Session 4 – Publicity Session for a Singer (Part 1 of 2)

By Gary Bernstein

Shots (4-20) , 4-21 and 4-22

Light Source: 1 small spotlight

Location: Apartment

Camera: 4 and 6 MB Digital Cameras with Zooms (long telephoto)

A pretty young singer had just moved here (to LA) from Philadelphia. So, let’s talk about business for the moment since this tip and all my suggestions (at their highest level) is about transitioning from simply doing snapshots of your friends that are made with cell phones 90% of the time, to making sophisticated marketable images and hopefully making some good money with your camera (or your cell phone for that matter).

The bottom line is that photography is not about cameras and equipment or locations, but rather about delivering images that hopefully sell the client and sell to the client . If the creation of classic imagery and a thrilled client is the driving force behind your photography—the money usually follows. For me, it has always been my single dedication, regardless of whether I am being paid handsomely for the shoot or doing it for free for a friend or charity or as a test—the effort and the passion is always the same. When I am looking though that ground glass—the only thing in the world I care about is making a spectacular image as judged by the client. And I believe that dedication creates an environment where the effort is returned on the other side of the camera as well resulting in better photographs and images that sell.

Back in the day, film was not expendable. It was, in fact, darn expensive especially with processing and printing costs. Digital is inexpensive as you all know. So, I will tell you an abbreviated story (from my forthcoming book of anecdotes about film costs etc.”):

On my “big break” shoot – a fashion layout for Esquire Magazine, I was working with the fashion director who was also the VP of Esquire – Max Evans - on location in Malibu, California (my first time there), and working with the most famous male model of all time, Uva Harden, and a new actress by the name of Victoria Principal (star of the classic show "Dallas" and who is now a cosmetic magnate).

The first shot of this 10 page layout was to be of Uva and Victoria in pink outfits. It was mid-day with direct overhead sun, so I decided to shoot it under the Malibu Pier (bending indirect light into their beautiful faces). I shot about 10 frames on a 35mm roll of Kodachrome (which had a total of about 36 shots on it), and I said to Max “OK – we’ve got it!” He gave me a half angry—half puzzled look and said “What??? Whadayamean “you’ve got it???” I’m used to getting about 10 rolls of film for every page, for every outfit!!!” I repeated sheepishly, “…well, Max, I really do have about 10 good shots of it…”

We got the models into the next outfits; and I shot another 10 shots (thinking "...wow, and I’ve still got about 10 frames left on the roll" and said the same thing to Max.

He looked at me and said “OK, Gary, but if I don’t like these shots, you will never work again in New York City or anywhere else. Do you understand?"

Fortunately, Max liked the shots, and in fact, I ended up shooting the Esquire fashion layouts for about 5 straight years (which put me on the map as they say because my name appeared on all those pages in the magazine)…

Below is that first image I made that day in Malibu:

A Few More Thoughts on the Business of Photography – starting with this: SHOOT A TON OF SHOTS ):

This is how I work: To start with, I don’t have fixed prices.

So, when the client calls, I need to find out what is needed.

Are we shooting in the studio…on location…locally…out of town?

How many images? How many changes?

And most importantly…what will the pictures be used for?

If it is just a portrait, model or actor session, it is in one price range….

If the images are for commercial use—meaning an advertisement, an CD or album or a book cover, or for a TV show or a billboard—the price goes up accordingly (and the usage i.e. the rights to the images is constrained). If it is for international use, the price is even higher. Photo usage is the single most important factor in determining price; and while the elements of time and difficulty are considered, typically nothing trumps usage as the determining factor. The same is true for the modeling industry by the way.

All specifics of the photo-session go into a formal letter/email/contract that specifies every aspect of the shoot. Get it in writing. You can get the forms I use in my Journal (sold here on the Denny website). Get model releases in writing. I have never sold a photograph ever - because I maintain my copyright to the image. Even in the case of major advertising campaigns, I only license images (for a specific use for a specific term) i.e. I do not sell them. I am constantly re-selling my images or creating limited edition sales; and for that—you need ownership, copyright and authorship.

Usually I do three changes in a half day for a P.R. session like this one. This young lady’s mother was here with her, and they asked if we could shoot in their new apartment. As I recall there was very little furniture but enough that we had a few props if needed. I had some Denny backgrounds with me; Denny stands and some extra remnant fabrics...as backgrounds.

I used to deliver proofs by real contact sheets—either hard versions or online (Shot 4-20).

Below are some from this session which shows you a bit of the progression…the subtle changes…

Shot 4-20

Shot 4-21

Shot 4-22

The above series in suede (Shots 4-21 and 4-22) was shot with a single hot spot light placed at eye level to the subject slightly to camera left. To get this kind of movement, I actually restrict the movement to make it a repetitive, very simple dance number with just a step or two. For example, I will tell the model (and actually show the model by demonstrating (yes, it’s true ;)) the movement I want her to make—the timing of the step—and when she should turn, where I want her to look, the lean of her body, etc. The addition of a fan always helps. The rehearsal and repetition provide confidence to someone who is not used to moving like a model, and at the same time it provides consistency in the shots. You end up with a tremendous percentage of usable images.

More to Come.

Go make some money (with your camera, of course)