Feb
09
2010

Ad Agency Guide To Photography Usage Terms

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

By Jerry Avenaim | Posted in Photography Talk and Discussion | Tagged , , , , | Comments (0)
Feb
02
2010

A Photographers Portfolio

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

By Jerry Avenaim | Posted in Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction, The Models Corner | Tagged , , , , , | Comments (0)
Jan
28
2010

Color Management in Digital Photography

Fashion Photographer 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

By Jerry Avenaim | Posted in Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction, Uncategorized | Tagged , , , , , , , | Comments (1)
Jan
21
2010

Photographers United in Support of Haiti

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

By Jerry Avenaim | Posted in Photography Talk and Discussion | Tagged , , , | Comments (1)
Jan
19
2010

Photography with Intent

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.

Fashion Photography using Kodak FilmI’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

By Jerry Avenaim | Posted in Fashion photographers and assignments, Photography Talk and Discussion, Photography Workshops and Private Instruction | Comments (8)
Jan
12
2010

The Importance of Repeatable Photography

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)

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

By Jeff Berlin | Posted in Fashion photographers and assignments, Photography Talk and Discussion, Photography Tips and Tricks | Tagged , , , , , | Comments (16)
Jan
04
2010

Photography and the Art of Discipline

fashion photographers

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.

fashion photography

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.

los angeles fashion photographers

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

By Jerry Avenaim | Posted in Fashion photographers and assignments, Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction | Tagged , , , , , , | Comments (22)
Jan
02
2010

A Better way to a Clear Picture!

Photographer Jerry Avenaim

Happy 2010 everyone. I hope you all had a safe and joyous holiday week. I’m not really into regurgitating a press release, but this is just too good to start off the new year!

I’ve been a Brightscreen® customer since the 1980’s – The product is unparalleled to anything of it’s kind. Most film photographers may have used them or are familiar with them, and some I’m sure had them installed on their Mamiya RZ 6×7 or Pentax 6×7 cameras like myself. These screens were and still are lifesavers by increasing your brightness level of up to 3 stops when looking through your cameras viewfinder, allowing greater clarity for much easier focusing.

Many might pose the question; why do I need that? I shoot digital… Well there are many reasons.

I know many photographers that shoot Canon or Nikon with manual focus Zeiss prime lenses, and that increased brightness in the viewfinder helps with pulling focus.

Ever heard me say “cropping is for farmers?” I like to look through my camera and compose my image when shooting it rather then cropping it later. (This will bring me into my next article – “The Art of Discipline in Photography”). This company makes focusing screens that you can swap in and out of your DSLR with “crop marks” for shooting 8×10 or 6×6 aspect ratio.

If you’re shooting an album cover in a square format, are you just guessing where the square crop will land? If you are shooting for a magazine, have you ever had the feet or top of your frame cut off because you weren’t leaving enough space for the 8×10 aspect ratio of the magazine? Well voila!

And by the way, I still shoot medium format film cameras with manual focus lenses and these bright screens allow me to focus!

Lastly, if you are a medium format film shooter and you put a digital back that is not full frame on your camera body, or the camera frame is larger than the sensor (RZ or Fuji et al), they make a bright screen with crop marks in the aspect ratio that matches your digital back to your camera!

So here is some the news from Jim Lakey – Founder of Brightscreen®.

Press Release Date: January 01, 2010

brightscreen for fashion photographers

Nondeteriorating Mirror Cushion™

“Brightscreen® Cleveland, Tennessee USA has announced a new recently patented product “Nondeteriorating Mirror Cushion™” which targets the elimination of the majority of in camera particles in the form of dust or black spots.

Brightscreen® also produces a patent pending product Dust Collector™ which has been installed in all cameras sold or serviced by Brightscreen® as a courtesy free of charge for the past five years. This product helps control and contain camera dust and particles.

An expanded variety of custom camera focusing screens, for most all entry level up to the highest end DSLR cameras, are available now with or without optional Crop Lines®.”

Happy shooting!

Jerry Avenaim

By Jerry Avenaim | Posted in Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction | Tagged , , , , | Comments (3)
Dec
29
2009

My top 5 Photography Articles of 2009

Fashion Photographer and Director Jerry Avenaim

Directing international Commercial for XX by Mexx

As we approach a new year and a new decade, I wanted to take a moment to wish everyone a joyous, healthy and very prosperous future. I look forward to sharing many photography tips, tricks and observations in the new year. In the meantime, here are some of my favorite articles from 2009.

1.) Fellowship in Photography

2.) Photography Lighting – White on White

3.) Fine Art Nude Photography

4.) Celebrity Portrait Photography

5.) Dynamic Lighting on Location

Honorable Mentions:

My Voyage of Self Discovery

Fashion Photography on Life in the Fab Lane

10 Must Read Copyright Articles for Photographers

My Favorite Assignment of 2009?

Photographer, Director and guest judge on Germany’s Next Top Model!

Happy New Year!

Jerry Avenaim

By Jerry Avenaim | Posted in Fashion photographers and assignments, Fashion photography videos - Behind the scenes, Fashion photography videos - How to, Photography Lighting Techniques, Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction, Television Shows | Tagged , , , , , , , , | Comments (1)
Dec
19
2009

Top Lenses for Fashion Photography – My Picks!

Fashion Photography for Flaunt Magazine

24~70 Zoom for Flaunt Magazine

Fashion photography is a unique combination of all types of photography. Fashion often includes portrait photography, environmental photography, product photography, macro photography, and sometimes even landscape photography are all included under the required knowledge umbrella to be successful in fashion photography.

In order to deliver a successful fashion photography shoot, you’re going to need lenses that allow you to capture each of these aspects with artistry and creativity. In a perfect world, we’d have the finances and manpower to haul every available lens to the venue; but in reality, we’re limited to a handful of accessible, high-quality, and versatile lenses.

Here is a list (from my camera bag) of must have lenses for any given fashion or advertising assignment. I’m listing Canon lenses since I primarily shoot with 5D Mark II’s when it comes to my DSLR choice, but each lens listed should have an equivalent for other brand name DSLR producers.

Variable Zoom Lenses
1. 24-70mm f/2.8L USM Zoom Lens
This is my favorite lenses. it’s fast and versatile, it allows for quick shooting and it’s razor sharp. I can use this lens while shooting a portrait and pull out wider with it to include the environment when on location.

2. 70-200mm f/2.8L Zoom Lens
This lens creates a beautiful bokeh (blur) at f2.8, and the compression you get when you’re zoomed in from 150-200mm gives your image a look that’s hard to achieve with any other lens. It also allows you to get in close on the subject without disrupting the moment you are trying to capture.

3. 16-35mm f/2.8L II USM Ultra Wide Angle Zoom Lens
Sometimes the 24-70mm lens just isn’t wide enough to capture everything you want. The ultra wide angle helps you capture your surroundings, such as in reportage on the street or in tight spaces.

Prime Lenses
4. 50mm f1.2 L USM Prime Lens
This is another one of my favorite lenses. It can save the day when the light starts to drop and allow you to bring out the backgrounds. It also, makes you less reliant on your flash, creating a softer, more natural look for your subjects. The 50mm also allows you to create stunning portraits, as the low aperture creates the shallow depth of field that makes your subject pop off the page and softens your subject’s skin.

5. 85mm f1.2L II USM Prime Lens
This is a great lens, but not a necessity if you’re happy with the results from your 70-200mm. The nice thing is it is the perfect portrait lens and carries a fraction of the weight of the aforementioned variable zoom.

6. 100mm f/2.8 Macro USM Lens for Canon SLR Cameras
If your shooting beauty and are not able to back up enough to gain the compression you would with a 200mm here is the solution. With the 100mm Macro, you can capture detailed shots with the same quality and detail as product advertisements in magazines. because t is a macro lens, it is a bit flatter, thus giving you the feel of the 200mm compression. In addition, if you want to come in tight for a detail shot such as the lips or an eye, this is your baby.

What are your favorite lenses?

Jerry Avenaim

By Jerry Avenaim | Posted in Fashion photographers and assignments, Photography Talk and Discussion, Photography Tips and Tricks, Photography Workshops and Private Instruction | Tagged , , , , | Comments (16)
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