Stylists, makeup artists and hairstylists are the unsung heroes of the fashion world. The only time they seem to get noticed is when something is wrong (for example, the hair clip left in the jacket sleeve of the model in the big Ralph Lauren campaign - just how many eyes did that advertisement had to pass before going to print?). When an image is completely brought together and all the elements involve weave into a symbiotic masterpiece, you notice the ENTIRE image. When something is off (any where), the glaring faux-pas jump out at you like a screaming sprite waiting to be notice.

I am fortunate enough to have worked with Mr. Johnson on many of my shoots and each and every time he has raised the bar. With a keen eye to detail, the understanding of colors and textures right down to the architectural line of the garment, he labors over each and every style choice, and when the decision is made, and the styling is done, you realized that Mr. Johnson has just Butched up the hell out of your photoshoot.

How long have you been doing styling?
About two and a half years.

Really? From the looks of it, you've seem to be a veteran at this. Why does it appear so?
Growing up I hated going outside and playing with the other kids, if given the choice I'd stay inside and watch television. Especially the old hollywood classics where everyone wore amazing clothes. In my early teens I became addicted to fashion magazines. Like most teens throughout history you had a choice, look like the herd or stick out like a sore thumb and deal with the consequences. I chose the the latter. So to answer the question, I believe that I became conscience of what the clothes should "feel" like in the final image.

What are some of the mistakes do you see in fashion today?
A mistaken belief that in order to have style you have to be rail thin.

If given the choice to work with ANY designer alive or dead, who would it be and why?
Cristobal Balenciaga. For me hands down probably one of the more influential couturiers in fashion history. His innovative style and cut of fabric, gave the world the balloon dress, the cocoon coat and the high waisted baby doll dress; which stood in sharp contrast to the breezy lightness of his fellow designers of the time. I mean can you imagine working with a designer who redefined the silhouette of women's wear. A woman can be chic in Balenciaga no matter what her body shape was.

How did you get into styling?
One of my best friends who was a budding photographer at the time needed an assistant on a shoot in prospect park. I thought that I was there to hold a reflector and do the running around that needed to be done. I jump in the jeep to take us to the park where I met the model and another photographer and then I'm introduced as "and this is Butch our STYLIST" and the rest is........

What do you look for when you look at a finely styled photograph?
When it's someone else's work, the first thing I think is how do I feel about what I'm seeing. Do I want to be this person wearing the clothes or would I just want to run away and hide.

Name some 5 of your favorite stylists and why?

Paul Cavaco- Humble roots New Yorker that went where style took him and did well by it.
Carine Roitfeld- Very chic, completely intuitive.
Grace Coddington. A brilliant, skilled perfectionist
Tonne Goodman. Very simple esthetic
Joe Zee. He's the reason why we loved W as a monthly publication

Q. If you could work with any photographer alive or dead who would it be?
Dead Cecil Beaton, alive Steven Meisel.

Complete this phrase. Style is.....
Style is stepping away from the herd in ones own unique way.

Melissa Baker/George Favios: It was a great glamourous shot. One of those images that looked better in reality than it does in your mind. Thank you to Celestino (www.celestinocouture.com) for the gown and Adha Zelma (www.adhazelma.com) for the jewelry.

Jazzma Hendricks: This shot made me come outside my "dad" zone. She came out of the dressing room and the dress barely covered her ass. The photographer came up to me and said "are you out of your mind, she looks HOT! We are shooting this!" The rest is history.

Catherine Frances Scott: Jewelry. We were inspired by a Christina Aguilera photo (Vincent Peters for Stephen Webster jewelry) and wanted to see how close we can get with our own spin. I think we did damn good.

Jon Hylton: Jon Hylton was a surprise shoot that happened summer of '08. This model from Calgary needed some new photos. He had some clothes. I had some clothes. We made some magic.

Sarah Blessing: When everything wrong goes right. I prepped for this shoot weeks in advance. Clothes were brought for a size two. She walked in a size six. We were also planning on shooting in front of Brooklyn Museum, but it was raining heavily that day. Thank goodness I am an overshopper and was able to pull off several looks to create a story and Dallas Logan (photographer) came up with the ingenious plan of using a old working warehouse space we once based out of. This was the result of that shoot (the guy was an actual worker who joined the shot) and what she brought to the shoot was stellar. Sarah was a really good model.

He can be reached at butchjohnsonstyle@gmail.com

RATES - YOU GET WHAT YOU PAY FOR...

2009-02-04T09:57:00.000-08:00

I know as I say this I am speaking for approximately 95% of all professional photographers. Not part-time photographers, not hobbyist who take good pictures and certainly not passionate GWCs (guys/girls with cameras). I am speaking about professional photographers who are serious and passionate about their craft and artistry.

If we all had our choice, we would shoot everything and everyone until our heart's content and at the end of the day, most of us do not make a lot of money in this profession. We do it because we love it. However, there comes a time in our career that we will have to charge for our services. If you want quality images, shots from a quality photographer, be willing to invest in your career.

I was recently asked about a rate for a shoot. And I will give a hypothetical break down.

Rate: $700
Wardrobe: 3 looks. Hair/Makeup/Styling provided.
Location: Studio in Williamsburg Brooklyn, and other surrounding locations.
Final Product:
Proof: You will have 40-50 edited images to select from
Retouch: You will select 10 images for retouching.
Turn Around: Average one week
Additional looks - $100

This is a basic breakdown that I may charge a model. First words out of their mouth? Damn, why so much? I don't walk away with the entire $700.00 in my pocket. I wish I did.

So from that shoot of 700.00 guess what? I have a crew that has to be paid:

Hair/Makeup: (If I am lucky to get a two-for-one) 150.00 (and this is my crew cutting their rates for me)
Stylist: 150.00
Studio Rental: 100.00
Assistant: 50.00
Catering Service: 50.00 (the crew has GOT to be fed)
Total: 450.00
Balance Remaining: 250.00 (that is what I walk away with, if I am lucky)

Here is my hourly rate:

Shooting time: Approximately 4 hours (this is setting up lights, hair makeup and shooting time and break down)
Retouching time for 10 images: Approximately 10 hours.
Total amount of time: 14 hours
Hourly rate: 250.00 divided by 14 hours. Approximately 17.50 an hour.

This is why/how photographers make their money. We also have to invest in ourselves. Every single camera does the same thing (from the iPhone to the Hassleblad). The better the equipment, the better the image. So what do we do as photographers? We invest in our business. I recently purchased a new camera (Canon 5D Mark II). It is an amazing piece of machinery. Guess what it cost me? $4250.00

Camera: $2,700.00
Insurance: $300.00
Battery grip: $300.00
Software upgrade: $250.00
Memory card upgrade: $400.00
Tax: $300.00

Our equipment does not come to us for free, nor is it cheap. You come to us because we were able to produce images of the highest quality. If we are lucky, we may get images for our book. Most often we are approached by models who are less-than-worthy quality, however, with our hocus-pocus of special lighting, superb makeup/hair/styling and retouching skills, we can transform some people into superstars.

Now ask me why I charge what I charge. Or why any photographer charges what they charge. Invest in your careers models, we do.