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Fashion
Runway Or No Runway
February 5, 2016

I don’t even think when I’m walking down the runway. I don’t really breathe either.—Rosie Huntington-Whiteley

 

charles i. letbetter - runway or no runway

Has the usefulness of the fashion runway gone away or is it simply changing?

Pass out the brown paper bags. There are dozens of people in the fashion world who are currently hyperventilating. First came the news early this morning from Christopher Bailey that Burberry is cancelling its men’s presentation after this season. Instead, they will combine both men’s and women’s ready-to-wear into two seasonless shows per year, which will be called September and February, rather than Spring/Summer and Fall/Winter. Then, around 10:00 EST this morning, Tom Ford cancelled his NYFW show for this season. Instead, he will come back in September and show his fall/winter line then, in the fall, when people actually need it.

What both designers are doing is something that has been discussed heavily in fashion circles for the past six years or more: aligning the runway with retail. Both brands say they will offer runway items for sale immediately after the runway presentation. Rather than waiting six months for their favorite garments to hit the stores, customers will be able to purchase their favorite ensembles while they’re still fresh on their minds through the brand’s website.

Of course, this means some serious changes behind the scenes, starting with the supply chain. Traditionally, a designer creates the design, shows the design, waits for buyers to order the design (and request changes), and then send the design pattern to manufacturers. Obviously, that system cannot possibly work with an order-on-demand concept. Instead, designers and suppliers have to work together from the moment a design is sketched out. Decisions about fabrics and detailing have to be made further in advance and, once committed, are not easily changed. By the time the runway show comes around, what models are wearing is not a one-of-a-kind designer sample, but a finished product ready to be sold. Expect some challenges and delays as both the Burberry and Ford teams struggle to make this work. At the very least, I would expect some delays the first few seasons.

A second big difference is that this change dramatically changes the role of the department store buyer. Whereas the buyers have traditionally been able to request (or demand) changes in a garment before it hits the store shelves, this new off-the-runway concept does away with that option if stores want what is selling right now, and we know they all do. Stores that insist on holding out for changes will be behind the curve in offering designs that have already been available elsewhere. Does this mean buyers will be included in design conversations earlier in the process? That’s certainly possible, but then a designer has to made the decision which buyers to include and which to leave out. Too many cooks spoil the broth and too many opinions ruin a good design.

All of this comes as fast fashion has blurred seasonal lines and forced many designers into year-round designing with as many as eight different collections coming from major brands each year. Designers have been showing increasing signs of fatigue and the hectic schedule undoubtedly plays a role in why fashion has become increasingly boring. Who has time to think and be creative when there’s always another line that needs to go out NOW! By doing away with the antiquated season schedule, this puts designers back in control of what clothing is available when.

At the same time, the move acknowledges that modern runway shows are not the insider-only events they once were. Most major designers now stream their shows live, which allows potential customers to see what’s coming down the runway, fueling desires. Live-streamed shows are fantastic advertisements for the brands, but then shoppers forget what they liked by the time clothes actually hit stores, and often what they liked off the runway no longer exists in the same form. Buying off the runway is great for consumers and is likely to help bolster what have been some depressing sales numbers, especially for Burberry.

This is not so great, however, for department stores who may be beginning to feel a bit left out of the loop as the whole retail concept is beginning to feel more and more antiquated. Exactly how they will respond and how labels plan to address the issue remains to be seen.

Again, there are going to be plenty of bugs needing to be worked out, but should this experiment prove profitable for Ford and Burberry, be sure that many more designers are likely to follow suit. Department stores might do well to be concerned, but customers should be ready to celebrate.

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PotD
Future Thoughts
November 21, 2015
charles i. letbetter - future thoughts

And yet, I suppose you mourn the loss or the death of what you thought your life was, even if you find your life is better after. You mourn the future that you thought you’d planned.—Lynn Redgrave

charles i. letbetter - future thoughts

[one_half padding=”4px 10px 0 4px”]Planning for the future is one of those things we are instructed to do from the moment we first begin primary school. Kindergarten prepares us for first grade., then we’re prepped for Middle School which, n turn, prepares us for High School, and at some point, somewhere, we’re supposed to graduate from something being fully prepared for the future, but we never truly are. There are always surprises. Our best plans are laid to waste when the future doesn’t happen exactly the way we anticipate.

We have ten days left in November. Of those, at least two are taken up with Thanksgiving events and, for us, celebrating a seven-year-old’s birthday. Some of you will spend time traveling back and forth, and the more dim-witted among us will waste time standing in line to spend money they don’t really have on things they don’t really need. When all is said and done, there might be four days of half-way decent productivity before December hits. That’s not a lot of time to plan.

Once December hits, this blog shuts down for the rest of the calendar year. Next week we try cramming in all the stuff that didn’t fit elsewhere. I’ll post something snarky on the first just because it’s my 55th birthday and I can’t let that pass without flinging something silly into the cybersphere. Beyond that, though, the rest of this year is given to planning for the next: what we will post, what we won’t, what we’ll change, what we’ll completely eliminate, and whether there’s anything new worth tossing into the mix. There are a lot of things to consider. We’ve already been doing research, looking at the year’s stats, and formulating ideas.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Today’s picture is exactly what one would see if they were looking over my shoulder while I’m in research and planning mode, attempting to divine the future. We play with pictures and try new editing techniques. We do a lot of reading. We check trends. Yet, for all that activity, I almost always end up sitting here, pipe in hand, headphones on my head, and when appropriate a shot of scotch within easy reach, wondering if I’m wasting my time.

What makes planning for the future so difficult and uncertain is that we do so expecting certain things to stay the same. We expect the same people to remain in our lives, fulfilling the same roles, behaving in a predictable fashion. We know some things, such as technology, will change, but we expect the base elements of our lives to stay put and when they are suddenly and unexpectedly altered, everything we had planned for the future suddenly goes out the window. There have been too many years where I counted upon a level of stability that just didn’t happen; the future wasn’t remotely predictable.

December planning may be a sure sign of mental instability on my part, but at this stage of my life it’s as much habit as anything, and I really can use the break from trying to find 600 or so words at 4:00 every morning. Looking into the next year, I know PFC Letbetter will be stationed in Japan, a handful of people are getting married, politicians and terrorists will both be disruptive, and mobile devices will complete their takeover of the internet. Beyond that, though, anything is a guess and if you want to see how it all turns out, you’ll just have to keep watching.[/one_half_last]

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Behind The Scenes  /  Photography  /  PotD
A Good Touch
July 24, 2015
charles i. letbetter - good touch

charles i. letbetter - good touch

Tintype

Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts. —Walker Evans

[one_half padding=”4px 10px 0 4px”]Photography isn’t all that old of a medium and it has been one of constant change pretty much from the moment it first started. Fortunately, it is a well-documented history and we have done a decent job of preserving not only the images from the past but the manner in which they were taken. We can, though sometimes with a level of great difficulty, with a good touch duplicate almost any type of photography with either the original equipment or exact copies. Photographers tend to be a nostalgic bunch and no matter what advancements are made to the industry, there has always been those who prefer the way it used to be.

Photography inevitably invokes looks at the past because it is the past we have captured. Sure, sometimes it’s the recent past, but even if we share photographs “in real time” there is a lapse there that only grows longer. Today’s photo was taken in 2006, which is practically forever by digital standards. Given the temporary nature of anything digital, it is a bit surprising that nine-year-old photos still exist. The camera on which this shot was taken is just as much a relic now as would be a tintype. In fact, that is exactly the reason I chose to process this image using a tintype tonality. Both cameras are obsolete, but at least the tintype gives us a distinctive look into the past.

A good touch is necessary when doing any kind of “antique” look. There have been multiple methods of recreating this old look over the years, depending on what was available in a particular version of Photoshop™ and with all of them the challenge has been to not go overboard with the effect, making the image too dark or too light. All we can do is approximate the look, after all. Remember that original tintypes were printed on thin sheets of metal, not paper, which gave it a reflective tone not possible in a digital format. We’re also accustomed to seeing streaks and burning around the edges, but that is due to decay, not originally part of the image.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]I don’t use this conversion method often because to do so just ends up looking cheap and gimmicky. It works best on older digital images that are less than ten megapixels in depth and more likely to have a natural noise level similar to the grain of a tintype.  Also remember that there are two different types of tintype, dry and wet, and each has its own tonal range. Try this on an image:

  1. Duplicate the background layer. Desaturate and equalize the new layer and reduce its opacity to 25%.
  2. Duplicate that new layer. Auto-adjust the levels and contrast on the new layer, then apply a smart blur with a radius of 3 and threshold of 25, quality: low.
  3. Here’s the tricky part. Add a curves adjustment layer and make an adjustment in the red channel only. Make one adjustment point with input 128 and output 157, which curves upward, giving the image a light pink tone.
  4. Create a second curves adjustment layer, this time doing an auto adjustment in each channel, red, green, and blue.
  5. Create a levels adjustment layer and set the output to 50, 208.
  6. Add a fill layer with the blending mode set to color. Use these settings: Red-255, Green-229, Blue-191.
  7. Add a second fill layer. Set the blending mode to color and reduce the opacity to 40%. The settings are easy: Red-223, Green-223, Blue-223.

What you do beyond this point is totally up to you. We added a frame to our image for effect, but it really isn’t necessary. If an image is too clean, you might add some noise and if you want an aged look you could dodge and burn around the edges to create the streaking. Again, you’ll need a good touch, a delicate and reserved use of the tools, to not overdo the effect. This isn’t an everyday conversion, but for special images it can really stand out.[/one_half_last]

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Behind The Scenes  /  Photography  /  PotD
Mind The Shadows
July 23, 2015
charles i. letbetter - mind the shadows

charles i. letbetter shadows

LAB Processing

In photography there are no shadows that cannot be illuminated. —August Sander

[one_half padding=”4px 10px 0 4px”]One of the challenges of working with natural light is the depth of shadows, even in well-diffused situations. Natural light shadows tend to have a bit more gradient to them, which is nice, but they can also run extremely dark and be impossible to lighten without introducing significant amounts of noise to the image. This is one of those situations where it is more appropriate to find a black and white conversion method that can work with the shadows rather than trying to fight it, which makes the conversion more labor-intensive than just moving black and white adjustment sliders. This can get scary.

Our image today is again from 2007. The setting is an executive office in an abandoned facility originally built in 1930-31. Obviously, a few more modern enhancements were made at some point, such as the grounded electrical outlet and fireplace screen, but marble fireplace and wood paneling are likely original. Light was wonderfully diffused through smoked glass windows that were largely opaque but still managed to let enough light in to shoot at 200 ISO. This gave us a beautiful shadow gradient across the model’s skin, and a very gradual light-to-shadow gradient across the entire room. However, where it did go to complete shadow it was extremely dark. The room had a bit of a spooky feeling to it.

What was important in making this conversion was being able to adequately capture not just a specific tone, but the overall feeling of the room. If I had shot this on film, I would have instructed the lab to let it sit in the developer a little longer, maybe +2 or +3, or perhaps use a T-Max developer rather than D76 if I had used a T-Max film. This would give me a little more detail in the shadows while maintaining the overall feel. However, this would also seriously affect the tone and one would have to be extremely careful to not introduce grain.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]From a digital perspective, the options can be even more challenging. We don’t want the shadow around the door to go all the way black. We want to see the door. Please note, this process does not work well for every image. Proceed at your own risk. You’ll need some sharp Photoshop knowledge here.

  1. Convert the image to LAB color, then select the lightness channel.
  2. With the lightness channel selected, convert to greyscale mode. This flattens the image a bit, so be careful. Don’t stop here.
  3. Now it gets tricky. You want to create a selection of the lighter parts of the image then invert the selection. There are numerous ways of doing this, choose your favorite and save the selection.
  4. Convert the image back to RGB. Make a new layer and with that layer selected create a new masked channel using the saved selection. Make sure the channel is visible.
  5. Select the new layer and change its blending mode to “multiply” then select the RGB channel. Make sure the selection is still active.
  6. Create a new fill layer using hue 40.9°, saturation 63, brightness 58. The masked channel should automatically be applied to this layer as a mask.
  7. Adjust the saturation where you like it. I’ve used -45 for this image.

There are other tweaks one can use, such as adding a light blue layer at 10% opacity for a more silver tone, or very carefully playing with the curves just a bit. Each image is going to be so very different that it’s impossible to impose one specific setting. Play around and see if it works for you.[/one_half_last]

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Behind The Scenes  /  Photography  /  PotD
Subtle Touches
July 22, 2015
charles i. letbetter - subtle touches

charles i. letbetter - subtle touches

Kodak T-Max 100

Photography deals exquisitely with appearances, but nothing is what it appears to be. —Duane Michals

[one_half padding=”4px 10px 0 4px”]Do you remember the first picture you ever took? Chances are it wasn’t 35mm, but rather a popular consumer-grade fixed-lens camera. Poppa wouldn’t let me touch his Brownie, but we did own a series of little 110 Instamatics that were passed around to whichever family member wasn’t actually in the photo. I remember dumping that film cartridge in the back and looking through the small viewfinder, trying to not cut off everyone’s heads as Mother tended to do. If we were inside, there was a requirement for flash, which most often came in the form of a cube that sat on top of the camera. Getting four flashes without having to change cubes seemed so much more modern than the single-use bulbs required for the Brownie. Never mind that they tended to over-light, casts horrible shadows, and were anything but subtle. We were just having fun with friends and family. No one took seriously anything shot with a 110.

Using a 35mm film was different and something I didn’t experience until I was in college. It was the summer of 1981, if I remember correctly, and we were going to a family reunion of sorts, back to Arkansas and the little farming community where Poppa grew up. A friend loaned me his 35mm, loaded a roll of color 36-exposure color film, and showed me quickly how to focus the lens. I put the camera in the trunk of the car, largely afraid to use it for fear of causing damage. When I did try to take a few pictures with it, I was frustrated by the fact that a subtle movement could throw the entire picture out of focus. I didn’t even use the full 36 frames. I was sure, at that point, that photography at any advanced level wasn’t for me.

So much of photography seems to center around the big, highly-produced, carefully manipulated, high-processed images that appear in fashion magazines that we tend to lose sight of the subtle, more nuanced images where careful attention is given to the detail. Finer  points of an image are easily lost as we mismanage light or fail to pay attention to precise settings on the camera. Sure, maybe no one notices, and perhaps no one cares, but when I look back at archived images, which is where we find most of our #POTD subjects, detail, or the lack of it, is the first thing my eyes catch. Subtle touches can make a tremendous amount of difference.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]No black and white film I’ve used handles those subtle touches better than Kodak Professional T-Max 100. When I first started taking pictures, this was the film I wasn’t allowed to touch; it was more expensive, required a photographer that knew what they were doing, and was reserved for those special occasions when someone of national prominence was visiting. There is no finer grain, no better resolving power, no sharper lines than is possible with this film. T-Max enlarges well, it is consistent in tone from batch to batch, and it handles the most subtle of details with finesse. Art photographers have long loved this film, but I always liked it for portraits as well because I feel like it does a better job of capturing everything one wants to see in a face.

Okay, so there are times T-Max can be fussy, especially in development. There is dramatic difference between the 100 speed and 400 speed versions of the film. 100 speed prefers longer exposure times, which may be great for portraits and still life, but is totally inappropriate for almost any kind of motion at all. The shorter the exposure time, the more the film struggles. Variances in any portion of the development environment affect the contrast and tone of the final image. Even subtle changes in temperature can have strong results. Similarly, one has to be careful with the conversion to digital. I used these settings for black and white adjustment: reds-37, yellows-70, greens-33, cyans-64, blues-28, magentas-68.

Whether there is, or can be, a good digital equivalent of T-Max 100 is open for debate. With digital images, grain, or more correctly, noise is introduced by the camera sensor and is not something easily removed in processing. T-Max 100 has such a fine grain that any noise in the image discounts the accuracy of the conversion. One needs to be extremely careful with any contrast adjustment as well. Still, when one is starting with a good image, this is a good method to use and the subtle handling of detail makes a world of difference.[/one_half_last]

 

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A Moment To Relax
April 22, 2015
charles i. letbetter

charles i. letbetter

Behind The Scenes: Rosewood Cookies (2011). Model: Kristina

Long days of shooting multiple concepts is exhausting both mentally and physically. Different people use different tricks to keep going and that sometimes leads to behind the scenes antics that are more entertaining than what actually happens on set.

[one_half padding=”4px 8px 0 2px”]Models will quickly tell you that even under the best of circumstances, shooting multiple concepts in a day can be exhausting on every level. Wardrobe changes, location changes, makeup changes, and just trying to wrap one’s head around the different concepts, with different posing styles, requires a lot of energy and effort that doesn’t seem like a lot when divided into small segments but builds up over the course of a day. Given all that is demanded of them, it’s not too surprising that they each have different ways of coping with the stress.

Different studios and agencies have different rules, of course, and those rules have evolved dramatically over the past 30 years. When I first started, it wasn’t the least bit unusual for everyone to take a smoke break in the studio. No one ever gave a second thought to the health concerns that would soon enough force changes in smoking laws. Large clients would provide a Kraft services table that might contain fruit and vegetables, or bagels and cream cheese, and almost always coffee and soda. Occasionally one might luck out with a client that provided alcohol, possibly even champagne, but those were much more rare.

Over time, though, both clients and models became more health conscious. Many models now stick to drinking water on the set, with maybe a protein bar or some other healthy snack they’ve brought with them. Some models do yoga between sets, some walk the small dogs they’ve brought with them, and any more one is likely to find the model on her phone checking social media or posting a selfie if their contract permits. Everyone has a different way of relaxing and keeping the day from becoming too stressful. Stress inevitably makes for bad pictures, so whatever works to keep that away is often allowable. [/one_half]

[one_half_last padding=”4px 2px 0 8px”]Of course, there are stories of the whole relaxing thing going a bit too far. During the 80s and 90s, it wasn’t all that unusual for illicit drugs to be running around the set. Joints were as common on the Kraft table as were donuts and if there was alcohol there was probably cocaine to go along with it. Even harder drugs were easily available, all in the name of staying relaxed and having a good time. Tales of those who succumbed to addiction are legion and many models and creative staff have ruined careers and even lost their lives because of the problems.

On the occasion of today’s behind the scenes photo, it is simply a single glass of white wine giving our model a bit of a break. She had already finished four concepts and still had two to go, one of which involved being covered in cookie icing. While such a sweet task might sound like fun, it really is time-consuming, and even a little frustrating, to get the icing placed and shaped just right. Melting is also a factor, as natural body heat causes most icings to break down within a relatively short period of time. Revisiting the wine a time or two was necessary before we were done.

Ultimately, the concept, seen below, was deemed too racy and ditched in favor of one more family-friendly. Still, it made for an interesting shoot and a very provocative behind the scenes moment. These are the pictures that cause some people to envy my job, and yes, it is every bit as much fun as it looks.[/one_half_last]

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Behind The Scenes  /  PotD
Watch Your Step
April 21, 2015
charles i. letbetter

charles i. letbetter

Behind The Scenes: Explore Wild Wear (2011). Model: Kathi

We don’t always like to admit that some of our best shots are not the ones we planned, but rather the ones resulting from some error occurring behind the scenes. For all the planning we do, sometimes fate takes over, and fate often comes with a sense of humor.

[one_half padding=”4px 8px 0 2px”]I never intended for Kathi to be inside the dumpster. On it, yes. Hiding behind it, yes. Inside the thing? No. That part was rather unintentional.

We were working on a series of mock ads that used seemingly careless situations to make a point. One had her standing in the middle of an intersection taking a selfie. Another had her walking into a street with a traffic cone on her head. Yet another had her “falling” off a mailbox. These came with tag lines such as, “Following your passion has challenges,” “When protection doesn’t fit, you’re doing it wrong,” and “Some moments are more exciting than others.” Each shot had an element of risk to it that we were able to mitigate through careful planning. At no point was the model in any serious risk of danger.

The shoot took place all over an urban neighborhood, encompassing several hours. This was one of those “you can’t believe what the photographer asked me to do” days and Kathi was a good sport going through multiple wardrobe changes and running from one set to another. We were both quite exhausted by the time we got down to the last concept, one which included a dumpster.

Dumpsters make for tricky props. First, they’re private property and therefore being in or on them technically constitutes trespassing; this is a safety issue to prevent people from sleeping in them and accidentally squished in the back of trash trucks. Second, they move which makes them dangerous and unpredictable. Third, one doesn’t always know what they’re going to find inside. Dumpsters have been known to attract both the disgusting and the bizarre. [/one_half]

[one_half_last padding=”4px 2px 0 8px”]Care had been taken to choose a dumpster that had been emptied earlier that day, served a business that wasn’t likely to be throwing away anything potentially hazardous or especially icky, and was facing the correct direction for waning sunlight. My concept originally had Kathi crouching behind the dumpster. Unfortunately, when we tried it the image lacked the punch I wanted. The dumpster was significantly larger than the crouching model, so the ratios appeared totally skewed.

After talking for a moment, considering the risks, Kathi agreed to try climbing on top of the dumpster. She felt certain that she would be able to balance along the side with no problem, something she was able to do long enough for me to drop five or six frames. Then, as she tried to actually stand on the edge of the dumpster, she lost her balance and chose to jump into the dumpster rather than risk falling. The shot of the jump itself wasn’t especially impressive, but this one, the moment she looked down and saw the rotting flowers on which she was standing, was perfect.

When fate intervenes in a photoshoot it often has a better idea. Kathi was a good sport and we ended up making the best of it as can be seen in the shot below. In fact, had she not jumped into the dumpster, I probably would have dropped this concept from the finished project. So, thanks to fate stepping in and gravity for doing its thing and giving us a shot better than what we had planned.[/one_half_last]

charles i. letbetter

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Hold Your Horses
April 20, 2015
charles i. letbetter

charles i. letbetter

Behind The Scenes: Sunday Morning Ride (2011). Model: Cynthia Schmidt. Horse wrangler: Jewel Emery. Horse: Duke.

Working with horses is a good reminder of why planning photoshoots well in advance is important and why no detail is too small to let go unattended. With sufficient time and care, though, they can take incredible photographs. The same can be said of people on occasion.

[one_half padding=”4px 8px 0 2px”]I like horses. I still remember my first pony ride as a tot. I still remember struggling to try and carry the saddle by myself. I still remember the thrill of jumping gates. Growing up in rural areas, horses were frequently part of our lives and the love and respect I have for them continues. Horses are bright, intelligent, and noble regardless of age or pedigree. Occasionally ornery, they are often great hams in front of a camera and even show jealousy if one gets more lens time than another. They also tend to be great judges of human character and won’t tolerate someone they don’t like.

Having a horse in a photograph almost always makes for a great image, but those pictures don’t just happen by showing up at a ranch one morning and asking to borrow a horse. Most city-raised people don’t know how to ride, or even how to behave around a horse, which can be a bit dangerous. So, when planning to work with horses we have to take plenty of time, choose our models carefully, and take extra precautions such as giving the horse and the model a little time to get to know each other before taking the pictures that count.

Today’s picture is one such bonding moment between Duke and Cynthia. Duke’s owner can just barely be seen on his right side, adjusting the stirrup for Cynthia’s long legs. It was fairly early on a Sunday morning, Cynthia hadn’t ridden in a while, and I’m not sure Duke was all that crazy about having someone on his back at this particular hour. Everything went quite well except for this one tentative moment when Duke moved a little unexpectedly, catching Cynthia by surprise. Very shortly thereafter, they were riding around, getting to know each other, and having a good time.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]We arrived even earlier the next week and fog hugged the pasture as Cynthia mounted Duke and took off. He pranced and trotted beautifully, responding well to her instructions. One of my favorite shots from the day is where Duke appears to be sticking his tongue out at me as he trots my direction. After playing in the field for a while, Cynthia changed clothes and Duke proceeded to stand beautifully still as she laid across his bare back for a number of images. Something tells me that Duke thought he was the focus on the pictures and the girl was just decoration.

I should probably take a moment to insert a cautionary note here. Not every horse is as cooperative as Duke. In fact, when it comes to editorial style photographs, one is almost always better off with an older horse who is accustomed to being ridden by a number of people. Younger, more high-spirited horses are likely to be a bit temperamental about who is on their back; they need strong, experienced riders who know how to take charge and aren’t intimidated by a horse’s dominant personality. Listen carefully to the advice of a horse’s owner and/or wrangler. I’ve never had anyone hurt while taking pictures around horses, but the danger is definitely there.

Pictures circulating in Las Vegas this week show an intimidating Cynthia in her football uniform, promoting that city’s LFL team; she looks as tough and dominating as she is beautiful. So, this seemed like the perfect time to pull out a picture of the one moment, that split second, where she might have been a wee bit anxious. Obviously, her confidence was back by the time we took the pictures below, but we’ll always remember that one moment and the horse that made it possible.[/one_half_last]

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Behind The Scenes  /  PotD
Give Me A Little Smoke
April 19, 2015
charles i. letbetter

charles i. letbetter

Behind the Scenes: Two Faced (2011). Model: Lisa Petrini. Makeup: Christopher Thompson

What happens behind the scenes of a photoshoot? Everything! More than just doing hair and makeup, off-camera actions tell just how hard we work to capture those great shots and how much fun we have along the way. We look this week at events not intended for public viewing.

[one_half padding=”4px 8px 0 2px”]Over the years, younger photographers have often asked if they could “sit in” and watch what we do during a photoshoot. Every photographer is different, has their own style and approach to taking pictures, so there is some benefit in observing all the different methods that might be applied to the craft. I usually don’t mind having extra people on the set unless space is already severely limited, but this week we’re taking everyone along with us behind the scenes of a wide variety of shoots. Pay attention and you may learn something. Or maybe you’ll just laugh. We’re betting on the latter.

The role of Art Director (AD) on a photoshoot is one that is often dropped when the shoot isn’t being funded by a magazine or commercial concern. Part of the AD’s job is to have a clear vision of exactly how the finished product should look and make sure everything and everyone is available to produce that look. When we’re working on unfunded projects, though, that planning responsibility typically falls to whomever had the original idea. When we run with a less than crystal-clear concept, or the personal doing the planning doesn’t have a lot of experience, we don’t always think of things we might want/need until we’re in the middle of the shoot.

Such is the case of this shot from a special makeup effects project for Chris Thompson’s portfolio. The idea of creating a split-personality look that was nothing short of horrific on one side while glamorous on the other has received various treatment over the years, but Chris had an idea for how to create a unique look that wouldn’t take 12-14 hours to achieve; this one only took about four hours, super fast by industry standards. We were working from Chris’ apartment so he would have ready access to all the little tricks he might need to apply along the way.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]We were working from Chris’ apartment so he would have ready access to all the little tricks he might need to apply along the way, which made sense. What that meant, however, was we would be shooting in his living room with a black cloth draped across a cord for background. He was focused on producing the effect, the result of which was more fantastic than I could have ever imagined. Not until we were shooting did either of us think that the addition of a little smoke or fog to the scene might enhance the appearance.

Oops. No fog machine. Not that we didn’t have access to one, but neither of us had thought about it prior to shooting and the relatively late hour at which we were working made running to fetch one impractical.

So, we tried the only thing we did have available: cigarette smoke. Today’s picture is our attempt at creating the desired atmosphere by blowing a full drag of cigarette smoke into the model’s face. Unfortunately, cigarette smoke is considerably more fine in composition than is the normal stage smoke we would use in such a situation. Despite multiple attempts, we ended up not using the smoke, but going with the image below instead.

Photoshoots are rarely perfect, but in many ways that element of experimentation born out of either necessity or a whim is what makes the job so much fun. We never know what we can do until we try, right?[/one_half_last]

Two-Faced

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