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Posts tagged: portland

Photo Shoot: Catherine

My good friend and expert creative at Wieden + Kennedy in Tokyo, Oyl, was home for the holiday season and had a project that needed photographing. While in Japan he had created a cool little fashion accessory and he wanted to market it as “a slice of Portland” in the Tokyo fashion world. A craigslist and Facebook post later got some great responses and we chose two to shoot - Catherine and Mandi. Catherine was first, representing the fun, cute side of the product. The every-Portland-girl feel.

I got an email the day before the shoot from Catherine. Basically, she was having second thoughts. Not an experienced model, she was worried about how she would do. Though I had worked with some inexperienced models already, I had never had one say she didn’t want to do it. So I gave her a call and thankfully was able to talk her back into it.

The day of the shoot came and Oyl and I (and Oyl’s cousin who was tagging along) met Catherine, where else, under the Morrison Bridge. After all, nothing gets more Portland than that area in my mind. Real quick, you may be saying, “woah, Joe, you don’t like working with extra people on set and you brought two?” Indeed. But there’s a major difference between having Oyl and his cousin hanging out on set and a boyfriend or “bodyguard” type. Of course, Oyl is the client (even though he’s a friend) and his cousin understands “the business” as well. That and I was able to talk them both about how I work and what to do if things were getting distracting. That made their presence, much like when a makeup artist or wardrobe stylist is on set, a great help, rather than a hinderance.

TIP: If you are shooting for a client and they are going to be there with you, be sure to explain to them your working style. If you have a thing about shooting alone, make sure they understand that. Obviously, you’ll have to make exceptions when someone is paying you, but it’s always a good idea for everyone involved in a creative project to know where you’re coming from.

The concept for the shoot was much more of a lifestyle-inspired project, rather than a “feature my product” style. We were looking for interesting takes on what the grunge look and feel of Portland is about.

^ Portland’s Hawthorne Bridge, facing the financial district of southwest Portland. You really can’t get much more Portland/Northwest Grunge than this. Ripped tights, jean shorts, plaid, shades, all hanging out on a tiny blonde, chilling on a bridge. Perfect.

^ Of course, it’s always good to get some product shots in. The leather straps have a Sharpied silhouette of the Tokyo skyline on one side and Michael Jackson on the other. Simple and fun and from what I hear, all the rage in Tokyo.

^ Part of our shoot ended up in northwest Portland at a great little coffee shop called Anna Banana’s. It is essentially a house with the room structure still in place that was made into a coffee shop. In the basement there is an eclectic mix of busted furniture, graffiti, and random chess boards with “Nazi Punks, Fuck Off!” written on the side. Yes, Portland. Also, they have amazing coffee and scones there, especially if you’ve been shooting on bridges all morning and can’t feel your hands.

^ After coffee we headed up to Washington Park and the famous Rose Garden (the one with roses, not NBA basketball players). To our surprise (and delight) it started snowing. This, by the way, is a rare event in Portland. Most winters only see a day or two of snow (with the exception of last year’s crazy blizzard). In fact, this was the only day it snowed this winter (assuming we won’t see any temperatures that cold again). The whole scene was so cool, I couldn’t really stop taking pictures of it.

^ Pretty much exactly what our day ended up being. I love this shot.

Shortly after we finished shooting in the snow, we dropped Catherine off. I asked her if she was glad she ended up doing the shoot. A resounding, “Yes,” was a reassuring answer.

This day, though, was not over, as I was bound to have quite a legendary adventure. I had picked Oyl and his cousin up in the morning, so I was tasked with dropping them off (some twenty minutes outside of downtown). Of course, it had started snowing and due to the rarity of this sort of thing (and the no salt law in Oregon) the roads were quickly filled with panicky drivers and increasingly accumulated snow layers. We got as far as Lake Oswego when we were faced with a snow-covered hill as our only option to get to our destination. This hill, however, had already claimed several cars attempting to forge ahead. I declined the challenge and we pulled off the road, watching continued failed attempts to climb the hill and hoping to see a snow plow clear the way.

After a couple hours of waiting and watching the snow completely cover everything, we decided that we wouldn’t be able to make it any time soon. We decided walking the remaining three or four miles (we weren’t really sure how far it actually was) would be a good idea. Especially because half way there we’d run into a McDonald’s (and of course we were getting hungry).

So off we trod. It was quite the spectacle as cars slid their way around, trying to get to their destinations without spinning out of control. Soon after we began our trek, I informed the gang that McDonald’s was currently offering the McDouble (a double cheeseburger with only one slice of cheese) for just a dollar. The quest for the McDouble began. Our strides lengthened and our pace quickened. When we finally made it to the McDonald’s about 45 minutes later, the McDoubles (three each for Oyl and I with fries) were ordered, made, and consumed in about 10 minutes. Probably a record.

Oyl’s family was actually able to pick us up from the McDonald’s and we spent the evening at his house, waiting for the snow to clear and regretting our splurge on McDoubles. Some late evening rain cleared the roads enough for me to be dropped off at my car and have a safe drive home. And yet, the best part of the day was still all the great shots we got with Catherine.

Photo Shoot: Saron

Well, the slideshow from this shoot has been up for a little while, but I suppose I should tell you more about it. This shoot was pretty cool for a number of reasons, but the most important one was that I had a makeup artist “on set” for the first time. Now, I mentioned shooting with significant others or friends (or bodyguards?) on set and how that can be very distracting and ultimately negatively impact the results.

By contrast, having a makeup artist on set is pretty much the opposite. The first thing, and the most obvious, is that the models look absolutely stunning. And that’s not to say they don’t anyway, but a makeup artist (a good one at least) understands the way light works and how colors and shades affect the look. Amy, my MUA (industry abbreviation), was definitely in this category. She did an incredible job with Saron, setting an overall mood and making my job in the editing room absolutely painless.

So the concept here was to first shoot a sort of classic look (above), and then move into something with a little more punk/grunge feel. Again, the usefulness of having Amy around was immeasurable. Throughout the shoot she hung out and kept an eye on things like stray hairs (called fly-aways apparently) and things like being sure the makeup stayed even. With her eye on that, it left me free to just shoot away.

TIP: If you can get a makeup artist to help you with your shoot, do it. Much like the work of models and photographers, makeup artists need to have a great portfolio too. That means you can work for trade with some great talent. That being said, they are bringing product into it, which means their costs are much more than simply time. For this reason, if you’re shooting for trade with a makeup artist, be sure to get plenty of shots that feature the work they do (even if you don’t want them for your own portfolio). And, of course, be prompt in getting them images.

This shoot also gave me some pretty cool perspective about location. I ended up shooting under the Morrison Bridge in Southeast Portland, a location I had previously shot a couple times. What I found at this point was that no matter how many times you shoot at one place, you can always find a way to make it look different. That may sounds obvious to some, or dumb to others, but the point is, keep looking at the same place in different ways and you’ll find yourself making amazingly interesting photographs. In fact, it sort of forces you to. No one wants to have the same shot as someone else, do they?

Photo Shoot: Saron (makeup by Amy Gillespie)

Photo Shoot: Sibyl

The meth edition. That should be the subtitle of this shoot. But actually, it was much more than that. Sibyl is an actress here in Portland that I met on the set of Bank Run, an interactive iPhone movie and game by friends SilkTricky. By pure happenstance, I actually had met Sibyl (and her kids) a couple weeks prior while walking my dog by her kids’ school but we made the connection on set. She was in need of some head shots and also wanted to do something a little darker.

Though I am not much in favor of typical head shot shooting, I was interested in working with Sibyl (who had also gotten the fantastic makeup artist, Amber Arpin, on board). Though the initial idea was pretty straight forward, I did end getting some good lessons from the shoot.

TIP: Set up a time that works for your talent, but also for you. In trying to figure out a time for our shoot we ended up having to adjust several times, finally making a Sunday afternoon the call time. Now, in the winter in Portland, playing in the afternoon is playing with fire. There isn’t a lot of light most of the day and starting anytime past noon can be tricky. So we met around one to start makeup at Amber’s place (not our location). Once makeup was done we headed out, getting to our location in downtown Portland a little after two. We had three costume and makeup changes to capture. You can see where this is going. In short, make sure you have enough time to get what you need. If you don’t, rescheduling is better than trying to fit it in.

So the first set was to get some “lovely” head shots. Sibyl has a great “Penelope Cruz” type look which makes photographing her fairly easy in this setup. The next look was more edgy—little black dress, Prada shoes, attitude. Between the time lost in from the first set, the makeup change, and the outfit change, we were really running low on light. The overcast day was turning into an impending stormy night minute by minute. Add to that the freezing cold and a concept we hadn’t quite flushed out and the shots just didn’t come out as planned. Sensing this a short way into the second set, I called it a wrap, opting for a look that would be better suited to transport inside should we encounter rain.

And thats when we got some really cool stuff. It is much darker than anything I had done previously (or since really), but I think came out with a cool effect. Amber really coated Sibyl with a heroin-chic palette—a sort of prom date gone horribly wrong feel.

^ This was one of the first few shots of this set. I’m not sure if it was the direction I gave at the outset or Sibyl’s true discomfort with the freezing cold temperatures, but the resulting photograph has an amazing, “I f**king hate you” vibe.

^ Heroin-chic at its finest. I decided to go with the greenish tint to accentuate the cold feeling that parking garage fluorescents inspire when dinged with a flash. (No, dinged is not a technical word. But, I will probably use it, or “hit” or “tagged” to talk about using the flash for accents instead of exposure.)

^ One of the great quotes (and one that Amber and I still joke about when we work together), occurred just before this shot. It was me, and it went something like, “Sibyl, normally I would never say this, but… go ahead and get on your knees.” Now, I talked in an earlier post about the importance of building a rapport with your models. This is a clear example of just that. In no way should you ever, ever, ever feel that you can be demeaning to your subjects, especially females, in any way. There’s no excuse for it. Simply stated.

I did, however, really love the effect of this shot. You can see what the flash does to the concrete and her fair skin when contrasted with the darkening night. I had the camera all the way on the ground, so framing was a bit on the lucky side, capturing the building on the right to stay out from behind Sibyl’s head.

It turned out to be a pretty good shoot in the end, though I would have loved to have started about two hours earlier (and 20 degrees warmer). I didn’t post any shots from the first two sets and I don’t really have a good excuse as to why. I just like the darker stuff better (since that’s what I really wanted to shoot). There will be plenty more from Sibyl coming up later. This was also the first shoot where I was paid for my time, something that I initially did not expect, but was more than happy to receive. I suppose this was my “professional debut” in a way. Very cool.

Photo Shoot: Lindsae

My good friend Lindsae was kind enough to help me out with my project as well. She also needed some cool photographs for her website (oh, by the way, I designed it). It was also cool just to hang out with someone fun and creative. Lindsae is an incredibly talented actress here in Portland (and that’s not just a bias, check out her reel on her site).

I would say there was not much of a story to the shoot, though some of the pictures that came out of it are still high on the list of favorites. Lindsae’s ability to convey emotion on camera was truly fun to work with, especially in post.

^ Need I say more?

What was really great about how these shots turned out was how we came to the style that we were going to shoot. Lindsae was worried about her wardrobe, look, etc. Here is where I made a somewhat cool discovery.

TIP: If you are not shooting a trained or experienced model, you will probably have to deal with at least some level of personal discomfort on the part of your subject. Your best bet in this case is to make them as comfortable as possible. This usually starts with wardrobe—have them wear their favorite outfit, or the one that suits their own concept of their personality the best. In Lindsae’s case, she picked out some of her favorite coats and we went from there. The result is a set of photographs that are very emotionally in tune with her personality and my project.

Lindsae and I also collaborated on a shoot out at Oregon’s Wachella Falls (just east of the more famous Multnomah Falls) on Interstate 84 about 30 minutes outside Portland. This shoot was largely experimental for the both of us, but the hike was absolutely incredible and we came up with a lot of shoots we could do out there once the weather becomes a little kinder.

^ You see what I mean. Crazy nature. Crazy.

Photographs: Jade