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

Jerry Avenaim for Diesel

In photography, we the photographers are often asked to shoot on a white seamless background (or a cove). One of the most challenging shots in fashion, advertising, and catalog photography is to photograph a subject wearing white clothing on a white cove with perfect separation.  In images I have seen by others, there is often no separation between the white clothing or material and the white background. Over the years, I have heard so many photographers explain how they are able to achieve this in such a clean manner leaving no spill of light on the clothes or subject.

Some have said they have to be a certain distance from the background so their is no flair or wrap around of light. Rubbish! Some have these complex equations that I think require the photographer to have a doctorate to even comprehend. For instance some believe that if the background meters at F32 and the main light reads F11, and they are 16.5 feet away, they will get the perfect separation. Rubbish!

Advertising Photography for Diesel

Now remember, to keep this consistent, they keep running to the wall to take a meter reading then back the subject to take another meter reading until that formula has been achieved. Okay, well what if you don’t have 16.5 feet or 20 feet or what ever your magic formula thinks it has to be?  Some photographers have a studio, others a garage, the formula works under conditions.  But nobody wants to run back and forth and you are not going to call Home Makeover just so that you can shoot white on white images.

Here is a simple tip to make you life easy, your white background photos consistent and flawless with no wrap, spill or flair of studio strobe lighting.

Light the white background (however you like, preferably with studio strobes). I happen to use two Profoto umbrellas stacked on each side, so you have four lights total facing the white seamless background (or cove). Then light the subject however you prefer. This brings us to the one stop rule. Take a reading of your subject, place the meter under the chin, point it at the camera and pop the flash. Let’s say the light on the face and body reads F11. Simply place the meter on the persons backside now facing the white seamless or cove and pop the flash again. You want the light traveling back to the subject to be no more than one stop less than the previous main reading on the key (front) lights. So therefore in this case, your reading on the face as I said earlier was F11 and the reading on the persons back should read F8 giving you a perfect separation between subject and and background!

Reading one stop under whatever the main light reads is the key to a consistent clean white background image. Even if the subject is wearing white clothes!

Voila, the one stop rule! And no more Rubbish!

To see more samples, visit my main web site here.

Happy shooting!

Jerry Avenaim
This post is for my friend and comrade Gerry Hanan
PS. Yes, ask questions as I’m sure there are some

Fashion Photographer Jerry Avenaim

I was sitting around this evening having to resize enough photographs to make my head spin. One of my resolutions (pardon the pun) was to have my new web site done for 2010. That resolution was last year, think I procrastinate much? I’m sure my 2010 resolutions will include – not to procrastinate.

Well in about 48 hours a temporary new look to the site and maybe even the blog will be up. This is until the livebooks site is ready. When you come back, have a look at avenaim.com and let me know if you like it, if so, maybe I’l just resize the images and use the livebooks site on another one of my domains. See, it’s late and now I’m just rambling

Back to the point, while I was working away, I received an email about these photography schools, speakers lectures and technology et al. You name it I found it, a great resource for anyone looking for some tips and tricks, you can get them here. Except: Whether you want to get inspired to take photos or learn about the history of the field, there are loads of lectures out there that can let you sit back, watch, and expand your photography knowledge. Here are 50 such lectures that will help you learn about photography basics, famous photographers, photojournalism and much more to get your creative juices flowing and help you hone your craft.

Another great resource is the Profoto blog here. I was honored to have been asked to be the first ever entry in that Profoto blog in the form of a Podcast. You can find it on the link above and iTunes

Cheers,

Jerry Avenaim

As I said in part one of this post, my mother-in-law had some issues when receiving her first digital point and shoot, which was simply how do you maximise the potential of your digital camera?  A few simple steps and words of wisdom and like my mother-in-law, you will be well on your way to taking great pictures this holiday season and beyond! So here are the additional tips…

My father photographed his father in the 1960's using Kodachrome in this beautifully composed image.

4.  I love digital, don’t get me wrong, however the “spray and pray” method of photography does not apply.  Hoping to get one good photography out of holding down the shutter for 30 seconds does mean you will have more images to choose from, but nothing that you would want to choose.  It does not require 30 frames to take one good one! If most photographers today were still buying roles of Kodachrome and were limited to the 24 or 36 exposures, I am sure they would be more patient and take better pictures. Take a moment to remember the basic rules, and when the time is right, THEN you press the button, and only once. I can hear you know, but it’s a group and what if somebody blinked yada yada… Okay, no problem in taking a few more WELL THOUGHT OUT images, what good is the option to choose more images of people maybe or maybe not blinking when you have strangers walking into the frame or the sun is now behind a cloud? Holding down the shutter to the point of it sounding like machine gun fire and you are storming the beaches of Normandy on D-Day is NOT a requirement in today’s photographic world, and it will not make your pictures look any better in the shutter lottery.

My daughter Skye in the backyard - in open shade!

5. Let’s forget the sun, the indoor and the flash. A beautiful opportunity to take a well composed photograph is always going to be in open shade. No shadows, flash or any other factors to be concerned with. Just a beautiful even light that spreads across the face. This can be done anywhere from your porch, overhang and doorway. This is something I do even when photographing celebrities and models for a magazine. It’s a trade secret, stay out of the sun

6. This one drives me absolutely crazy! When you look through your viewfinder or at your LCD screen to compose your photograph, compose it in camera. Don’t just think “oh I can crop it later.” Cropping is for farmers! When you start cropping into the real estate of your photographs, they are losing value! When you purchase the new digital camera that has more megapixels than your older camera all cropping your image will do is effectively reduced the resolution (megapixels) of the image to a third or half! In addition, when you start cropping in on an image you are bring out the noise in the digital file, much like grain in film. When you’re done with all the cropping you don’t want your precious photo to look like a connect the dots or shot from a $8 disposable film camera!

I think this is a photo of my mother and her friends in Hawaii. But I can't tell because my attention is drawn to the beautiful tree and beige building

Remember, you can break every one of these rules and get creative if you know what you’re doing. But if not, start here. You will get better photographs, guaranteed. For better or for worse, family members will be handing you the camera for the holidays cause, “you are the one who takes great pictures.” Happy holidays!

Jerry Avenaim

Fashion and Beauty Photography Demonstration

Earlier this year, I was giving a lecture and conducting a live cover photo shoot at Samy’s Camera here in Los Angeles for photographers of all levels. I began the lecture with a statement that was so simple, so earnest, you would expect to hear it from your own mother.  I asked each attendee to look at those sitting to each side of them, to see them not as their competitors but rather as their comrades. If they could see that, they would succeed. How do I know this? Because it’s how I have treated other photographers since I began my photographic journey over 20 years ago. And it was because of those comrades that I met at a cafe in Milan I began shooting for Italian Vogue and other Conde Nast publications. This simple lesson has remained with me over the years and it appears the lesson resonates still.  My friend and former assistant Jason Christopher was in the audience and I later found out that my message resonated with him as he passed it on as well in his blog.

As comrades you help each other and experience far more success than you will failure because you are brothers and sisters in arms. To support and help or guide one another is how we not only survive, but thrive in these difficult times! It is beyond me how many photographers today can’t get along with other photographers for reasons so trivial that I wonder when our mothers are going to shout at us  “Play Nice!”

The photographic industry is as competitive as ever with many trying to break in while others are simply trying to survive. I’ll say it again, change your path and perspective and not only will you survive but you shall thrive.  With the tug of war and popularity contest going on nobody will make any progress.

Explaining the Light

Over 20 years ago when I was breaking into this industry, I had access to and was able to soak in information and experience first hand the work ethic of many established photographers, none more so than the legendary Patrick Demarchelier.  From my years with him I learned everything from loading cameras with film, to how to handle my business, and above all, how to treat my clients and my peers. I once owned a book titled, “Seven in New York.”  It was about seven French photographers (of which one was Demarchelier) who went to New York and helped one another establish themselves in the photographic community. The book had a huge impact on my life and I wish I had it while I was working for Patrick.  Not only could I have had him sign it,  but can you imagine what it would be like to read a book about someone who was in the same situation you are currently going through and that person also happens to be your boss?  Think of the water cooler conversation possibilities on that one!

The time spent, and lessons learned from those days with Patrick, to this very day affect who I am as a photographer and a person. If you ask me how to do something, I will not only tell you but I’ll draw you a map!  Your body of work is not just the images you create over the years, but the images you help to create even if you are not the one pushing the shutter.  Another photographer is not your enemy, another photographer is your brother/sister in arms.  Just as you can help them grow they can help you.  As Mom says, “Do unto others as you would have them do unto you.”

Jerry Avenaim

Celebrity fashion photographer Jerry Avenaim gives Kimora Lee Simmons a crash course in high-end advertising fashion photography so she can shoot her men’s fall campaign Phat Premium. So, will she sink or swim?

Fashion is one of the most critiqued form of genres in photography, advertising is one of the most financially funded types of photography, when combined the weight of the world has been added to the photographers shoulders.  One would think the responsibility and repercussions of your work could not increase with this already potent combination, but that is exactly what happens when you are the first to photograph a new clothing line.

This was the situation for me when I was asked to photograph Kimora Lee Simmons for Phat Farm’s first ever advertising campaign.  Now over a decade later Phat Farm has called on me again, except this time Kimora will be wearing my shoes as the photographer. In addition to being a Model, a Mogul, and a Mom, Kimora was ready to take the weight on her shoulders and create and capture images for the brand new advertising campaign for Phat Premium.

The pressure of being the first photographer for a new clothing line is intense.  The photographs are laying the foundation of what will become the style and brand of that company for years to come.  My work on the first ad campaign with Phat Farm did exactly that reflecting the style and shape the future advertising campaigns, now it was Kimora’s turn to do the same for Phat Premium.

Enjoy the video, and I hope you get the message, it’s never to late to learn new skills!

Kimora had already expanded Phat Farm and today it’s clothing line to include Baby Phat, Phat Classics, and the Phat Premium clothing line she was going to photograph the launch of.  Having been in front of the lens Kimora knew what poses to do, and now being the photographer she knew exactky the images and style Phat Premium required.

The images shot at Griffith park had traces of the original Phat Farm campaign, however these had a refinement and style that was pure Kimora. Before my very eyes I could see how the images I had photographed years ago continue to shape and influence the current advertising campaign.  Working from the foundation laid down by the original Phat Farm advertisements, Kimora was able to incorporate the past into the future with her images for Phat Premium.

Have fun shooting and feel free to post any questions!

Jerry Avenaim

Fashion Photographer Jerry Avenaim has been a highly sought out teacher and speaker regularly within the photographic community at events such as Photo Imaging and Design Expo, Photo Marketing Association International (PMA) and Photo Plus Expo in New York since 2002. Jerry has inspired and guided a generation of photographers through his lectures to students at universities like Columbia College Chicago, Harrington College of Design, Santa Monica College, College of Southern Nevada and The School of the Art Institute of Chicago. Not restricted to just the classroom, Jerry has also led hands-on photographic workshops in diverse locations throughout the United States.

Taking the experience and knowledge of his years as a seasoned fashion, celebrity, advertising photographer, Jerry has been the featured on countless photo magazines. Not afraid to share his knowledge, he has authored many articles on his photography style and techniques.

Private Instruction: What better way to learn than one on one with photographer who has experience in all genre’s of photography? For all experience levels–this is the way to learn years of photography in one day. Limited in availability this unique experience can offer instruction with complete privacy and concentrated attention catered to your photographic aspirations.

With contacts from years of shooting Jerry will facilitate the models, hair and make-up, for your private instruction.  And as one affluent client offered, Jerry will fly to your exotic vacation spot, vacation home, or even your private location to help you learn how to shoot like a pro with your own family and even your own equipment or his professional camera gear!

Taking a Crash Course in what you want to learn and how!
A full day private workshop with Jerry Avenaim, one on one from concept to completion. Relax and take comfort in knowing this event is tailored to best fit your educational understanding.

Your day will include: To start the day you will learn lighting techniques that apply to portrait, advertising and fashion photography. You will learn how to direct a model and take control of YOUR shoot from styling the model (model and make up artist provided) to pushing the shutter.  Choose a day in the studio to learn strobe lighting  or a day outdoor to learn location lighting, or you can have BOTH by splitting your day in half. After the shooting time Jerry will personally teach you his digital workflow solutions for post production of your images. Before the end of your day you will have learned how to promote yourself, your imagery, and how to work with professional models and make-up artists.  The knowledge is not that only thing to leave with you as in your hand you shall have hi-res images on a DVD from your shoot, digitally enhanced, and were even reviewed by world renowned photography Jerry Avenaim. Learn how to get models from agencies, marketing yourself and business? Book your private photography workshop now by contacting Jerry Avenaim Studio!

To contact via telephone call 323-876-3374 or send an email to discuss your needs.

Regards,

Jerry Avenaim

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

Here are some tips and tricks you can use every day for photographing fashion, beauty and celebrity portraits.

Because society views celebrities and supermodels as larger than life subjects, I try and fulfill the viewers ‘perception’ by using a few simple formulas.

First, when creating a dynamic portrait I use a long lens. This will create three things:

1.) Compression – The natural compression created by using a long lens will immediately flatter the subjects’ features instead of distorting them.

2.) Comfort – The greater image magnification created by utilizing longer lenses forces you (the photographer) to move farther away from your subject. This increased distance gives your subject greater comfort by creating space between yourself and your subject. This will always put whomever you are photographing more at ease.

3.) Composition: When it comes to focal length of the lens choosing a longer lens will lessen the focal field. Therefore you will have more concentration on your subject than you will your background.

This celebrity portrait of actor James Caan appeared exclusively on the cover of Photo Insider

Next, using the chosen long lens, I place the camera at chest level with the subject so I am shooting up at them just a bit (if we were using a short focal lens I would be shooting up their nose and distorting their features – not a pretty picture). This upward P.O.V. gives the image the perception that the subject has been placed on a pedestal, and by doing that it can render a beautiful and regal look, or on the opposite, a tough, even menacing look to the portrait.

Lastly, a very simple rule. No matter what the composition I almost always keep the eyes of the person I’m photographing in the upper third of the frame, this is because it’s were we are naturally drawn when viewing the photograph.

The only exception to the above rule is when I’m shooting unusual compositions and utilizing negative space for my desired composition.

In the end I think of it like this; learn the rules so you can understand how to break them properly!

Jerry Avenaim

As a fashion photographer, one of the hardest things any photographer will ever have to do is to find his or her own style. In my earlier works I was very influenced by the people I worked for. Patrick Demarchelier for one – I found Peter Lindberg and Richard Avedon had influenced me the most.

In my formative years of fashion photography I had to teach myself the mechanics of lighting. To do so, I would pour through magazines and study the catch lights in the subject eyes. And then try to replicate the look in my early test shoots. This was the way I would teach myself, while honing the blade of my craft until I found my own voice and vision.

When scanning these images in the other night for an upcoming lecture I realized again, the greatest photographs you will make are the ones you make for yourself. Living in Milan, and armed with nothing but an all manual 35 mm camera fixed with a 50 mm lens and Tri-X film, I set out to do just that.

I learned early on that I preferred to create my images as I saw them through the viewfinder. I never cropped my photographs and the clients knew that because I made all my prints with the natural black boarder left by that frame of film. It showed me and my potential clients that I had the vision to capture exactly what I saw in the moment, and how I saw it. Finally, it showed I could tell a story early on without even so much as a make up artist or wardrobe stylist. It was just myself and the model, and often a last minute ‘let’s go shoot something.’

As is often the case when you are shooting for someone else, i.e.; a magazine, an ad agency etc. compromise is introduced and you lose much of your creative control. This ranges from the way you might light or shoot, even down to the final image selections.

If you find yourself getting to that point, it’s important to remember we still have to make a living with our chosen craft. So I would tell you as I tell all working photographers, have a personal project going that is yours and only yours. It may become a book one day or at least the beginnings of one. But most important, make it something that will feed your creative spirit and satisfy the hunger and passion you began with. (All images circa 1986 Milan, Italy © Jerry Avenaim Photography)

Jerry Avenaim

Fashion photography is a tough game, as is advertising photography. Combine the two and it can prove to be a stress load if you’re not prepared for anything that can present itself. Then again, I feel that way about all my assignments.

I apologize to my readers for not having a chance to write at all in the month of December. I’ve been on full overload (not always a bad thing).

One of the last shoots of the year was for Deliverance Poker. A great client and an interesting series of shoot days in Las Vegas. The reason it was so different for me is it was neither fashion or celebrity. The hook in this advertising campaign, was to shoot it with a glamour edge. In the end, I made it work with my own personal style. And to the clients delight, we created a brand for the present and future image of Deliverance Poker.

I’ll be posting some hero images from the campaign and writing about how they were created next year. In the meantime, enjoy this behind the scenes video. The way I see it, it’s like this; the video is the journey and the photograph at the end is the destination.

When you see the journey, will you be able to figure out how I arrived to my destination? If not, fire away. I’m here for your questions!

I’d like to give special thanks to Iris Productions and Vincent Moreno for this video.

Wishing everyone a joyous and prosperous new year.

Jerry Avenaim