We’ve long wanted to film famed surf photographer Chris Burkard in action, so when we heard that he was headed to the Arctic with professional surfers to tackle the brutally harsh seas, we packed our bags and followed. In our latest installment of SmugMug Films, we travel with Burkard on his journey with professional surfers Patrick Millen, Brett Barley, and Chadd Konig as they brave sub-zero temperatures to capture moments of raw beauty, adventure, and community. Keep reading after the video to get an exclusive interview with Chris about how he got his start, what he looks for in a fantastic image, and that time he got deported from Russia.
How did you get started with photography?
I did a lot of art in high school. And I transitioned to wanting to explore doing art out in the field, but I soon realized it wasn’t very fun. It wasn’t a very intimate experience to me. You’re just a bystander. When I picked up a camera and started taking photos of my friends surfing and landscapes, I realized I was in the moment. I was out there, and shooting these photos was an extension of the body. It was intimate. You’re a part of it, and you can take it anywhere: social settings, mountaintops, oceans. It was a perfect extension and a great medium of expression for me. To this day I’m seeking out new places so I can bring a camera and experience them.
If you hadn’t become a photographer what would you have been?
Probably a fireman. I don’t know! I worked for many years in random jobs. Before I was working to be a photographer, I worked on cars a lot. I loved old vehicles and the idea of making them how I wanted. It came down to the idea of wanting to do something where people will appreciate my craft and my talents, and I realized that was what made me want to turn machines into artwork. If I wasn’t a photographer, maybe I’d be working on cars somewhere.
How would you describe what you do today?
I’m always seeking out the adventures in life, whether I’m shooting surfing in a cold, harsh environment or shooting a commercial assignment. And that’s meant to speak to the idea of going to a new place, summiting a new peak, or surfing a new wave. It doesn’t matter to me how big or how small. My goal has always been to create images that inspire people to get off their couch and go explore something new.
The idea of exploration is the thing that really makes me want to push harder. It’s the driving force behind a lot of my work.
What do you look for when creating an image?
There’s a lot of technical things I’ll look for. I’m looking for light, contrast, and all those elements that make a good image. But I consider other elements when I’m thinking of how to capture something. Like if there’s historical value to a photo—where I’m shooting a place that might not be around for very long—that’s very important to me.
Coming from an art background, I’m used to trying to put everything I want into this easel shape. I’m just bringing in all the elements. When you’re shooting and photographing in this frame, you have to get everything inside it. You’re really constricted in being able to make it happen.
For me, it’s also super important to push your cameras as far as they can go to capture what you’re seeing. A photograph is usually a two-dimensional item. If there’s anything you can do to make it feel three dimensional, that’s the goal.
I also like the idea of creating images that will carry weight with people. Photos that aren’t driven by advertisements or logos. And it’s super important, too, when creating a body of work that you want to be around longer than yourself.
Given the adventurous nature of your work and the harsh conditions you’re in, are there any great pictures you didn’t get to take?
There’s always a lot of pictures I don’t get, or I feel I haven’t had a chance to capture yet. As a photographer, or anyone who’s a perfectionist, that’s all you think about: all the moments you didn’t get. And that’s just life. You’re striving for something better, and you always wish there’s something you could’ve captured, but if you get them all, you’ll have nothing left to strive for.
What do you consider the biggest challenge about your work?
It all depends on where I’m going. The nature element is the hardest thing, like if I’m going somewhere really cold or somewhere that has a harsh environment. Being in the water in high 30s or low 40s can be brutal on your body, mind, and psyche, and it’s always challenging. You’re always weighing out risk versus reward. Luckily, 90 percent of the time you’re not far from a warm car, but there are those moments when you know in order to get the shot you have to go out and suffer a bit. Those are the times I feel most alive. I have to put in more effort and lose a little bit of skin.
Your explorations often take you to off-the-beaten-path locations. What do you look for?
I’m drawn to places that feel and look more wild. I think it’s human nature to want to see these places, but the reality is most people don’t want to put in the time to find them. So a big part of what I do is try to find spots that will speak to that aesthetic. The location is almost as important as who I’m with and what I’m shooting. Each place plays a huge character role in these stories. Whether I’m on a remote beach in Norway or somewhere in Russia, I want to be in a place that people naturally associate with adventure.
How do you find these places?
There’s a certain recipe. There are a lot of amazing places I could go, but I have to have an assignment that takes me there. I have a list of places I would love to see and love to experience, but I don’t have opportunities to shoot there. But I have a list. And it’s something I tick off as I get to go to places.
With so many places yet to see, is there a favorite place you’ve already been?
Oh, yeah. I’ve been to Iceland 13 times. That place is pretty dang special.
What do you love about it?
The way the landscape is always changing really draws me in. It’s inspiring to me and makes me want to go back because the conditions and climate are constantly evolving. For a photographer, it’s what you’re always searching for. You could shoot only one day there and have so many different conditions.
I don’t like to go to places that wouldn’t be inspiring to me on a personal level. Because if you’re not excited about the work you’re doing, then it’s hard to want to photograph it.
Is there a photography project that’s been the most meaningful for you to date?
The trips I do, I invest a lot of my energy, heart, and soul. That’s why when they turn out successful, it means so much. Success can be measured many different ways, but for me it’s pretty simple: If I feel like I got the images I needed, or got the job done while still being able to experience the culture for myself, then the trip was a success.
I plan for three years or more to do these trips, and when I’m able to set foot on the landscape and experience it, I don’t want to leave anything behind. For me, that’s been Russia, Alaska, Iceland, and Norway. These are places I put a big part of myself into.
What’s been your most challenging to date?
I’d say Russia just because of the logistical challenge of getting there. It took three years to plan and find the place to go.
I went to Russia for the first time in 2009, and you have to fill out a visa request like three months ahead of time. I was in a crew with four people, and we had to go through customs. I get stopped. They look at my passport. They look at me. They look at my passport again. They look at me. And I realize the entry date on my visa was for the next day. It was the wrong date.
After a long discussion, they put me in a holding cell for 24 hours, and then deported me to South Korea. After recouping a day later, I flew back. It was scary. Really scary. I didn’t get food and water until I talked to the embassy. It was crazy.
It was one of the first places I traveled to that was really wild and remote. And it was such an eye-opening one because I realized for the first time what it felt like to have all your rights stripped from you. It makes you really appreciate being on American soil.
What’s at the top of list for a place you’d like to return to?
I really want to go back to Chile and explore Tierra del Fuego. It’s at the very end of South America, and it looks amazing.
In a lot of your behind-the-scenes shots, it looks like surfers are headed right at you. Have you ever suffered any collisions?
Oh, yeah. I’ve been run over. I’ve had surfers hit me with their board. Cut my nose and other things. Those are the experiences that make it exciting. You’re very much at risk. And it makes it that much cooler, really, being able to be a part of the action. Being hidden in the midst of it myself.
Ever lost any gear?
I’ve lost quite a bit of gear. One time I was on a little boat, and we got hit by a wave. Basically my entire kit went overboard, and I lost about $30,000 worth of gear. Luckily, I had insurance for it.
Speaking of gear, what are your must-haves?
I have a lot of must-haves. It comes down to the fact that I think, man, if I don’t need to use this it’s not going to be much of an adventure!
A multitool is super important when it comes to being somewhere remote and interesting. Obviously having a good, reliable camera is crucial, and that’s personal preference. I like to travel really light and really small, so I use a lot of mirrorless cameras, like the Sonys. There’s usually a solar charger of some kind, whether for cell phone or camera. An ultralight, ultrasmall water-purification device that uses UV light. Energy bars. A light rain jacket is always crucial. A lightweight tripod is always in there. Filters. Almost always a pair of gloves.
If you don’t need a headlamp, it’s not even a place you want to go. I can’t count how many times I’ve gone out driving around, having a great time, then coming back for a couple hours to sleep until dark. That’s when, as a photographer, you know the best light is going to be, or when the stars are going to come out. Nine times out of 10 we’re hiking back in the dark with a headlamp on.
It sounds like you have a survival kit with some camera gear versus a camera kit with some survival gear.
That’s really what it comes down to. I want to make sure that when I’m shooting photos that I’m able to relax, knowing that safety is taken care of. I occasionally have a small rope and carabiner just in case I need to lower down from somewhere. Usually the most unusual thing I have in there is a packet of gummy candy, because that’s one of my favorite things. It’s either a reward after the shoot because things have gone well, or I just got beat down by rain or no sun and I want to have something sweet.
Given the chaos you’re in for your shooting conditions, do you shoot manually?
Yeah, always. I love shooting manually. You really start to work with your camera, and it becomes second nature. I like to have complete control. I don’t want to have my camera trying to make decisions for me.
Do you have any rules when it comes to your overall process?
When I’m going somewhere new, I’m really careful not to research too many of the places I’m going to see because I don’t want to get some interpreted view of what these places should look like on a postcard. I want to be able leave my view and perspective unskewed so I can maintain ultimate creative freedom. That being said, I also want to make sure that I’m being educated on where I’m going, because the more unique the less you know. That’s a really important mantra to have at all times.
If someone decided to pursue a similar path, what advice would you give them?
I personally would tell them that I don’t think school is going to teach you the type of skills you need to do what I do. A big part of this is experiencing things. Learn from a magazine setting or an editorial conference. Study a photographer you like and really understand the hustle it takes to do what they do. Understand what it’s like to be in those commercial and editorial situations where you’re trying to make it all work for a client.
I look back at the time I spent driving down to Oceanside every week to intern at Transworld Surf, and a summer I interned with a landscape photographer. That’s where I feel like I gained the biggest understanding of what photography was really like. I realized what it means to run your own business. And if you still want to do it after that, you should.
Any advice for capturing a great image?
There’s great moments happening everywhere, but for me there’s two main types. There’s the one that happens all of a sudden, which requires being there and being ready, and knowing your equipment inside and out. And the second is the one you’ve preconceived. Sometimes those are really special to me because you have this idea and you get to see it through.
Look for unique lighting situations. Go out in storms and go out at a time when no one else is. That’s when you’re going to capture something unique.
And what about the best advice you’ve ever received?
My grandpa told me to kick ass and take names. I don’t know if that’s good advice or not.
I guess a personal mantra I try to follow is the more you know, the less you need. I’ve always been a big proponent of traveling with less and not being the person who has the biggest, most expensive camera. It’s not that I can’t afford it, I just like to experience moments personally as well as through my camera. If you walk away from any trip and it’s a complete blur because you were shooting the whole time, then you weren’t really experiencing it.
In the end, you should have all these cool stories to share with loved ones and family and friends. At least that’s how it is for me. I always try to be present in the moment and really experiencing it myself, too.
What do you find exciting about the photography industry today?
Now everyone is a photographer. People have cameras and video cameras in their phones. At any time I could have four or five cameras on me. It’s crazy.
What we’re seeing is the emergence of these smaller, lighter cameras being able to capture more real, intimate moments. And I think the idea of mobile photography and how it’s changed photography as a whole is really exciting.
I think we’re really seeing, too, a changing of the guard where a lot of established photographers have lost touch with the people who are interested in their work because they haven’t adapted to these new forms of social media or ways of promoting their work.
Photography as a whole is really moving toward those who are open to sharing. Nothing’s a secret anymore. If you try to keep secrets, people just aren’t going to embrace it. They want to find people who are sources of knowledge and are able to share that knowledge. That’s how I look at inspiration.
Find Chris online:
Subscribe to the SmugMug Films channel to watch and see future installments as soon as we set them free. If you enjoyed the film with Chris Burkard, you may like these artist profiles on underwater photographer Sarah Lee, YouTube superstar DevinSuperTramp, and lava chases Lava Light.
CJ Kale and Nick Selway long ago fell in love with Hawaii and founded Lava Light, a photography gallery focused on capturing the ever-changing landscape created by an active volcano and crashing waves—and sometimes both together when the conditions are just right.
And if swimming with fire and dodging lava bombs weren’t challenging enough, these photographers believe in creating their images completely in camera. Balancing exposures between sky, water, and lava can be incredibly tricky.
Luckily, Lava Light has shared some tips to help you get the shot without combining exposures or using HDR.
Photo Tip #1
To capture lava and stars together, put a neutral-density (ND) gradient filter on your lens upside down to balance the extreme exposures between the lava and stars.
Photo Tip #2
When photographing lava in the daytime, use the ND grad right side up to balance the light from the sunrise, because the sun will eventually be brighter than the lava is.
Photo Tip #3
For front-lit scenes, a hard ND grad balances light from a bright sky and a dark foreground, allowing you to darken the sky and deepen colors. For example, in this shot I used a polarizer to intensify the rainbow, but it left the sky a fraction too bright. So I added a 1-stop hard ND grad across the entire sky to darken it and get its depth and color to match with the lava and everything that’s front lit below.
Photo Tip #4
To capture the little curvature of a wave, a shutter speed around 1/3 of a second is usually enough to get a little light blur to the water but keep that shape in the wave.
Photo Tip #5
If you’re trying to capture a really misty feel, where the water almost looks like fog, use a 2- to 3-second exposure.
Photo Tip #6
Since we capture everything in camera, sometimes we have to compromise on exposures and accept some clipping of highlights or shadows. So maybe a rock by the lava won’t have any detail in the shadows because I want to capture the detail in the lava instead, and I prioritize my exposure for the lava.
Photo Tip #7
Prepare the right gear for the day. My normal, hike-out-to-the-volcano kit includes a Nikon D800e, Canon 5dMkIII, 16–35 L lens for Canon, 14–24 for Nikon, a 50mm and an 85mm prime, and a 50–500 Sigma telephoto. Because sometimes you want a wide-angle shot, like the rainbow and lava, and others you want to zoom in on the drip, which requires a telephoto.
Check out the SmugMug Films artist profile of Lava Light below. Thanks for the tips, Nick and CJ!
Find Lava Light online:
This week we’re debuting Joel Grimes as our next SmugMug Films subject. As commercial pro and Photoshop wizard, Joel has found great success following his creative dreams and leading workshops worldwide on how he plans, shoots, and polishes those incredible images. Watch the film now and don’t forget to subscribe to the channel to see each new episode as we post them.
When it comes to creating masterful illusions, Joel Grimes is happy to share what it takes to succeed in the art and photography world: hard work and passion. The bravery to be yourself at all times doesn’t hurt, either. Learn how he applied these truths to his own path into commercial photography.
Tell us a bit about how you got started with art and photography.
I’ve always had that side to me, even when I was a little kid. In grade school, we’d have art projects, and I would be in heaven. Then in seventh grade, I think it was, I had my first official art class. That was the ultimate. I was like, “Wow, every day I get to do art and actually receive a grade.”
When I got to high school, we had a program where you could do photography. I just thought, “This is really cool.” I ended up staying in the program my sophomore year, and then my junior and senior years. By the time I was a senior, I was the photo teacher’s assistant. But I still didn’t understand starting it as a career.
When I got out of high school, I ended up working for an outdoor store downtown. One day a man came in looking for a waterproof container. I asked what it was for, and he said it was for transporting film. I said, “I’m a photographer, too!” I had just spent every dime I had on this new black-body camera, which was the first: the Canon EF. At the time, I thought it was like buying a ferrari. It was just so amazing.
Turns out he was the head professor of photography at Pima Community College and asked if I’d thought about taking any photography classes. They had just started a new semester at the college, and he said if I really wanted to get in his class, he could pull some strings. I said yes!
What I didn’t know is he had a waiting list of 80 students for that class. His name was Lou Bernal, and he was the most inspiring educator I’ve ever been around. He really launched me into thinking about photography, not only as a possible career but as an art form. From that point on, photography really became an all-consuming passion.
But I still didn’t understand photography as a career. Like, do I do weddings? Do I do editorial? After college I ended up sharing a studio with a guy who was a natural at marketing. He really taught me a lot about selling myself. With his guidance, I ended up going after the commercial advertising arena. And I’ve been doing it ever since.
I look back and never thought I’d get to where I am. It’s just amazing. I feel very blessed.
What inspires you first when you go about creating an image? Do you see the full concept or does a background or subject inspire you first?
In songwriting, people ask, “What comes first: the melody or the lyrics?” It’s the same with photography. For some people the melody comes first. Some people get an idea and put it into lyrics. It’s really a mixture of both.
I think about an idea, but most of the time it’s kind of a discovery process—it’s found moments. Found ideas that aren’t too thought-out, meaning I don’t create a plan for what I want to end up with. I have an idea stylistically, but it’s not as scripted as people think.
I always tell people there’s two things I’m not and two things I believe I am. I’m not brilliant and I’m not a creative genius. I do have a passion for the creative process, and I work really hard at it. I put in the time.
You can be brilliant and a creative genius and produce nothing in your lifetime. But if you have a passion for the creative process and you work very hard, great things follow.
When we’re in school learning photography, many people think, “I’m not brilliant at it. I’m not as talented as my friend or my classmates.” That’s what I thought when I was in school. But in the end, having a passion for the creative process will out-trump or outwork and outperform the brilliant creative geniuses. Don’t worry about if you feel like you don’t quite get it. Just keep practicing. Keep working at it. Keep putting in the time. And then explore.
What gets you up at 4:30 in the morning to photograph the sunrise? Being brilliant? Being a creative genius? No. It’s passion. I can’t wait to see what this morning will bring. And those are the people who achieve great things.
Your process relies more on finding the right feel for the moment and less on the technical, but do you have go-to light setup—somewhere you start before tweaking?
You have to, especially when you do commercial shoots. You have to know the basics of achieving a soft light or a harsh light. How to light one person or ten people. It’s all about solving problems.
When you’re in a commercial scenario, you can’t just play and hope it will all come together. I’ve walked into a room with a client standing over me, and I’ll say we’re going to shoot from this angle with lights here and our subject here. Within 4 minutes I have it figured out. And they ask, “Are you sure? Can we try over here?” And I say that won’t work because there’s cross light and you have a big pipe in the background. That comes from just having walked into a room a thousand times. Time and practice.
I can teach everything I know about lighting in 30 minutes, but it takes 20 years of practice to understand how to apply that lighting. Unless you practice it over and over again, you’ll never be able to walk into a situation and build the shot.
I try to create light that could be a real-life scenario. So I use cross-light, like Rembrandt did, which is a simulation of what could be a true environment. I can simulate sunlight with one big light source. I can do a three-light approach with two edge lights and one overhead light, like if I had two windows to each side of me and a little bit of fill in the middle. That’s a pretty rare scenario, but it’s true. It can happen. I actually like to do that three-light approach because it builds depth and it looks a bit gritty.
I use my light to create a certain feel. It is a representation of what could be real and true, but it’s really about creating the mood.
How do you coax your subject to deliver the shot you’re looking for?
Personality plays a role in how I approach my subjects. Some photographers are animated, coaxing their subject to crack up and smile and do all sorts of crazy things. Others will walk over and move the subject’s arm, their chin, their hand. My personality is to watch the subject as I ask them to try different things. Suddenly they’ll do something and I’ll say, “Oh! Can you do that again?”
I’ll give an example. There’s a shot I took of the rapper Mustafa. He’s got his shirt off underneath a leather coat, he’s in a tunnel, and he’s right in your face. The light’s perfect on his face and his hands and he’s coming right at you. He was actually a bit reserved when he came in. As we started to work, he was standing there, and it wasn’t really working. As I watched him, he started pulling on the jacket. I said, “That’s cool, what if you spun and held your jacket out like that?” He did, and that’s our shot. I had no idea that’s where we were going to end up. But because I saw him tugging on the jacket while I was moving lights, I thought it might be a cool shot.
That’s how the process works for me. I don’t overscript or overthink it. I let everything take its course.
Within this commercial realm, do you have a favorite type of shoot you like to do?
Sports figures make unbelievable subjects because they’re superheroes. They make great subjects. But I also like photographing real people. I love faces. I love personalities. I love characters.
For example, I met a guy named Steve Stevens in New Orleans. He’s got these really cool sunglasses on and he’s kind of looking off to the side with New Orleans in the background. He was my ride from the airport to the college where I was speaking. While he was driving, I was thinking, “This guy is perfect!” So I asked if I could bring him in to do a portrait during my demo. I end up getting this great shot and everyone thinks I cast this guy from hundreds of people. But it’s an everyday person. I just make them look larger than life.
Could you tell us a bit about a shoot that’s most memorable to you to date?
Before digital, I was doing commercial ad work and some corporate work and shooting with a large-format, 4×5 camera and sheet film. Very slow and very meticulous. A large power utilities company was doing an annual report and I was called in to the creative pow-wow meeting with the CEO, art director, and everybody. They wanted to do something different that year, so I pitched the idea of doing a series of portraits of the customers—the end users of electricity—in black-and-white large format. I knew I was really pushing it, but they let me put some samples together and come back. And they ended up going for it. I went to 24 countries with that 4×5 camera. China, Brazil, Argentina, Kazakhstan. It was just heaven.
We can really hear the joy and passion in your voice, and you obviously have a lot of fun doing this. Do you have any challenges?
Generally, as human beings, we tend to want to follow, not lead. If someone paves the way for us, we’ll follow that path. The hardest thing for me, and I think for most people, is that we get inspired by others’ work and we think we want to be someone else. We want to be that photographer, we want to follow their lead. The problem is if you follow others, you always blend with the masses. But if you follow your uniqueness and stick with what you do best, you’ll stand out.
It’s scary to hang your hat on something that’s just you. It opens the door to criticism, and nobody likes to be criticized. So we avoid criticism at all costs, and we follow others. The hardest thing for me is to stay true to who I am. Yes, we need to be inspired by others, but every day I have to wake up and be Joel Grimes, not somebody else. When I teach, I always tell people, “Be yourself.” You’re unique. One of a kind. There’s no one on the planet just like you. And when you work from your uniqueness, you’ll rock the world.
What do you love most about being an illusionist?
Taking something that is everyday and adding excitement. For the most part we tend to go to work, get a coffee, go to our desk, do our task, go home. We want to experience something that’s outside the everyday mundane. My job as a photographer—as an artist—is to create things that take people out of the everyday and submerge them in something that’s a bit of a fantasy.
Being an illusionist is really being an artist and honing that craft to a point where people believe it. They believe that girl is that beautiful. That guy is that strong. They look amazing. Larger than life. Lighting and Photoshop play into that formula. Some people say that’s not right, but every photograph is a manipulation because you choose the lens, you choose when to take the picture—when to create that moment. Everything’s a representation of reality. It’s my job as an artist to take that representation and make it even more fantastic. That’s fun. To me, that’s part of being an artist.
Could you talk about how you refine the illusion in post-process?
It’s part of the creative process. You take the picture and then you have to finish creating it. Some people think Photoshop is cheating. But as an artist, it doesn’t matter how much I create in camera or in Photoshop. In the end, when I present that image, does it work? Is it a reflection of my artistic vision? That’s what’s most important.
So I blend the two together. I solve some problems in Photoshop that I couldn’t do in camera, using blending modes, working on multiple layers, masking, all that. When I’m teaching, some people say, you know, if you lift your left leg and put your finger on the Alt key, there’s a shortcut. And I say, okay, but right now that’s not important. What’s important is I’m getting to where I need to to be.
Over time I’ll learn that working with smart objects is a better way to work than not. And adjustment layers are less destructive. I learn all those little things as I go. There are people who can run circles around me in Photoshop, but in the end, people really like the end result I achieve.
Any favorite tools in Photoshop?
One of the things I teach a lot is to work from a RAW image, bring it into the RAW converter, manipulate it there, and then open it as a smart object in Photoshop. This way, when the image comes over, it’s still tied to RAW. That gives me very little destruction.
The problem most people face when they start in Photoshop is they destroy their image. There’s a thousand ways to destroy your image, lose bit depth, lose pixels, lose tones, detail, all that. The number-one rule: minimize destruction. Smart objects and adjustment layers are the single two most important things to have in your workflow to minimize destruction.
Any advice for those looking to get into creative photography?
To be an artist, you have to put your neck on a chopping block. It’s impossible to survive as an artist in this industry if you can’t overcome rejection. The biggest thing that keeps us from moving forward is fear of rejection. You may get lots of praises, but you’re not always going to get a good critique. And a negative critique is like a knife stabbing you in the back, with an added twist. It hits right in your heart.
As human beings, we don’t like to be criticized. It hurts. And it keeps us from moving forward and taking risks. But you can’t let one person steal your dream. That person may not have any authority whatsoever in truly understanding what you’re doing, but it still derails you as an artist.
It’s like country western versus rap. If you’re a country western singer and you present your demo to a rap record-label company, they’re going to wonder what the heck you’re doing there. They’re going to boot you out the back door as quickly as they can, right? And you feel rejected.
But were you really rejected? No, because you gave them something they don’t have any interest in. As artists, we present our work to people who sometimes have no interest in what we’re doing. And when they say they aren’t interested, we take it personally. It’s like selling country western to a rap label.
Criticism will come. It’s guaranteed! Don’t take it personally.
Anything we didn’t ask that you’d like us to know?
Hard work will outperform talent any day of the week. Put in more hours than the person you’re competing against. Practice, practice, practice, and great things will follow.
Find Joel online:
SmugMug was born and bred by photography lovers, but this doesn’t mean that SmugMug can’t be great for everyone. SmugMug is an awesome place for people from all walks of life, and we feel strongly about photography being an essential part of your life — no matter what you do.
So what’s the benefit of a photo website for people who don’t “do” photography? Easy! A beautiful and safe place online to keep everything that’s important to you. Whether you’re a mom, a student, a lawyer, a small business owner or a chef, your photos (and videos) are how you get your message across to other people.
If you or someone you know didn’t think you were pro enough for SmugMug, here’s a list of reasons why we think we’d still be a perfect fit.
1) You can show off big, beautiful photos.
From XS thumbnails to edge-to-edge huge, SmugMug is based on huge, gorgeous photos that show off every pixel of what you do. Even if you’re not a photographer, big pics have a place: as a background image on your homepage or in a sample gallery that shows off your cooking, your offices, your portfolio of what you do best. No matter what your profession or what you love to do, we’re pretty sure that it’ll look great in pictures.
2) Build completely custom pages for anything you want.
Custom web pages let you create anything you dream up on your new site: price sheets, About Me, directions to your storefront or anything else you want your visitors to know about you. Fun facts? Easy! Lists of your favorite vendors? It’s a snap. Here’s a little tutorial that shows you how to do this via our easy drag-and-drop design, so you can build any page you can imagine.
3) Automatically get easy-to-read URLs.
In addition to being able to grab your own custom domain, you can make sure any page on your website has an easy-to-read link. We call them NiceNames: easy, readable, search-engine-friendly URLs that make it drop dead simple to tell someone where to find your website, even if you’re not at your computer. Pssst: they look great on business cards!
- Example: http://www.macaskillphotography.com/Newborn/Diego-4-Months/
4) Tie together every page with your brand.
Whether you’re the head of an internationally-reknowned restaurant or you just love the colors blue and green, your website should reflect your brand. SmugMug gives you dozens of one-click themes to match virtually any mood, and the ability to create your own if you don’t find what you love in the list. And if you’ve already got a logo designed for you, set it across all of your galleries and pages so your visitors know that you’ve got your act together.
5) Never have to worry again about site stability & bandwidth.
Once you’ve done all the work of building your new website, the last thing you need is for it to max out when too many people visit! Not at SmugMug – we’ve always offered unlimited bandwidth and traffic because we believe that photos are meant to be shared. We’re backed by Amazon and use the most cutting-edge technology to be sure that your pages load blazingly fast, no matter where you or your viewers are. Want proof? Our site status page is always open to you: http://status.smugmug.com
6) Complete flexibility in how to structure your site.
You can create whatever kind of site you want, from simple to complex to deep. SmugMug’s flexible organization lets you nest folders inside folders up to 7 levels deep, meaning you can organize your photos, videos and pages in a million different ways. And you can create as many folders as you wish, with more folders or galleries inside each to make the nested hierarchy of your dreams. Perfect for perfectly organized family history, your children’s lifetime in photos or anything else you do. Best of all, you can easily manage them with a clean, beautiful drag-and-drop site-wide organizer.
So what do you think? If you’ve got a website for a non-photography lifestyle or business, we’d love to see it! And if you’re still not yet sold, check the sites above to get inspiration and see what you can build.
- The full list of SmugMug’s great features
- SmugMug’s 9 gorgeous display sizes
- Set a full-screen slideshow on your homepage
- Use drag and drop to create webpages
- Get your own domain at SmugMug
- Easy, custom URLs that Google loves
- How to put your brand on your SmugMug website
- 9 examples of beautifully branded websites
- The OCD dream: Folders inside folders inside folders
- The site-wide, drag-and-drop Organizer
- How to get that shoebox of photos online
Today marks the release of our first installment of SmugMug Films with a spotlight on creative portrait photographer Benjamin Von Wong. Watch it now and subscribe to get first access to future episodes:
Two years ago, Montreal/Toronto-based photographer Benjamin Wong was a mining engineer who took pictures on the side. In 2012, he quit his engineering career and threw himself into photography full time. He’s now an award-winning photographer admired for his “epic, surreal, fantasy storytelling.” Today with the official launch of Ben’s spotlight in SmugMug Films, he’s shared more details about himself, his background, and exactly how he crafted those exquisite angel wings.
1. How did you get your start in photography?
I had a job at a mine in Nevada (USA) when my girlfriend at the time broke up with me. I figured if I didn’t find a hobby, I’d go crazy. The idea to take pictures of the stars came to me, so I went to Walmart and bought my first point-and-shoot camera. I didn’t do very well, so the next chance I had, I drove to the next city over and bought my first DSLR.
I brought that camera around to everything. But the first time I got paid to shoot an event was a very significant part of my mentality shift.
Another photographer asked whether I would be interested in shooting an event for pharmaceutical students. It was $250 for five hours of shooting. At the time, I wasn’t actually geared up for shooting events. I had an 18-200. I borrowed a flash from a friend. I basically had a flash, a slow zoom lens, and a model clause to make myself look more professional.
At the end of the day, what was special about this event was my realization that I could earn money doing what I love. And that’s when I really got into it. I bought a bunch of new equipment. Got business cards made right away.
Shooting events was fun, but it wasn’t a passion, so I quit the events business and launched myself into creative portraiture. My creative portraiture grew, and I started the Von Wong brand in 2010. The next biggest transition was when I quit my day job. I woke up one morning and said I know I’m not going to do engineering for the rest of my life. So in 2012, I quit. Having the financial support of my mining engineering career helped me make that leap.
2. How has your photography changed since you first started?
Shortly after I picked up my first camera, I started a 365 project and planned to take a picture a day for an entire year. But instead of doing self-portraits, I wanted to take portraits of other people. The motivation behind the project was to grow and learn, but I soon realized I didn’t have time. I was working 10 hours a day at my engineering job. Every day I’d get up, go to work, spend the day thinking about a concept, get home, set up my lights, eat, shoot the concept, edit it, and post it. I’d be up until 2 or 3 in the morning, then I’d have to go to work the next day. It was exhausting. I set a milestone for myself of 100 days, and when I hit it, I shifted gears toward doing larger productions. I started putting more emphasis into cool locations and people, and making each shoot really count.
3. How do you choose your locations and find help for these large productions?
I travel for people, not places. I stay on people’s sofas and do what they do, so I connect with the people.
And I pull together resources significantly from social media. As I’ve invested in meeting my fans and giving back to them, that’s grown into a powerhouse in the sense that I can go to any country in the world, say, “Hey guys, I’m in town, let’s hang out,” and most of the time someone replies.
I usually go to a place with a certain intention or starting point, and it grows. I have a spark of inspiration—location, a model, a cool studio, a performer — there’s always one single point around which everything ignites and from that point forward, everything else needs to be found. Someone knows some place who knows something. It’s about staying open to possibilities and opportunities.
The fallen angel shoot I did with you guys is a great example of this. I was actually looking for an opportunity to go on vacation, and Kelly Zak had reached out to me through Facebook for a critique — and we ended up chatting about shoot ideas. I said I’ve always wanted to create a fallen angel, and she said, “If you come to Florida, there’s fallen angels for you!” I figured I better get on a flight.
Right before Florida, I’d been traveling around a lot. Kelly was caught up with school work. So when I landed, we didn’t have much planned, so we went scouting right away. The first place she drove me to was this amazing, magical-looking forest. Which is funny because for the Floridians it’s probably the most common tree they have, a Spanish oak tree, I think. For me, it was so magical.
Given the beauty of the location, I thought, “Why don’t we increase the concept?” Have two fallen angels, and a bunch of mystical creatures. One thing led to another, and Kelly started enlisting classmates in the film school. We had costume designers, makeup artists. I started asking fans through social media if they’d like to be a part of it. And the whole thing took off from there.
We pulled this entire shoot together in about eight days. We had a good time, and we basically became a family for about a week.
4. How did you make those fantastic wings in so short a time?
The wings were made out of a type of plastic you use for packaging. We just cut it up and layered it. The broken wings were filed down using razor blades. Then we took charcoal and blackened the edges, each wing tip individually. The whole thing was put together using hot glue. Kelly did the research, looking up cosplay tutorials on how people would strap on wings. Since I wanted the angels to be topless, this meant they couldn’t wear a harness or anything. So they had to come up with a creative solution, which ended up being clear bra straps.
5. What are some of your best in-front-of-the-lens tips for special effects?
Birthday sparklers for light trails. Flour for snow. Smoke bombs for portable smoke. Cloth/Vaseline on the lens to create foreground texture in your image. Water guns for portable rain. That’s all I can think of off the top of my head!
6. You attribute a lot of your success to having a great social network and being able to find what you need within it. How were you able to build such a vast network?
Slowly but surely. That’s really what I did. There’s no big success trick other than continuously uploading content.
Before I was doing behind-the-scenes blog posts, I was posting a new photo every day while I had my day job. Day after day of putting out new content. And my shoots are extremely social in the sense that people like to hang out and be a part of them. So at the end of the day, I would always tag all the people who got involved, which helped disseminate information. Then add on the behind-the-scenes videos and that’s ongoing social-media exposure. After I quit my job and traveled for a couple months, I started building my international exposure, which allowed me to start feeding my blog. Every week I would put out a new blog post. Lots and lots of work. I started doing workshops and speaking engagements. Any time somebody asked to do an interview, I would do it. Really just nonstop trying to build this network.
There was no massive unannounced peak—no surprise where it felt like okay, I’ve made it, and it started snowballing. It’s always been very consistent growth. And the minute I stop posting, the minute I stop sharing, then everything stops.
7. What social channels have been the most successful for you?
Facebook, hands down. I use Twitter. YouTube is the best for videos. I’ve used Flickr. I’ve used all of those, but I don’t think anything’s really come out of those channels. It’s really been Facebook for me.
8. You are very involved with all aspects of your shoots. How do you find time to do all the social outreach as well?
I think people overestimate the amount of time I spend on the computer editing. I think I spend on average only ten to twenty hours of editing a week. A bulk of the effort that’s allocated to a shoot really takes place in the preproduction, production and social aspects of it. The actual shoot and postproduction becomes just a single step on the way.I work so much through collaborations, and I came to the conclusion that if I wasn’t going to be making a video, if I wasn’t going to be making a blog post, then I wouldn’t be giving back what people were giving to me. If I wanted people to look at that work and broaden its reach, it was worth it to do big, elaborate projects but fewer of them as opposed to many small projects that wouldn’t have all that extra media support. A lot of effort goes into making an interesting blog post or following up with the creative content.
9. Has the social reach of your shoots ever surprised you?
Yes, a shoot that I did last year. In September, my agent, Suzy Johnston + Associates, received an e-mail from a woman who was terminally ill, asking if there was any possibility of getting a photoshoot and if I’d be able to photograph her in a way that made her feel beautiful and healthy.
I was leaving in a few weeks to go to Seattle for creativeLive, and she was on a time clock because with each passing week she was getting weaker and more frail. We had to make it work quickly. I gave her a call the next day, and in about 10 days we got makeup, hair, and location together. It was her first photoshoot ever.
Afterward, I wrote a blog post about it. I really wrote it more for her than for anybody else. I wanted to create a nice little memory for her. The Internet picked it up, and it became one of my more popular posts of the year, which was, for me, a very big surprise.
Through this experience, what really struck me was that I could not only inspire, and teach about the process, but on top of that, I could create images that matter, that can touch people. These images were created to bring my fan’s dreams to life, but I felt so alive, too. Doing something that matters makes all the difference. That’s something I would like to incorporate more in my work this year.
10. Have you ever been stumped for inspiration?
It happens to me just as much as it happens to anyone. You can’t always be inspired. You have to keep growing and putting things together even when not inspired, so make plans and follow through with them. Do I always feel inspired? No, but setting the wheels in motion and filling the time when nothing is happening, that’s important. Give yourself something to do.
11. What advice would you give to a photographer who was just getting started?
In the artistic and creative world, the biggest thing you have to fear is yourself. If you stop feeling inspired or you stop feeling motivated to do whatever it is you’ve decided to do, then you’re going to lose ground, you’re going to lose traction. No matter how great your business plan is, if you don’t want to do it anymore, everything will come crashing down.
My relative success has been a combination of the journey, the sharing, the inspiration, and the work, but not any one thing would have made it go as far as it has. You really have to make sure you love what you do. No one wants “mediocre.” They don’t want a Jack of all trades. They want “special.” They want the “best” at one single thing. And the only way you can be the best is to love what you do.
You only have one life. Make the most of it.
Find Ben online:
With the holiday season right around the corner, you’re likely starting to make your gift giving lists. There are many great ways to create gifts from your photos, including making beautiful photo books with them; yearbooks, cookbooks, daily planners, portfolio books, history books: there’s a book for every story that you want to share. Our friends at Blurb.com have shared their best tips for building books and we are delighted to feature them here.
Here at Blurb, we truly believe in the joy of books—reading them, making them, sharing them, and selling them.
But making a book—particularly a photography book—can be daunting. The good news is, it doesn’t have to be. Here are a few things to think about when making a book of your photos. We think the best tool to use is our free program, BookSmart, but the tips below apply no matter what tool you use to make your book.
Before you start your book, there are four really important things to consider:
1) Start with a great body of content. There is no substitute for quality content, whether it’s photos, illustrations, text or whatever.
2) Editing is an art form. When it comes to editing, the old cliché holds true: “Less is more.”
3) Sequencing can decide whether your book sails or fails. Sequencing is simply determining the order of your content, start to finish, front to back. Start strong, end strong, and remember, your cover image can make it or break it.
4) Go look at books. If you want to create a great photography book you MUST look at great photography books. Think about fonts, sizes, colors—decide what feels right for you and for your project.
Part One: Be prepared
Get organized. Decide what images you are going to use in your book, name them so you can identify them easily, and do your editing before you make your book!
Color is important. Make no mistake: treat your images with respect, and prep them for print. Color management is important, and Blurb provides a wonderful tutorial section here.
If your book has text content—even if it’s just a collection of captions—create a single document with everything in it, sequenced in order of placement in your book.
Part Two: Make your book
The cover can wait. Design the rest of the book before completing the cover. When you’re ready, design three or four different covers and live with them for a bit before making a final decision.
Take a deep breath. Let the beginning of the book (or “front matter”) breathe. Title pages, half title pages, dedications, essays—all of these things can all help ease a reader into the project.
Consistency is your friend. Be consistent with your templates. Try not to use more than two different templates for an entire book. BookSmart has lots of templates to choose from and you can always make your own.
Take another deep breath. Let the end of the book (or “back matter”) breathe. Your book is a journey, so make sure you give the reader a chance to ease out of the project. Elements like an index, dedications, or a closing essay let you provide critical information and end the book definitively.
Justify your choices. When your book is “done,” preview the book page-by-page. Does every element belong? Does it add to the story or is it a distraction?
Part Three: Publish. Celebrate. Repeat.
Check your spelling. Run spell check. We’ll repeat that: Run spell check.
Order up. When the book is complete, edited, sequenced and ready to go, sign in to Blurb and upload your book.
Share it, sell it. After the book has finished uploading, you can add information such as tags, titles, and a brief description. Blurb gives you a Personal Storefront that you can share on your social networks. If you want to sell your book in the Blurb Bookstore, it’s easy to do so. And you get to keep 100% of the markup.
Have fun. Above all else, making a book should be an enjoyable experience. So enjoy it. And get started on another book soon. Like anything, you’ll get better with practice.
SmugMug account owners can build beautiful Blurb photo books from the Add to Cart menu in each gallery on their site. (more info)
The best camera is the one you always have with you… but that doesn’t mean you should just point, shoot, and hope for the best.
In our next webinar, we’ll talk about the explosion of this little thing called mobile photography and how to leverage that more-powerful-than-you-think camera phone. More than just a convenient device in your pocket, your smartphone is a valuable marketing tool that most pros simply overlook.
New Webinar! Mobile Photography with Angie Garbot
This month, we’re talking with full-time Chicago photographer and instructor Angela Garbot, whose professional work spans a variety of subjects from beautiful brides to culinary delights. She was recently featured on CNN.com for being one of the few wedding photographers who work with the ubiquitous camera phone, rather than against it. Because of her insights, we’ve asked her to show us why the versatility and portability of your camera phone is the best thing to happen to the photography industry, how to shoot winning camera phone pics, and how you can harness the power of mobile photography to boost your business.
Wednesday, July 24, 2013
8:00 PM ET, 7:00 PM CT, 6:00 PM MT and 5:00 PM PT
Register for this event!
We’ve all got smartphones in our pockets, using them to snap and share on the go. But are you happy with what you’re getting? Do you actually think before sharing those with your friends and fans? If you’re like most of us, you probably answered “No.” But mobile photography is no excuse to take a bad photo! And if you’re a pro, you could be missing out on a vital piece of your business’ marketing plan.
In this webinar we’ll show you how to maximize your built-in camera app functions, introduce you to some powerful editing apps and then discuss how to use social media and your smartphone images to enhance your business. We’ll talk about some do’s and don’t’s in sharing, the importance of hash tagging, ways to engage your clients using your smartphone images, and tips for live-tweeting with images.
See you there!
All photos by Angela Garbot Photography
Have you gone out shooting on a great photo-adventure and wondered what else you could be doing to get more sales? In the same vein as our other amazingly astute guest post, our friend Varina Patel has offered us more great info about how to mix business and landscape photography. Here’s what she says about keeping the customer at the forefront of your mind the next time you’re outdoors capturing something beautiful.
You never know what a buyer will want – and each buyer is different. But, over the past several years, we’ve learned a few things about maximizing the potential of our portfolios. Here are a few tips for making sales.
1. Horizontal and Vertical Shots
When we are in the field, we usually find that a composition works best in either horizontal or vertical orientation. But in most cases, after capturing the most visually appealing image, we will work to find another shot that works with the camera turned 90 degrees. Why? Because sometimes the buyer needs an image that works in a particular orientation. Is he looking for a collection of calendar images? He’s probably going to need horizontal images. Is she looking for photos for a magazine? She’ll need a vertical shot to grace the cover.
Since you never know who might want to purchase your images in the future, you can’t know which orientation will work best for their needs. Shoot in both orientations, and you’ll be ready no matter what they ask for.
2. Local images
Not too long ago, Jay sold this shot of Cedar Falls (titled The Looking Glass) as part of a collection of fine art images. He has many shots of waterfalls, and this is not one of his favorites. The image lacks the vibrant colors or grand vistas that you typically find in Jay’s more popular landscape photographs. When the client asked about waterfalls, his first instinct was to send them samples of the most popular waterfall images in his portfolio. One of the first shots he sent was Arizona Dreaming… this brilliantly colorful “icon shot” from Havasu Falls in Arizona.
But, the client passed on all those brilliant color and famous locations. Instead, she chose the quieter image… one that he had never sold before. He was curious about her choice, and he asked her about it. The answer was simple – she wanted images of local places… no matter how ordinary they looked in comparison with those famous iconic locations.
When you approach a potential buyer, make sure you have plenty of local images. Colorful photographs capture the eye of the viewer – but familiar places capture their hearts.
When you present your images for sale, consider using gallery features that allow you to group your images into categories based upon similarities. For example, I have a gallery that is dedicated only to black and white images, and another that is just for mountains. You can set up a gallery for images with a dominant blue color theme, or for photographs from a specific location. Your options are wide open.
SmugMug’s Smart Galleries feature lets you use keywords to create collections, so that potential buyers view images with shared characteristics. When a buyer wants more than one image, they often have a theme in mind. One buyer asked me for 30 detail shots that she could sell as a wallpaper collection. Another wanted several waterfall photographs for decorating a newly opened hospital. In Cleveland, a buyer wanted images of local parks and iconic locations for the walls in an office building.
As you build your portfolio, keep an eye out for images that work well together, and be sure to present them as potential groupings.
4. Big Prints
Would you be surprised if I told you that giclée canvas prints are some of our biggest sellers? There’s just nothing like a really BIG print that makes a statement or ties a room together. In most cases, I don’t get to see a print after it’s hung, so it was a real treat to be able to see this one in its place of honor over the fireplace. This canvas print is hanging in a beautifully decorated home near Atlanta, GA. The colors in the room were actually chosen to match the print – the entire room is coordinated to match the colors in the photograph. I wish I could give you a tour of the whole house – which is a work of art itself.
Canvas prints are more expensive – especially really big ones… but most people hang them without a frame, since they stand alone so well. They avoid the expense of matting and framing, making the price much easier to swallow.
Offer your prints for sale on canvas at the largest size available. A photo printed at that size packs a whole lot of punch!
Learn More about Photography from Jay and Varina Patel
If you’re looking for more inspiration, photography tips, education and webinar workshops, visit Jay and Varina’s blog over at Photography by Varina. And use this exclusive discount code to get 10% off any eBook order over $20: SMUGMUG314
With this, we hope that you summertime explorers are inspired to take different shots with a new perspective. Stay safe, and stay tuned for more great tips from our pro friends!
The Model: Fashioning a Niche in Celebrity Portraiture and Beauty
Name: Matthew Jordan Smith
Company: Matthew Jordan Smith Photography
Location: Los Angeles
Market: Fashion/Celebrity Photographer
Bragworthy Factoid: Having a client list that reads like a People magazine table of contents (Oprah Winfrey much?)
SmugMugger Since: 2011
- Publishing his first book, Sepia Dreams: A Celebration of African-American Achievement Through Words and Images
- Appearing as a guest photographer and judge on the hit TV show, “America’s Next Top Model”
- Teaching at Manhattan’s prestigious School of Visual Arts and the Santa Fe Photographic Workshops
- Portfolio display
- Safe, secure archiving
- Full-res back-ups
- Privacy, links and secure passwords for each client
All photos by Matthew Jordan Smith Photography
A Beautiful Beginning
Scanning Matthew Jordan Smith’s subject roster, which includes such luminaries as Halle Berry, Jennifer Connelly, Michael Jordan, Vanessa Williams and Jamie Foxx, the last word you would ever apply to this explosive talent is humble. Nevertheless, the high-profile fashion and celebrity photographer traces his success to a simple yet formative beginning: an involved father and a basic camera. “My father taught me how to process film. It was a hobby until I read a book by [photographer] Gordon Parks,” he says. “That was the first time I saw a photographer making a living. From then on, I wanted to be a photographer.”
Want a Unique Look? Cultivate a Vision
Smith, whose specialties are magazine editorial and beauty advertising, attributes his success in part to knowing who he is and where he comes from—to cultivating his own vision. “Whoever we are, it has a big impact on our work,” he says. “What pulled me into fashion and beauty was that it was one of the few industries where I could tell my story. You see that in my images.” Smith says having a clear vision of what you want to communicate with your work is key to developing a unique style. “Everybody can become a photographer,” he insists. “It’s more important to work on your vision. You can take a great picture on an iPhone and have no idea how you did it—the camera does everything for you. But once your vision is clearly defined, people will come to you for that.”
How SmugMug Helps
Smith’s focus is laser-guided when it comes to getting the most out of SmugMug. “My site is very clean,” he says. “I can make changes easily. It loads fast, so clients can see what they want and jump off — I love that about it.” Smith says the compliments he gets on his site design “changed everything,” increasing interest in his work. His other favorites? Secure archiving, privacy and display options. “All hard drives eventually fail,” he cautions. “Backing up is every photographer’s nightmare. Storing my work on SmugMug is a big plus for me — I can’t express how important that is.” Finally, Smith enjoys the ease SmugMug’s gallery features have added to his routine. “Once the images are up, I send the client a link to SmugMug – it’s a vital part of interacting with the client and keeping everyone in the loop,” he says. Often, his client is an advertising agency that turns around and sends the link to their client. Maintaining privacy and controlling feedback and versioning is critical.
Getting Behind the Beauty
Smith is an expert on working with models . Before shooting a subject, whether celebrity or CEO, Smith researches her extensively—and not all the research takes place alone at a computer. “A lot of the digging happens in hair and makeup. Find out what books they’ve read, movies they’ve seen—ask about them as a person. Get to know them before they get in front of a camera so you can pull out that knowledge later,” he advises, pointing out that this type of casual data collection also makes models more comfortable with you once the lighting goes up.
Don’t Just Talk; Get Visual
Smith is a big proponent of using visual aids to communicate a concept to models and clients alike. “Give them something they can hear, see, touch,” he advises. “Then they become part of that idea. They’re all looking for direction and it’s your job to give it.” Smith cites a shoot based on the film From Here to Eternity, in which he showed models sketches and storyboarding of movie scenes while describing the mood he sought (“romantic” and “musical”). The models in question hadn’t seen the film, but, with props, he was able to bring alive the iconic image of Burt Lancaster and Deborah Kerr kissing in the crashing waves. Another time, he guided actress-singer Vanessa Williams through a successful shoot by pulling her aside mid-shoot and showing her a tear sheet of the look he wanted, which she was then able to replicate. “It’s not enough to just tell someone your idea,” he says. “Always show some them something tangible.”
Think the models in those fashion spreads are gorgeous? Of course you do, but it’s no secret that the standard of beauty has done much to change the way we talk about self-image. As photographers, we walk the line between capturing life’s moments and creating something beyond reality. Successful photos grab the eye, usually because we see something that we think is physically impossible. But with actual people as the subject, that line becomes harder to see and we get fooled into thinking we all need to look that good right out of the box.
Australian photographer Stephan Bollinger’s “Models Are Made” video pulled at our heartstrings, and we loved that he took such an important matter into his own hands. As a master portrait photographer and a father of two little girls, we knew that he had great perspective and the power to shed some light on both sides of the matter. How exactly are models made? We asked, and here’s what he said. Scroll down to watch the video that inspired us all.
Photos by Stephan Bollinger Photography
At several points in my life, I was confronted with people suffering from depression, eating disorders, and suicide. In late teenage years, I became close friends with a young woman, who was bulimic. She was an expert in hiding her problems, and for over 6 month, I was under the impression she was one of the happiest people alive. Another friend of mine was under the exact same impression, until his girlfriend committed suicide, and his “perfect world” fell apart overnight. She was a young, beautiful and energetic young woman, with a dark secret: depression.
We love to forget about such issues, because they are hard to understand, and we feel helpless. Not talking about it doesn’t make them go away, unfortunately. Of course – most of them are not related to photography or advertising, but some are.
While shooting a fashion series in Singapore, one of the models looked so thin and unhealthy, I was afraid she would faint any minute. As a result, I refused to work with her. About a week later back at my studio in Australia, I talked about the incident with a group of young models, and one of them told us about her friend, who nearly died from eating disorders and required intensive hospital care.
Without a doubt, advertising and fashion stories have had their influence for a long time in creating a false and negative body image for some women, resulting in eating disorders and depression. As a photographer producing such images, I am guilty as charged.
At the same time, I love creating such images, I love the fashion industry, I love highly styled editorials and advertising campaigns.
I often feel as if I wear three pairs of shoes at once, those of a producer (who works with clients, to produce flawless images for their advertising campaign or magazine editorials), those of a photographer (who works closely with models of all ages), and those of a father (who wants to protect, teach and inform his own two young daughters).
The question I ask myself: Is the problem the polished images many young women compare themselves with, or is the problem that many don’t understand how these images were produced. If they would see the models in real life, would they still feel the same way? The term “photoshopped” has turned into a bad term for “creating fakes”, but there is so much more to high-end glossy pictures.
There are initiatives for “positive body image” out there, mostly done by activist groups. The problem with such initiatives is that they blame Photoshop and retouching for everything, and demand change in newspapers and magazines. I don’t believe that such “negative” approach and the demand for change reaches those who need to be informed and educated: the young women. If effective and believable, this should be done by those “guilty,” those actively working in the industry, those with a positive outlook, those who want to educate, not complain.” That means us, photographers.
“Models are made” as a concept is the summary of all the above.
In a perfect world, I would have loved to take a few months off of work and hold presentations at high-schools around the country. But as much as I tried, I could not find any organisation or company who was a) interested in the subject or b) helping with funding such an endeavour.
I produced the short 4 minutes instead, illustrating what really goes into the production of a high-gloss beauty or fashion image. It’s not just retouching, it’s a combination of many factors, from naturally beautiful people to a group of creatives who produce the final product.
My goal is to educate, not change, and to deliver a positive message.
Stay creative, stay inspired and stay strong!