I know things have been slow here on the blog. Been doing a lot of thinking and re-organizing on the business end and I hate to admit it, but it takes away from the time available to really exercise creativity.
Anyway, I've gotten a lot of requests from people to do office holiday parties, so this year I'm officially making myself available for all of your holiday party needs. Whether you just want some candids of the boss doing stupid things while drunk, or you want a backdrop or step and repeat wall for everyone to have portraits taken in front of, I'm your guy.
This is only open to the NJ/NY Metro area, unless you want to add in an extra incentive ($) for travel ;)
Let me know what your needs are and when/where your company/party is going to be and I will get in touch with you privately with pricing and information.
I hope this won't be my last blog before the end of the year, but if it is, Happy Holidays and Happy New Year to you all.
Do you and your family send out new photos every year around the holidays? Have you had your portraits done yet this year? If not, and if you are from the NY or NJ area, I've got a special offer for you.
Instead of going to the mall and supporting the larger corporate chains that don't take the time to make sure everything is perfect, you can have an in-home or on-location family portrait done for $100. I'm running this offer until December 10th, so that you can rest assured you'll still have your files or prints in time to send out to friends and family.
I've got a little secret to share with everyone who was wondering if I had gone to the Big Four concert at Yankee Stadium on Sept. 14. I did not go. But here's the catch, I could have. In fact, I was cleared with credentials to shoot the show and have access to the press box to write up a piece on it for Paragon. The problem is that I found out about it too late. The Big Four show was a very high profile event. You couldn't just email a publicist for access, you had to fill out a form and submit it to a specific email address and hope they chose you as one of the very few people allowed press access to what was literally history in the making for the Heavy Metal world.
I filled out the form but didn't hear back by the time that I had suspected I would, so I booked myself for another concert on the same night. Sevendust was coming through town with a headlining show during a day off from the Uproar Festival, and I had the chance to get a video interview with one of the members and shoot their set. Sevendust put on such a great live show that I figured it was a no brainer, considering I thought I wasn't going to be picked for Big Four.
I found out, after making a commitment to Sevendust, that I could have photo access to Anthrax, Slayer, Megadeth, and Metallica, all on the same night, on the same stage. My jaw dropped and I didn't know what to do. On one hand, I made a promise to a publicist that I've had a long time relationship with, for a band that I know I enjoy shooting. On the other hand, the Big Four was a concert event like no other, it was the only time this would ever happen around here.
In the end I chose Sevendust because I'm a man of my word, and especially in this business, your word is all you've got. I made a commitment, and I stuck to it.
Looking at some of the photos that have been released from the Big Four show, I feel that I made the right choice. I've been doing this for a long time, so I know certain things when I see them, and I could tell that the stage was certainly not set up in favor of having people document the show in photos. For one, the stage was obviously too high. Most shots I've seen that involved any members of any band that were not front and center at the edge of the stage, included lots of wires and monitor boxes, meaning you couldn't get a clear shot because everything was in your direct line of sight. If the stage had been lower it may have been possible to get shots that didn't include stage hardware. Secondly, being a daytime show, outdoors in a baseball stadium, stage lighting was a moot point. The sun washed out everything, and without any control over things like fill or bounce, you were stuck with pictures that look like they were taken on a point and shoot camera in the noon sun. I know some of the photographers that were there, at least by name and portfolio, and I know that if they had a hard time, I most likely would have as well.
Sevendust, on the other hand, was set up perfectly with no obstructions, and they made it easy to have access to them. After the interview we were even invited to hang after the show, which we did. Getting some face-time with a great band and going home with awesome shots is always better than no face time with 4 equally great bands, and going home with absolute crap on your memory cards.
I love all 5 of the bands I've mentioned here, and I have for some time. I still hope to some day be able to shoot Metallica, since they're the only band I haven't shot out of these 5, but I'd rather do it in a place that is actually properly set up for it. I'd hate to have wasted my only, or my first chance, in a situation like this.
I'll be posting about the interview with Sevendust once it's edited and online. Check out my Facebook page to keep up to date, or follow me on Twitter.
I am very happy to share some exciting info with everyone. I was recently asked to put together a video for a song called "Like Animals", recorded by a long-time role model of mine, Monica Richards. Monica is well known throughout the Goth scene as both a solo artist and for her role in Faith & the Muse. After doing a couple of features on her in Paragon, we kept in touch and I've been honored to call her my friend ever since.
On Monica's Infrawarrior album, she recorded her own version of the song "Like Animals" which was in the original Dr. Dolittle movie. She told me that she'd been wanting to release a video for the song for a while now but has never had the chance to get it done. I offered to help out, since I'd already been working on a documentary for For The Animals Sanctuary and have a good amount of footage stored up already not only from there but from other times I've worked with animals or just shot stock footage for myself.
Though the lyrics of the song really point out how terribly humans treat animals, we wanted to keep the overall message positive, so instead of focusing on the horrors we commit against nature, we decided we would show positive interaction instead. In a way, this helps to balance out the message and will hopefully bring a new level of awareness to some people. Some scenes feature very special animals that deserve mention, so I'd like to point those out right now:
Opening - These are wild horses that live in Outer Banks, North Carolina. They've lived on this stretch of beach for years now and are a well known feature of the area for locals and tourists alike. Strict rules prohibit people from getting too close or interacting with them, and that's what's kept them alive for so long.
00:09 - This is Shelby, a remarkable pit pull that was abused and abandoned as a puppy, and is now not only rehabilitated, but working as a therapy dog. Working with Shelby for this video was great, and her owner Joe was very nice to let us have some time with her. You can see a quick interview we did with Joe where he tells us all about Shelby here.
00:28 - Amy is the youngest cow at For The Animals. She's very sweet and loving despite almost being killed and discarded very young. You can find more info on Amy here.
00:35 - Becky and Bridgette, 2 sisters waiting to find their forever home, currently at a nearby shelter in NJ.
00:44 - Here we see Hope, Herbie, Kevina (back, left to right). They are the other 3 cows that currently live in For The Animals, and in front of them is one of the 10 female goats that they rescued.
00:53 - This is Bumper. She's partially blind and has some neurological problems with her back legs and can sometimes find it difficult to stand up on her hind legs if she's not moving.
00:58 - A year ago we took in a stray mother, Smokey, and her 4 kittens Harmony, Melody, Steele, and Luna. This is footage from when the kittens were merely a few weeks old, still nursing from their mother.
01:06 - Katie was rescued from a life of neglect, and eventual slaughter, and brought to For The Animals by 2 caring individuals who immediately went vegan after learning about the horrors of factory farming.
01:14 - Tom and Jerry. If you look in the background of the Bumper footage you'll see these guys in their cage. All of these animals have nothing to fear because the shelter they are living at is a privately-owned no-kill facility with lots of dedicated volunteers.
01:29 - One of the many cats that call For The Animals their home. I don't want to get any names wrong, but I'm 99% sure this is Peekaboo
01:34 - One of the hens living at For The Animals, again, not positive of the name here. Notice how she'd been debeaked prior to being rescued from slaughter. It's common for chicks to have their beaks burned off with a hot knife because farmers don't want them pecking at each other while crammed into tiny cages together.
01:38 - This is Debbie, co-founder of For The Animals, with Brutus. His brother Boo Boo can be seen behind him.
01:53 - Hope, For The Animals Sanctuary
02:30 - Boo Boo, For The Animals Sanctuary
02:35 - Joe Dwyer and Shelby, as we were setting up for the interview I linked to above.
02:41 - Kevina, For The Animals Sanctuary.
02:45 - This Red-Tailed Hawk is missing an eye. I don't know his story, but he was rehabilitated and now can live out his life safe and sound at a local rehabilitation/environmental center in NJ.
02:58 - This fox, along with his family of about 4 or 5 others, live in the same environmental center as the hawk.
03:02 - I don't pick favorites at all, but Herbie here has a special place in my heart. He is at For The Animals because he made news a couple years ago when he broke free from the truck that was taking him to slaughter and ran through NYC for a while before finally being rescued and spared his life. There is a very good piece on him here.
03:08 - Hope, For The Animals Sanctuary.
03:39 - This is some home footage that I asked Monica to send me of her 3-legged Shepherd Fozzie. Monica wrote a very touching, heartfelt piece on him after having to face that awful decision that we often hope we never have to deal with as pet owners.
03:43 - This Siberian Husky was my dog, Ranger. He is also no longer with us. I've had lots of pets growing up, all kinds of them, but I'd never felt loss like when we had to say goodbye to Ranger.
So that's the run-down of the important players in this piece. Some footage is personal, some was shot specifically for this, and some was shot as part of other projects.
I hope that the lyrics and footage touch all of you and will make you rethink how we treat animals. Whether a companion animal, a wild creature, an insect, or a farm animal, we're all connected. Please try and remember that the next time you hear about a child abusing an animal, or someone giving up their pet to a public shelter where its days are numbered simply because they can't care for it, or even the next time you consider a family pet or what to put on the dinner table. We're not better than them, just different, but if you do think we're better than them, then act like it. Choose to live compassionately in all aspects of your life, and show all the Ranger's, Fozzie's, Herbie's, Hope's, Katie's, Tom's and Jerry's, that they're worth more than what some people give them credit for.
I've mentioned my friends in the band Swashbuckle on this blog in the past. They are a fun bunch of guys that dress up like pirates and play pirate-themed Thrash Metal. They just left to go overseas to play a bunch of European Metal festivals and before they left they did a hometown warm-up show.
I wanted to go check them out but I knew there wouldn't be a photo pit set up at a bar show and I'd probably risk being knocked around a bit by kids moshing. Considering the circumstances, I knew if I wanted to take any photos I'd have to pack super light gear, so I used the situation to my advantage. I've got a 50mm f/1.8 lens that I rarely use. It was something that I thought would come in handy but I can count the number of times I've had it mounted to my camera on one hand. A wide open aperture like that would be really nice in dimly lit close quarters. I decided to put the lens on and hit the road. No camera bag, no flash, no back-up lenses, nothing, just my camera body and a single lens. It's a prime lens, so there's no zoom, I'd have to zoom with my feet instead.
I got up nice and close, right within a decent range for three quarter portraits of the guitarist and bass player, opened it wide to 1.8, and started shooting. The depth of field at 1.8 is kind of a dangerous thing to play with, so it was definitely a night of experimenting, and I treated it as such. I wasn't expecting to come up with much, but I did have 30-something decent photos when all was said and done.
Enough technical talk, let's get down to the actual shots:
Notice the way the focus falls off rapidly from the headstock of the guitar. That's what happens with a wide aperture. Pretty epic looking, if I do say so myself.
Same here, notice how Eric's head is in sharp focus and little of anything else. Makes for great separation from the background.
Another great thing about a wide aperture is how much light it lets in. I can guarantee you this room was not as well lit as it appears here.
I shot this glass that says "Victory" because one of my favorite Swashbuckle songs is "Where Victory Is Penned." I just included it here because I thought it was kinda quirky. Then again, I'm probably wrong.
So there ya have it. You can click on the photos, or on this link to see the full gallery. They aren't really the same as most of my concert shots, but like like I mentioned, I was just testing this lens to see how useful it is for concerts. I think in a setting with more space and more powerful stage lighting, it could make some great exposures, but I do worry about how much depth of field I lose opening it wide. Plus, in most true concert venues you don't have the leisure of being as close to the band as I was, so having no zoom really limits your composition options. I think it would make a great lens to have on a second body, but I rarely ever shoot a show with 2 cameras.
After the pursuit of fun and art is over, an artist still needs to eat and have shelter, right? This basic concept is at the root of why you have to pay an artist for their work. After all, we're people too, and we expect and need the same things that everyone else does. But what happens when your needs are met, but not your full demands or expectations?
I recently did a shoot for a long-time musician friend. We've been working on our respective current projects for almost the same amount of time, so we have seen each other through the ups and downs, the struggles and the joys, of doing what we do. Many nights were spent at coffee houses commiserating and congratulating each other. When the time came for him to record a new album, he would give me the first shot at hearing the tunes, even before they were completely finished and totally refined. I was there for the rehearsals, the recording process, and eventually got hired for the promo photos that would be used in the album art and to promote the latest release.
Running a business isn't easy and it isn't cheap. At the same time, though, having a hobby or interest like photography, or any art form, really, isn't cheap either. Painters need a constant supply of expensive items; sketch artists need to buy the right kinds of pencils with specific kinds of lead, as well as sketch pads and other media; craft artists or people who make hand-made jewelry are constantly buying tiny pieces and tools to improve their crafts; musicians know all-too-well the constant struggle to find the right gear to bring them to the next level. Photography and videography is the same, whether it's your hobby or your business.
Photography is one of the only arenas that I know of where the accessories almost always cost more than the essentials. You can buy a good camera body for as low as $1,000. You can buy a really good camera body for around $2,000-$3,000. You can buy a GREAT camera body for $4,000 and up. But the lenses for those cameras can easily range anywhere from $75 to as high as $8,000 or more! Tripods, cleaning kits, monitor calibrators, neck and shoulder straps, flash heads, pocket wizards, light stands, light modifiers, camera bags. These are all items that could make you go broke in no time. Even though some of them can be considered essential items for certain people, or certain areas of photography, the fact still remains that you don't absolutely need any of them for photography in general. Some are obviously worthwhile investments if you are a serious photographer, and therefore you can't escape the need to constantly swipe your credit card (or punch the numbers into a website). The way you determine which are necessary investments and which are just helpful accessories is completely up to the person doing the purchasing.
In the end, though, we all go through this endless pursuit of gear for the same reasons: We want to be better photographers.
Now, there is the age old argument that it's not the camera, it's the photographer. While that may be true, there have been certain advancements in recent years that could cripple that argument in no time. For instance, when I first started shooting concerts, my first DSLR was a Canon Rebel XT. That camera was very hard to use in low light because the max ISO setting was 800 but you wouldn't dare ever put it that high. If you did, it would produce photos so grainy that it looked like you had them sandblasted. Meaning getting sharp, well exposed photos was incredibly difficult. After I upgraded to the Canon 5D Mark II, I was able to use much higher ISO settings, which allow more light sensitivity, with much less grain even at very high settings. In this particular case, we are talking about a technology that wasn't available just a few years prior. It's safe to say that the camera made me a better photographer, because it allowed me to capture scenes that were previously impossible to capture. Yes, I'd have to still know all the usual skills like composition, getting the right settings, etc, but the camera certainly did change the game. So in some cases, the gear most definitely does make you better, because it allows you access to possibilities you had not previously been able to venture into.
All these different tools of the trade, though, can cost you a fortune, like I already mentioned. So here's the thing:
The point I'm trying to make is that If you are working a job that you dislike, and need to put money into it, out of your own pocket, you are going to become disgruntled very quickly. However, if spending countless hours practicing a craft, and honing skills, even at the risk of losing hours and days of your life doesn't bother you. and if spending money you don't have only to try to profit to spend more of it doesn't bother you, then you've found the right path in life. Maybe it's a career path, maybe it's just a time-passing path; that is up to you. How many of us can truly say we have no qualms whatsoever about dumping hours of time and heaps of money into something that we don't even know will give us a successful outcome?
It's a scary idea, and something that people need to ponder over for quite some time before they know what direction to go in. So what category do you fall into? Are you afraid of wasting time and money pursuing something you think you like to do, or are you the type to dive in head-first and worry about the details later? Let me know in the comments!
Well, I finally did it, I created a Facebook page for DIGImmortal Photo. I'm not a big social media kinda guy. I'm far too private to feel comfortable in a world of "look at what I'm eating" or "I'm here at this place, come find me."
However, regardless of my own personal use, or non-use, of such a site or service, there is no denying the powerhouse of a marketing tool that it is. There is an old adage of: "You have to fish where the fish are" and with millions of users from around the world it's really stupid to not have an online presence within Facebook. I signed up for Twitter long ago, and use it almost daily as a means of keeping in touch with fans and finding new prospects, and just sharing basic happenings about my business. Facebook always seemed too exposed for me. Now that I think about it, though, exposed is exactly what any business needs in this struggling economy. If you aren't exposed, you are ignored, and that's precisely what any small-business owner feels like these days.
I do have the page linked to my twitter, so both will update together, in most cases. I figure this is a good way to share more images with more people. It's never a bad thing to have multiple places for people to discover you, especially as an artist. Here's to hoping it remains a positive experience on there.
So, I mentioned on my Twitter feed a few days ago that I had a request from a client that put me a little out of my comfort zone. Some people might think I'm a pansy for this, but basically, the client (actually, the clients PR agent) requested that I hand over a few select images the night of the job, immediately following the shoot.
Now, for me, I follow the concept of "get it right in-camera" pretty closely, but the idea of not being able to analyze and do any minor editing before the client sees the work still scares me. What if I had a bad night? What if my settings were a little off for a few of the more important shots? What if I just flat-out failed?
News photographers are probably too busy pointing at their screen and laughing at me to continue reading, but the truth is, for most of us, we're afraid to let people see our raw, unedited work. If we get home, or back to our offices, and go through our images to find out that nothing needed any tweaking at all, then we pat ourselves on the back and feel a sense of accomplishment. Should we return to our computers to find that some images need some CPR, then we make the necessary changes, say a few funny sounding words under our breath, and deliver our newly-perfect, polished images. We then pat ourselves on the back and feel a sense of accomplishment. In the end we don't release anything we aren't proud of, so the concept of not having at least the chance to give ourselves the mental "green light" is frightening! What if we look like completely inept morons and the client never calls us back again!? What if we shot the entire night with the wrong white balance and everyone looks like a martian!? There are a ton of "what if" questions, but in the end, it all comes down to this: Am I good enough?
Really though, we're artists, and we have this relationship with our work where we always want to be better, to do better, to create better things. Maybe our fear of showing unedited work comes from our desire to constantly critique and torture ourselves.
On a final note, what really is a "comfort zone?" Obviously, it has a definition, but seriously, why do we put ourselves into these little boxes of "I can do this" and "I can't do that" and how do we know when to break free? Without sounding like I'm bragging, the photos came out just fine, and client and their PR agent were very pleased and the necessary photos went out for immediate release that night. I delivered the balance of the images to the client on Monday... and the only editing I did was cropping.
Just goes to show you that you don't know what you can accomplish until you are pushed to do so. It's impossible to tell yourself to be spontaneous with this kind of stuff because planning to be spontaneous is in-and-of-itself the very opposite of the concept.
Just a quick update, I know things have been slow here on the blog.
This was a very busy weekend for me, photographically, and now I find myself staring down a long list of projects that need editing. This weekend I completed 4 shoots, 2 of which really kicked my ass. Needless to say I'm exhausted, especially since I was running all over NJ and fighting the clock the entire time.
Gear malfunctions held me back a few times. Of course, that had to happen during the 2 bigger gigs of the weekend. Things never go wrong when you're relaxed, only when you're already rushed and stressed out. It's like there's ghosts in the equipment or something.
Tried something brand new this weekend as well. I am feeling good about the previews so far, but once I get down to actually editing the final images I'll see how it all worked out. If it works out well it may be something I consider adding to my list of services and using a little more frequently for certain jobs.
I suppose I can't tell you all about these things until they are ready to be shown online. One batch of photos was just a self assignment to shoot some photos of the Supermoon that we had going on Saturday night. I had considered renting a longer lens for that, but ended up not having the time, nor wanting to spend the money, so I used my old 75-300mm kit lens that I got back when I bought my Rebel XT. The moon was very bright, so I was able to use some really fast settings, so I actually think it'll have come out pretty good, but we'll have to wait and see when I sit down to edit. Another job was for a local news company, so I probably won't be blogging about that one, it just kind of is what it is, you know? Keep your eyes open for updates though, as I'll be starting to work on images throughout the week and posting as they are available for public viewing.
In the meantime, I wanted to tell you about two really cool apps I downloaded for free. I am not an iPhone user, at least not yet, but my iPod does run a lot of the same apps. I was searching for an app to help me build lighting diagrams and came across two that are each great in their own way. I'll provide a more detailed review of each after I've used them a bit more, but for now, if you want to check them out yourself, you can click each name and go to their website, or just look up the app title on your phone/iPod
Some people like their schedules and their daily tasks to be well planned and calculated. They like to know exactly what they're in store for well ahead of time and need to follow their dialy outline with robot-like rigidity. I'm not one of those people.
I was at work one day, doing what I do. What I do, mostly consists of a little bit of what I'm supposed to be doing and a little bit of what I probably should just do when I get home. Regardless, I was doing... something... of some importance... not even sure of who it would be important to. All I know is I took a quick break to check my email and got a message from one of my music business contacts asking if I would be available to do a video interview with Ill Nino, a band that started off locally here in NJ, and has gone on to national and even international success. Here's the kicker, it was for the next night. Not that something like "tomorrow night" is super short notice or anything, but depending on the caliber of the job it could be a slight inconvenience. Depending on what needs to be done, you can sometimes need as much as a week, or even a month's notice for photo and video work. Not one to complain, I got all the details and agreed.
Just wanted to let everyone know that David Ziser mentioned my review of Captured By The Light on his blog yesterday. I'm glad he enjoyed what I had to say about his book as much as I enjoyed reading it. It's nice to see my name and my blog mentioned outside of places that I post the links myself. Everyone go on over and check out the shout-out he gave me, and while you're there, subscribe to his blog as well. He posts great photography biz items daily.
This is the first of a few new reviews of photography-related items that I plan on writing up. The first item on the list is David Ziser's Captured By The Light, which is easily one of the best, most comprehensive books on wedding photography I've ever read.
I had my very first wedding job coming up and I knew I was going to need help. The main reason should be obvious: concert photography is drastically different from wedding photography. In fact, even the portrait work that I do, despite it still being fundamentally the same, builds up and into something much different. Everything from the subject (obviously), to the location, the time allotted, and very much so the expectations of the client. You always want to do a super job, no matter what, no matter who you are working for, but there is something very intimidating about a bride on her wedding day. There are no re-shoots if you mess it up.
(I am completely aware that the photo I used for this has nothing to do with the actual topic of this post. But it's certainly pretty, innit?)
You've probably seen dual monitor setups in movies and TV shows and thought it would be pretty cool to use 2 monitors on one computer. Oftentimes it'll be a scene with some nerdy gamer-type locked in a basement with a bag of Funions and a case of Mt. Dew, blasting away zombies or spacecrafts as he's surrounded by 2 or more display screens. Other times you'll see it can possibly be during crime dramas or detective shows; because apparently, the police can never have too many screens to monitor people on.
Every artist is probably familiar with hitting a wall at times. Lots of us hit what I refer to as "Winter Funk." It's basically what happens when the conditions around you are less than ideal for going out and creating new things. For me, and for a lot of other photographers, this tends to happen in the winter. Maybe it's the lack of sunlight, or maybe it's just that we'd rather not freeze our fingers off in the cold while trying to be inspired by a bleak landscape of leafless trees and salt stained roads. Not to mention that even if we were inspired, the bitter cold takes a toll on your gear and batteries and you end up having even less time than usual to get the job or project done.
Life's been full of stress factors lately and I started to feel the pressure cracking me in half. On top of trying to keep up with my own life, I started to feel like I was standing still with my art. Sure, there have been some paying gigs to keep me busy, but my personal work had taken a huge hit since completing my 365 Project back in October.
If you are expecting an Art of Manliness post, you're in the wrong place.
I've known Mike Grosshandler of The Velmas for quite a while now. We met via the internet back around 2004-ish when we were giving The Velmas coverage in Paragon Music Magazine. One very big thing that we (Lisa and Myself, and Mike) had in common was our devout love for Type O Negative. We'd share stories of seeing them live, interesting news pieces that we'd find on the web, even some rare MP3s that circulated the web.
Mike had recorded an acoustic version of "Die With Me" which you can find here: http://tinyurl.com/y6w67fc
Being from the Albany, NY area, and us from quite a few hours south in Northeastern New Jersey, we didn't have very many chances to meet in person, or to get out and see the Velmas perform. One night, The Velmas played in NYC and had invited us out. We almost couldn't make it because of a prior obligation on that night, but Mike convinced us further by saying they were planning a surprise for us. Well, you can't turn down a surprise, right? Especially when you're told it's kinda for you; you pretty much wanna be there for something like that.
So in true DIGImmortal fashion, I lug my gear out to the City, along with a new audio recorder that I had wanted to try out.
The surprise Mike had mentioned was a nice one. They had practiced a Type O Negative cover and wanted to perform it that night since it was the first time they'd played the area since Peter Steele passed away. They played "Todd's Ship Gods (Above All Things)" in their own signature style and it sounded great. I was standing by with my recorder to make sure I got the whole thing on tape...err...digital...
Two days later when I went to retrieve the file, wouldn't you know I had some kind of card error. It took months of searching for a decent free rescue tool to get the file back. I finally came across Disk Drill which did the trick!
I put the audio together with still shots I had taken earlier in the night and made a nice little slideshow out of it. It's not exactly a Hollywood production, but I think it came out pretty good for spending a very short time putting it together amidst other projects going on. You can watch the video below, but I'd recommend going to the YouTube page and watching it there to get the full quality of the photos.
No, no, it's not a new Al Pacino movie. I was recently asked to photograph a new perfume that PromGirl put up for sale on their website. It's the company's official scent which it describes as such:
The official perfume from PromGirl is a signature scent for every girl! It 's a fun and flirty fragrance that will compliment your prom look perfectly. PromGirl perfume is light enough to wear everyday but fragrant enough to last you all through your special event. The main component in this scent is fruit top notes, floral heart notes and a combination of cedar and vanilla base notes. The perfect combination for prom perfection!
album, she recorded her own version of the song "Like Animals" which was in the original 
movie. She told me that she'd been wanting to release a video for the song for a while now but has never had the chance to get it done. I offered to help out, since I'd already been working on a documentary for 
that I rarely use. It was something that I thought would come in handy but I can count the number of times I've had it mounted to my camera on one hand. A wide open aperture like that would be really nice in dimly lit close quarters. I decided to put the lens on and hit the road. No camera bag, no flash, no back-up lenses, nothing, just my camera body and a single lens. It's a prime lens, so there's no zoom, I'd have to zoom with my feet instead.
The first item on the list is David Ziser's 
, which is easily one of the best, most comprehensive books on wedding photography I've ever read.
" in their own signature style and it sounded great. I was standing by with my recorder to make sure I got the whole thing on tape...err...digital...
movie. I was recently asked to photograph a new perfume that 
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