Jeff Bridges © Jerry Avenaim Photography

No matter where you were in the world last week, practically everyone was talking about The Oscars last Sunday in Hollywood. Who won for which film, which nominee you think deserved it more, and who wore what and did they look good. When I think about this past Oscars, I reflect upon a recent session where one of that night’s big names was a winner to me before he collected his long overdue Oscar.

Fade In magazine had hired me to create a portrait of Jeff Bridges for their cover, along with images for the feature story in the upcoming issue. And with all the Oscar buzz in the air the pressure was on. Having been in the belly of the cinematic beast for many years, I still know it is a blessing to have an actor walk into my studio who has multiple Oscar nominations over a 40 year career and is the heavy favorite to land the big prize. However, with such a buzz around Bridges you have to wonder exactly how long he will be in the studio before he is whisked away to his next obligation.

This photo shoot was to be the last pre-Oscar photo session for Bridges. The studio was prepared with three different lighting set ups, but the weight of the situation was on the shoulders of me and my team to get the shots done, and get the shot. Since we were his last photo shoot before the Oscars, he was probably counting down the minutes for this circus to be over. It’s not like “The Dude” (Jeff Bridges character in “The Big Lebowski”) is going to walk into my studio and just hang out. He has places to go and people to see, right?

Opening image of Bridges © Jerry Avenaim Photography for Fade In 2010

The morning began with my crew and I ready to get this done the best way we know and as quickly as possible. Then in walked Bridges, but if you closed your eyes all you heard was “The Dude.” Normally celebrities with such a busy schedule like Bridges’ smiles and nods as they walk in with their entourage of publicists, representatives, and agents, and walk out just as quickly. But Jeff stopped and shook hands with everyone in the room. This was not a man who was counting down the minutes, he was cherishing each and every second of his experience!

Over the years I have photographed many celebrities and each shoot is impossible to describe in only a handful of words, but this session left me speechless. A man who is part of an acting legacy, who has been around this type of situation all his life, is sitting back and being genuine, polite, honest, and more importantly, seeming to enjoy each moment. We had in the studio a rare $20,000 Gibson guitar brought in as a prop for one of the shots, reflecting his nominated (now award winning) role in Crazy Heart. He picked it up and said, “Oh man that’s nice of you to get me this, I didn’t get you anything though.” An accomplished guitarist, Bridges knew it wasn’t a gift and was making a joke knowing how rare this guitar actually was. As the shoot progressed he would ask questions regarding my camera and the lighting, not for conversation but because he is also an accomplished photographer.

The bottle of Kahlua signed by "The Dude" Jeff Bridges

It’s simply amazing to meet someone in person that you have seen on screen for years and realize, “he really is that guy.” He seemed always down to earth, polite and kind, funny and curious, and humble, even more so considering being the odds on favorite for the Oscar this year.

I’m sure many reading this are wondering about the how the images were lit and the more technical aspects of the shoot. This is something I will get into next time I have a moment to sit down and write it out with helpful diagrams. You will  see that entry (along with additional images) both here and on the Profoto blog.

Lastly, I’ve always been a fan of the movie The Big Lebowski, I had a bottle of Kahlua (a key ingredient to the drink of choice of his character in the film) in the studio thinking that if there was time I would ask him to sign it on his way out. There was time. Upon handing Bridges the bottle, I saw him begin to scribble all over the label of the bottle. A moment later he handed me the bottle with his sketch “The Dude” over the phrase “Jerry abides” and his signature. Jeff Bridges was a true pleasure to work with. He’s a musician, a photographer, kind, and an artist in everything he does. . . . And now, he’s an Academy Award Winning actor to go along with it.

If you would like to see the entire shoot online, check out Fade In magazine!

Happy shooting,

Jerry Avenaim

Thanks to my “Grasshopper” Ronald N. Tan for the tip… And I quote. “My little birdy source was correct about the release of CaptureOne PRO 5.1. I bought into CaptureOne because of how “right off the bat” my RAWs looked w/o doing additional edits since their PRO 3.7.8.”

Download link here.

Release Notes: What’s New in 5.1

User Guide: Download PDF here.

I plan to write my own review on 5.1 later this week. For now, I *am* really satisfied with speed improvements and overall fixes and new features added to 5.1. If I have to rate 4/5 on this new update, I’ll revoke a point for:

Not fixing the sharpening on the Web Contact Sheets. Web sized images when applied with the sharpening settings I use for my full resolution RAWS look dreadful! I’d like to make final RAW edits (including capture sharpening) and create web contact sheets for client review. For now, I’ll make my final edits, web contact sheet, and then apply my capture sharpening settings prior to export into Photoshop CS4.

I’d like to have keyboard control to increase/decrease the dust and spot tool. In ACR/LR, pressing the “[" and "]” decrease/increase accordingly. The ability for the newly added Dust Spot to change the sampled source. The spot tool can be used to fix blemishes, pimples, and other minor skin problems. LR/ACR folks can do this well with their “Heal” and “Clone” function.

Happy shooting!

Jerry Avenaim

Beverly in the 1970's

Photographer Timothy Greenfield-Sanders opted for “no retouching” in his 8×10 photographs of supermodels from the ’70s and ’80s for his show now on view at the Steven Kasher Gallery in New York City. “Some of these women have electively turned back ‘time,’” he writes. “In a sense, they arrived at the studio already ‘photo-shopped.’ And that’s beyond my control. But how I shoot, my lighting, my choice of camera and lens, that’s all my decision. Blame me if you think I should have retouched and retouched and retouched, but I think these women look beautiful just the way they are.”

Beverly Johnson made fashion history as the first black cover model of Vogue in August, 1974. Photograph by Timothy Greenfield-Sanders.

You can read more about his techniques and decisions here.

Interesting thoughts…?

Jerry Avenaim

My portrait of actress Halle Berry chosen as Picture of the Year by People Magazine

From simple image syndication, to editorial and advertising, it’s important to review in detail the scope of photo usage permissions as stated in any contract. Last year,  American Greetings used my cover photograph of Halle Berry as a greeting card without permission. While my attorney battles with my syndication agency for the rights to the case (yes, my syndication agency has the right to sue before I do) that’s another story. Be very careful what you sign, and don’t sign anything before you’ve read it in its entirety. Indeed, a photographer friend of mine was shooting a celebrity portrait just last week. During the photo shoot, he was presented a contract that attempted to grab all the rights and ownership of the images. My friend caught the offending paragraph, let the talent’s manager know that that’s a nonstarter, and struck it from the contract. Had they been inflexible on that one point, the shoot would have ended right then. So if necessary, never hesitate to have your own legal council review any contract presented to you.

Remember I said my issue with American Greetings took place exactly this time last year? Well guess what? I was notified by a friend that my image is out on every rack of every CVS and Wal-Mart at this very moment as part of the card company’s line celebrating Black History month. This is a blatant infringement of my intellectual property. One which could have been caused by any series of events ranging from Ebony to American Greetings. And adding insult to injury, they credited another photographer my image! This case (if handled properly) could result in some serious damages.

Halle card on display at Walmart photographed by who?

It has been a long time coming that all these terms be described and explained. I’ve been asked these questions over the years, and they were always situation specific. Recently Rob Haggert the author of aphotoeditor.com put the terminology together in one fantastic article.

BASIC INFORMATION

“With the current US copyright laws as they are applied now, artists own all rights to their created images and sell/transfer rights to agencies and their clients. All questionable negotiations have historically defaulted in favor of the artist. Technically, even minor modification of the art requires the artists’ permission. You are RENTING, not buying an image unless explicitly stated on the contract.

Generally, think of usage costs reflecting the amount of exposure a particular image may receive. The more exposure, the higher the price. Exact terminology may differ, but the semantics remain the same if all of the information is included in each negotiation. You can phrase it any way you want, but be clear about the INTENT by including information from all categories outline below. Talent usage is similar, but there are differences in how each medium is priced out: talent usage tends to be much more specific. Again, it is based on exposure. European terminology will differ from US terminology, particularly in the “Print” category. In Europe, “Print” includes anything that is not broadcast.”

If you want to learn more about billing language and the business of photography, check out his article! Click here to read on.

Happy Shooting,

Jerry Avenaim

A photography portfolio is not simply a collection of a photographer’s best work, it’s also a presentation engineered to tell a story that has a beginning, middle, and end. All the photos should flow seamlessly from one to the next, to have fluidity in presenting their story.

Advertising Campaign © Jerry Avenaim 2010

Just like some movies are bad purely because of poor editing, because of the way their stories were pieced together, it can be the same with a portfolio. Despite the fact that it may contain brilliant images, the manner in which those images are presented is equally critical. In a photographer’s portfolio, flow is paramount. I open my physical portfolio with covers and beauty, which then progresses into editorial and advertising pieces, and then I close with some of my strongest personal work. I include my personal work in my portfolio because it is such an integral part of who I am. It will also give a prospective client a window into what resonates within me as an artist.

Even though individual images may wow a viewer, if a potential client views a photographer’s portfolio that’s unable to tell a story, he/she may not be convinced the photographer can tell a story in a magazine, or in the case of advertising, convey what’s needed about the client’s brand.

Image selection

For image selection, an effective practice is to either lay prints out on the floor or display them on a computer screen. Then (I prefer to do this alone or with my agent) invite a number of friends or other photographers over to assist in the selection and order process. This allows distance and perspective.

What sort of order should I put the shots in?

Advertising Campaign © 2010

The images you end up choosing to put into your portfolio will naturally fall into various categories, genres, and styles.  These are logical groupings from which to create a portfolio with a smooth flow. For example within a fashion portfolio, a possible collection of groups might look like this:

Beauty, Editorial Fashion, Lifestyle Fashion, Catalog, High Fashion and Advertising. Genres should remain together in the portfolio, but not necessarily in the above order (although many photographers do start with beauty).

Within this structure, additional classifications to consider when telling a story include the following: location, studio, color, black & white, brand, background, and digital manipulation.

How do I know which order to put the photos in one category into?

If you look at my portfolio (physical or on the web) you will see the deliberate choices I have made to make it flow.

• Each section has a strong opening.
• I’ve paired the photos with the same number of models in the shots.
• I’ve paired photos with the branding in the same corner of the image.
• I’ve grouped images with a similar feel.
• The flow always goes from beauty to fashion or editorial to advertising.
• I’ve finished with a bang.

In the advertising section, I haven’t overplayed any one brand — I’ve made the collection short, sweet and to the point.

And what is the story in advertising photography? Girls feel rich and sexy when they wear sunglasses. Guys fall from the sky to meet them and think up ways to rip their clothes off, especially when they’ve fixed their hair. So go ahead girls and spray your perfume, look cute indoors and outdoors, go dancing, work out and get sweaty, eat right with friendly people, and men will take you home, all engines running.

Happy Shooting!

Jerry Avenaim

Jerry Avenaim - Image composite by Michael Brittain for Atomic Digital

Since my transition into digital photography, I have always strived for a consistent workflow. Just as with film, all my images needed to have the same consistent look and feel to them. At first, this was quite challenging due to the limitations of the tools that were available to digital photographers, and at the time, most gray cards were made for film. When I started using the Greytag Macbeth ColorChecker card, I saw a 100 percent consistency in the color of my photographs. The only drawback (unless in studio) was the card’s large size. I would often leave it behind or in the car when on location due to its larger size. But then I was left with the painstaking task of trying to color correct and process an entire shoot with no card to go by.

With the latest color management device by x-rite, I now feel a real sense of freedom. I can fit the ColorChecker Passport in my back pocket and not think twice because of its size.  And beyond its compact size, this relatively new product changed my workflow even further. Its functionality and control takes us ten steps forward in color management, as it approaches management in an entirely new way – more like a smart card.

From the x-rite web site: “The art of color management is all about getting your colors to match from input to output. That means your camera captures true colors, your monitor displays them accurately, and your printer produces a photo that matches what you see on screen. The ColorChecker Passport is an essential component to attaining a 100% color-managed workflow. Plus, the included Enhancement target helps you take your vision one step further by providing the creativity to quickly and easily edit and express your colors just as you’ve always imagined. Whether it’s a studio shot, a colorful nature scene or a multiple photo event, you can extend the power of your photo editing software with one-click enhancements that articulate your inspiration.”

Instead of my stumbling about trying to explain with the written word (which would consume pages), take a look at this terrific video demonstration by Adobe expert Seth Resnick. This video will explain the uses of the Passport far beyond my writing ever could!

All I can say is WOW! This is truly the ultimate in ease and consistency!

Jerry Avenaim

Everyone can do their part in this time of great need. Thanks to aphotoeditor.com for the heads up on this amazing effort!

A Photographic Benefit for the Survivors of the Haiti Earthquake

Professional photographers are offering a special edition fundraising magazine through the Magcloud print-on-demand service to benefit victims of the recent earthquake in Haiti.

The magazine features work from preeminent photographers and all proceeds will go directly to the International Red Cross to assist the people of Haiti. The issue is titled Onè Respe, after a traditional Haitian greeting meaning honor and respect.

San Francisco photojournalist Lane Hartwell, is spearheading the project.

You can see the magazine on MagCloud (here).

All your support in this effort is needed and appreciated!

Jerry Avenaim

Considering that shooting deliberately with intent was the theme of the previous two articles here on the blog, I felt that for this week’s entry, I’d wrap it up with, “The 36 Exposures Challenge.” When I stumbled upon this, I thought, what a great idea! With 16 and even 32GB memory cards becoming more and more popular, it’s like people are running around with their cameras loaded with full 20 roll bricks of film and seemingly unlimited exposures. What a great exercise this challenge is, to force a retooling of the speed at which you shoot, and to think about how and when you depress the shutter button, as in this case, you really do “only” have 36 frames, which really, is still a lot of frames to shoot if you think about it.

I’d love to hear from any of you who try this. How was it? How did it affect your approach to making an image? And perhaps even share one of the results.

“I once had a student at Bard College, where I teach, who was taking portraits. The results kept disappointing him, so each week he took more and more pictures. Still he was disappointed. Finally, I assigned him to make only one exposure the next week. The picture was excellent. His problem was that he substituted quantity when trying to come to terms with what he wanted in his pictures. If an artist doesn’t work with conscious intentionality, sometimes no amount of editing helps. There are other times when the lack of self-censorship that digital can engender communicates a more intuitive energy.”  -From the Pop Photo interview with Stephen Shore

Missing the challenge of taking photographs with “intent?” Perhaps shooting digital is pushing your mind to act too fast and not taking the time to think about the purpose of the image? File Magazine, Flak Photo and Coudal Partners have joined to create a very interesting challenge: “The 36 Exposure Challenge.”

We are asking photographers to use a film camera to explore Shore’s concept of “conscious intentionality.” Broadly speaking, we are challenging photographers to do two things: articulate a concept, project, or theme and then use a film camera to photograph the images to illustrate it. There are, then, two parts: creating the idea and then acting on it.

Give it a try, think about a mini-project, and take the challenge to think and plan the images to communicate the purpose and the intent you’d like to achieve. Photographing your images with such intent will make you think. It will make you plan. It will help you to focus and be selective, and it will make you a better photographer.

Happy shooting!

Jerry Avenaim

Before I get started with this week’s blog entry, I’d like to thank my good friend Jeff Berlin for following up his comments in last weeks entry as guest blogger this week.

Jerry Avenaim’s comments last week in this space, their theme of discipline with regard to photography struck such a note with me that I felt compelled to reply. That reply became this blog entry.

Photo © Jeff Berlin (click to enlarge)

Like Jerry, I worked as a photographer, shooting primarily beauty, in Milan and then Paris. Likewise, Jerry and I both shot with large format cameras for Italian Vogue when we were young photographers. It was an amazing and invaluable experience for a young photographer to work with, and be groomed by, some of the top fashion and beauty editors in the business.

Milan, and Paris, where the market and clients are more international, served as a sort of boot camp for aspiring fashion photographers. It was well known that if one had the desire to ascend the ranks and shoot for the Vogues, Elles and Harper’s Bazaars of the world, which would hopefully lead to lucrative advertising campaigns, spending time pounding the cobblestones in Milan and knocking on the doors of magazines and agents was de rigueur, for everyone knew then that the ticket to the brass ring of fashion photography was through obtaining practical work experience, and tearsheets, in Milan and Paris.

I can only imagine what it’s like now — going to Milan or Paris like we did back in the day and knocking on Vogue’s door. Can you imagine Franca Sozzani or Ariela Goggi saying back then, Send me your link and we’ll take a look.

How many of us would have even made it to Milan had that been the case? Technology’s definitely been a double-edged sword for photography, for there’s no doubt that the while web has brought the world to your laptop, it’s also changed the game of international photography.

Indeed, had we all had websites like today, how many photographers would have even ventured on spec to Milan or Paris or London or Munich or Sydney or Sao Paulo or Tokyo, hoping to meet with magazine editors and score real tearsheets? We would instead send editors a link to our site, and upon our first and second rejection, or after not hearing back at all, perhaps we would never have persevered, plunked for that ticket on Alitalia and made a commitment to working long term in a foreign land.

Jerry said last week, “In the end, the image is not determined by the equipment used but by the person who was using that equipment.”

L'Oreal © Jeff Berlin (click to enlarge)

I have always strived, as a photographer, to find strength in my pictures by what was in front of my camera when I was shooting, and not rely on elaborate post production to whip an image into shape, and I definitely never “spray and pray” and hope for the best. This I learned back in my formative days in Milan, when there was no Photoshop or world wide web, and what I shot, on each single sheet of film, after careful, deliberate and collaborative composition, was what I got, and what I turned in to the magazine. Jerry mentions, “There is a very different feeling in hoping one shot out of 10 is the one you want as opposed to knowing the one shot you took is exactly what you wanted.” Shooting only a handful of sheets of large format film per shot, I had to know that each time I clicked the shutter, I was getting an image that I potentially could turn in to the client with confidence. Things don’t happen fast in large format, so the deliberative process is inherent to the medium. Obviously, one never gets the shot every time, but with experience and patience, I pulled a high percentage of good images from few sheets of film.

I should also mention that at this time, Italian Vogue limited the amount of sheets, or rolls of film that we could shoot per shot. We weren’t allowed many. And getting the shot came down to discipline. Spray and pray just wasn’t an option; it didn’t exist.

It would seem to me that the photographer who employs the spray and pray method would probably never reach the consistent level in their work necessary to warrant a trip to Europe for work. Hell, they might not even have the patience it takes to work, and live, in Italy, where things happen in their own time. This photographer might also be the same person who never shot a roll of film nor learned how to use a hand-held light meter, like a Sekonic, and instead ballparks their initial camera setting and fine tunes their exposure by chimping and the histogram. How would they ever consistently produce an image of quality. Or in other words, how would their work be repeatable.

And to consistently produce images worthy of world-class magazines takes a lot more than effective SEO, cool web design, and mad Photoshop skillz. (deliberate “z”)

Polaroid © Jeff Berlin (click to enlarge)

That’s not to say that all of that isn’t important. It is, and digital technology has exponentially improved photography in so many ways. It’s brought so many more into the fray, which is great, but it’s also oversaturated the photo market, but that’s a whole ‘nother conversation. Now, though every serious photographer has a website and maybe even a blog, and it’s never been easier to promote oneself to a wide audience and get seen way beyond the horizon, we’ve also learned that technology is still not a substitute for meeting with clients, and potential clients, in person. Jerry and I would never have shot for Italian Vogue had we never knocked on their door, in person, and shown to the editors that gave us our break commitment, dedication, and a bit of humor and talent. No matter how fantastic a website, it doesn’t replace interpersonal dynamics, which go far in sealing the deal.

In the end, I’m still a bit old school and love to shoot film, which of course I then digitize. But I have embraced the vanguard of digital, love just as much to shoot with my 5D Mark II and manual focus Zeiss lenses, tethered cord-free with a Pocket Wizard. I marvel at the quality of the images I produce right from the camera. Though I do still try to use my DSLR much like I do my film cameras, by using lower capacity cards to approximate a roll or two of film, and by sometimes turning off the camera body’s LCD screen and waiting to see my images at the lab, in Lightroom.

Would love to hear your thoughts,

Jeff Berlin

Polaroid (type 59) shot for Italian Vogue 1987 © Jerry Avenaim

“Jerry Avenaim’s images of supermodels and celebrities have captivated readers of almost every major magazine. Combining mastery of lighting techniques, the ability to guide his subjects to the limits of their expressiveness, endless energy, and abundant chutzpah, the L.A.-based shooter has attracted so much press coverage that when we asked him to dig deeper into some of the famous stories about his career, he replied. ‘I don’t know what else I can add. If you dig any deeper, I’ll be buried.’” -Excerpt from American Photo Interview by Mark Lapin.

During this interview I surprised myself, realizing what I could have witnessed firsthand during my years in photography world. This decade has seen a great evolution in how we create photographs, most notably film vs. digital. Photographers state they are “going back to film” while others sing the praises of digital and what can be done in post production. At times I feel like I am straddling the 38th parallel in this debate because I am, and always will be, a double agent.

To this day, I don’t regret stepping forward into digital. Nor do I lament not being able to step back into film, because I still have a variety of equipment to choose from in both avenues of image capture. Each camera I own is a tool, one that serves a purpose of capturing what I’m trying to convey in my photographs. By having all of these options at my disposal I am never compromising my photography, or my vision, by restrictions inherent to technology or available films.

In the end, the image is not determined by the equipment used but by the person who was using that equipment.  If given a pinhole camera, many photographers I know would be able to make a photographic essay shooting with only that. Of course, knowing your equipment and maximizing its potential is what will make you the photographer you are, not a visit to the camera shop and buying the most megapixels or the top shelf films.

Polaroid (type 55 negative) shot for Italian Vogue 1987 © Jerry Avenaim

I started shooting large format at a very early stage in my career. This gave me the discipline that I feel photography requires. To study my subject, compose my image, and when the moment comes, to capture it. This practice has carried over into every format and medium I shoot today.  The patience, precision-all my images were born from mastering the properties of large format film cameras.  By today’s standards a large format camera is neither portable nor frugal, but to me the discipline I learned from using it is priceless and I carry it with me everywhere.

However that’s just me, many photographers, it seems, were out sick and missed the class on discipline and patience. In my fashion photography workshops I see photographers use what I affectionately call the “spray and pray” method of shooting which is simply holding down the shutter on their camera and PRAY a good shot comes out.  Many forget there is a person on the other side of their lens and to make a great photograph both sides need to work together.  A photographer can’t simply accept what is in front of them and take a  picture, that’s not being a photographer, that’s not even being a photo journalist, that’s paparazzi at best.  There is a very different feeling in hoping one shot out of 10 is the one you want as opposed to knowing the one shot you took is exactly what you wanted.

Polaroid 8x10 (type 84 and 89) shot for L'uomo Vogue 2003 © Jerry Avenaim

Digital technology has really increased “spray and pray” shooting, and many forget that the original purpose of digital technology was to eliminate the limited exposures presented by rolls of film.  Today, digital photography is much more than just “film-less shooting.” It has changed photography for the better in so many ways that I would need another blog (with sequels) to detail how.  The only downside I can really acknowledge is that I feel digital-only photographers have not learned the discipline of photography like I did with my first steps in large format.

Go out and take pictures of anything, as many shots as you want, just don’t shoot longer than 5-10 minutes.  Next pick up your digital camera and disable your LCD screen by covering it with a piece of 2 inch paper tape (this is LCD safe) and prepare to take the same images again.  However, this time, instead of limiting your time shooting we are now limiting your images- do not shoot more than 10 – 15 images (up to 30 if you were shooting medium format), but take all of the time in the world.  And finally, do not look at them until you go home or to your studio (you could even wait a day). Treat those files as though they were film.

With only so many chances, each shot is now more valuable than the last. Odds are, moving forward, you’re not going to just push the shutter without thinking first.  Engage your subject and instruct them on posing; convey the expressions you like.  You can’t wait for them to naturally give you that spray and pray shot, after all, you now only have 10 to 30 shots at most.  Was it a landscape? Has the lighting changed or will it be changing?  Will the patience and discipline of waiting a few minutes or even over an hour present the golden hour light and make the image that much better?

Having the knowledge and the equipment is a valued attribute in the photographic community. However, it is all nothing without patience and discipline.  A photograph is made by what is on both sides of the lens, and in a photographic world full of quantity it is wise to distinguish yourself by the quality of your images.

Happy shooting!

Jerry Avenaim