As a result of this year’s session, you will be seeing some big changes to the Efcubed website and some exciting new ways to connect with us.  I am not going to spoil the surprises, so stay tuned.

One of the really neat features of the conference is the Expo floor where all the vendors show off their new products in small class size demonstrations.  Westcott lighting sets up a booth and brings in live models and there is a crowd of people jammed together like sardines, trying to take their pictures.  The models were really great sports and try to take direction from this babble of shooters. One of the things we learned is to just talk to them about what you want and they will give back good ideas as well. The first day had a very interesting couple from PA.  They were garbed as a fantasy warrior princess and a “Steampunk” explorer.   He made both of their costumes and all the props. 

They were fun to shoot, once you got through the crowds

The other model that day provided quite a contrast—a very serene guitar player. 

Oh, and since the purpose of the booth was to convince the attendees to buy lighting equipment, I have to report that I did indeed fulfill that requirement.

Besides the wonderful training and seminars at Photoshop World, the exhibitor booths are my favorite things to visit.  They have all the newest gadgets you simply must have to make your photography better.    (Yes, that is a joke.)  The vendors run product-specific training for more in-depth coverage on that new widget or software you’ve been wanting to try.  Their “booth flies” are running around scanning your conference badge, so you won’t run out of spam for your email inbox.  There are giant display images, metal and canvas images, and thousands of books to overwhelm you.

This year, my favorite booth was sponsored by Westcott.  The folks at Westcott sell great lighting products and accessories for photographers who want to have more control over the light that illuminates their subjects, in or out of a studio.  Their representatives were very good salespeople, answering questions and providing demonstrations every day.  They were swamped because they set up four small sets and provided models.  Each day, the models’ themes changed, with new wardrobe and makeup, so you had a reason to stop by again and again.

Since I love doing people shots, and models are rarely free, Westcott reeled me in every day.  The sets were surrounded with photographers, two and three deep, shoulder to shoulder, jostling for position.  It was challenging because, when you set up lighting for a particular shot, you want to control how the light falls on the subject.  Your setup can be critical; minor movements by the model can change the look.  The poor models were completely surrounded and didn’t know which way to look or to which photographer to direct their attention.  They looked like they were surrounded by Paparazzi.

Why would anyone jump into this mess? Did I mention there were free models, and we were using great Westcott light products?  Really, there isn’t a good reason to do this, other than to have a good time doing something you enjoy.  The models did their best to accommodate as many photographers as possible and had a super attitude towards the chaos in front of them.  I enjoyed being able to move from set to set.  I even managed to get a couple of nice shots.

One day, they had some storybook characters, so I had to shoot Red Riding Hood and Rapunzel for the granddaughters.

This model went through a long make-up session for his war-painted look.  He was a big hit with the lady photographers; they had him going through lots of poses.  I tried to catch him in a more dignified pose than most of them requested.

I was in the right position to direct this model when she came out, so I didn’t have to jostle around to get the eyes looking right into the lens.

There were several other models, but you get the picture.  The sets and make up were opportunities for a little diversion in between the seminars.  Westcott sold many of their fine products.  Start saving your pennies now and join us next year for the fun of Photoshop World.

What do you look for?  You want an area where you can move your subjects as little as possible and have very different scenery behind your subject.  I look for ease of access because most folks don’t want to have to trek a couple of miles to get to your outdoor studio.  Unless you have a landowner’s permission to use his property, you want public property.  You don’t want it to be in an area that is so popular that you’ll have a constant audience or, worse yet, people walking through your scene.  One of my current favorite locations is near the Manassas battlefield.   There are lots of paths, trees, creeks, split-rail fencing, and foot bridges within 100 yards of each other.  There are many such locations around your house, too.   It doesn’t have to be out in the trees.  My favorite city of Augsburg, Germany, had a downtown area with old buildings, train stops, car garages, and parks that I used for years with my models and clients. You get the idea.

Use the various backgrounds to give your subjects different looks.  I usually have the models bring several different shirts (since most people seem to prefer head-and-shoulder photos).  If I have a place for models to change, I’ll have them bring completely different wardrobes.

You may worry about lugging all the extra gear, but you easily do these photos with an off-camera flash and a reflector or two.  That certainly won’t add too much weight to your load.

I shot this last shot outside the Georgetown Mall, after the Kelby Worldwide Photowalk.  We were there recovering from the heat and a friend who lived nearby came by for an impromptu shoot.  We walked just outside the canal entrance; popped open a couple of reflectors; and completed the entire shoot in just under ten minutes.  Quick, easy, and she liked the photos.  That always makes for a good day.  Have fun.

The issue today is model releases.  Do you need them?  My answer is “yes;” yours may be different.  My opinion is you should try to get a model release whenever you can.  Feel free to disregard my opinion since I’m not an attorney – although I have some great lawyer jokes.

This is a pretty complex issue, and there are lots of variations of laws from state to state and country to country.  Pro photographers will give different answers.  They love to indulge in philosophic discussions that begin with the age-old phrase of “What if…”  I’m not going down that road, since I can’t give any kind of legal advice (have I repeated that enough to be perfectly clear?).  Besides, this blog is a just to make you think about the issue.  Let’s just keep it simple.

The key ingredient in your decision is probably how you envision the picture will be used, but do you really know what you’re going to do with the image?  These are old pictures I took in the ’80s.  At that time, no one imagined the digital distribution systems of today or photo websites or blogs.  Al Gore hadn’t even invented the internet back then.  Yet, because I obtained a model release from my clients, I can still use these photos.

I’ve been a people photographer since I started taking pictures, back in the late ’70s, and I’ve always used model releases.  I’ve never had any trouble getting them from my wedding and portrait clients.  I also ask people when I’m out and about, shooting for myself.  I use this as an opportunity to pass out a business card and offer them some prints for their cooperation. If you scan the release and put them into your Adobe Lightroom database, you can always find the release.  I go an extra step and keyword relevant images with “Model Release.”

Yes, I even get releases from family members and friends if I really think an image has the potential to be used in my advertising or maybe a sale to a stock photo agency.  People who know me are used to me asking.  Some of already seen their pictures used in my work.  Since they usually feel free to ask me for a copy of the photos, I just trade it for a release.  If nothing comes of it, I’ve wasted a tiny amount of space in my databases storing the release.  Remember what your grandmother told you, “Do what is right, even when no one is looking.”

Last year, we attended a seminar with Ed Greenberg, a lawyer who specializes photography and copyright cases, and he was adamant that photographers should always get a model release.  I guess you might expect that, but he had some pretty compelling cases to illustrate his reasoning.  Another good resource for legal information is Carolyn Wright’s blog, Photo Attorney.

In the end, you’ll make your own decision.  Count me as a photographer who loves to take portraits of people and is smart enough to get the release.