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

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.

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?

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, Natalia Vodianova, Raquel Zimmerman, Gisele Bundchen, Jon Kortajarena, Tyson Beckford, Gabriel Aubrey, Andre Van Noord, Tyson Ballou - hell even the current ones like Sean Opry, Rob Evans, David Agbodji, Corey Baptiste 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

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?

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...

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...

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.