Pete Wright, a photographer, teacher, speaker and author, is obsessed with everything George Hurrell.

Glamor Portrait Photography

If you think of glamor and Hollywood these days, you might think of Annie Leibovitz and you wouldn't be wrong. But for Pete Wright, almost all of us portrait photographers need to tip our hat to Mr. Hurrell who was a pioneer in cinematic portraits.

Yet, Pete Wright has his own spin on the genre of cinematic portraits. He essentially wrote the book on the topic.

From Goodreads:

Pete Wright teaches you how to re-create mysterious, dark, and glamorous cinematic portraits reminiscent of those taken of 1920s’ and 1930s’ stars and starlets. The book contains 60 discrete sections which contain 60 of Wright’s most impressive, nostalgic black & white portraits, along with some alternate poses and lighting diagrams. In each section, the author details the steps taken to create the final portrait.

The Interview About Cinematic Portraits

When I found out that he was going to be presenting a workshop for CTPPA members on June 22nd, we hastily made arrangements to speak about cinematic portraits, his connection to Canon and how he is now on the road for most of the year bringing photographers full circle – teaching them about capture, processing and printing their artwork.

It's quite a mission and I applaud him and Canon for it. If you are in or near Connecticut on June 22nd and June 23rd, register for the workshop and do NOT miss this opportunity to learn from a master craftsman.

Pete Wright's Portfolio

Please visit Pete Wright's website for even more examples of his cinematic portraits. Here is a small sample for your viewing pleasure!

Register For the CTPPA Workshop

On June 22nd and June 23rd, you can learn the skills to create your own version of cinematic portraits. But you must register today!

In addition to Canon's sponsorship of Pete's presentation over the two days, we have to thank Elinchrom for making their studio strobe equipment available to participants.

If you have any questions for Pete Wright about cinematic portraits, please comment below.

With the season turning from spring to summer, I'll bet you have a lot of family portrait sessions scheduled. But the one thing that I was nervous about as I was getting started in family photography was how to pose my clients.

One photographer and teacher who helped me in that regard is Laura Siebert. I initially bought her excellent workbooks, but when she made plans to be in Connecticut to conduct a live workshop, I signed up right away.

Given the timing, I figured it was appropriate to interview Laura about her background in family photography, her workbooks and her workshops.

Tell us a little bit about yourself. Where are you based, how did you get your start in family portraits? Why is it important for you to photograph?

I started my business in 2005. I had begun hand painting black and white portraits as a small side business while I was a nurse. I had been photographing my own child with a film camera to have portraits to practice on and gradually my hand coloring clients began requesting me to also photograph their children for their hand colored portraits.  By September of 2005, I had switched entirely over to portrait photography with only an occasional hand painting commission. I am currently based in Denver, CO but maintain about a 50/50 client base in Denver and St. Louis, MO where I started my business.

1) As a family portrait photographer what challenges you the most and what techniques do you use to overcome them?

Family portrait photography used to scare me. A LOT! I have always been comfortable with kids, transitioning into photography from a pediatric ICU nurse. But I used to actually refer out that proverbial “family photo”.  I think the most challenging thing for me is the grumpy dads or the frazzled moms. I overcome both by explaining in a pre-session consultation and also at the beginning of the session that we are here to have FUN and it will be quick and painless. By getting the full family images out of the way first, it reassures mom that we have THE shot that she was most stressed about. I then move on to dad and kids so that dad is finished quickly.

2) What is it about photographing families jazzes you the most?

I think it's really, really awesome when you can get the whole family together and interacting with each other for an evening. No texting, no sport practices or conference calls. Just THEM. Just them actually being with each other and having fun. I enjoy capturing these interactions and knowing that when they look at the photos, it will bring back actual memories of this evening of family time.

3) What tools do you typically gravitate to the most when photographing families?

I use Canon 5d Mark 3 with an L85 1.2 about 80% of the time. With Canon 70-200mm and Canon 24-70mm making up the other 20%. I use reflectors occasionally indoors but not outdoors. Mostly I like to keep it as simple as possible by finding the correct light to begin with. 

4) Tell us about the books you have written. Get Real and Get Real 2 – what is your intent with both of them?

When I was about 2 years into my business, I realized that I couldn't be afraid of family images if I wanted to stay viable as a business. I can't say exactly how or when it dawned on me except for that one Fall busy season, something just clicked and I started treating every family session with a formula of game playing. I found that by making everything a game and having a pattern/plan for every session helped me be more confident. It also resulted in much more natural smiles and allowed for many more beautiful “in between moments” to be captured.

Over the past 9 years, I've really perfected this concept and wanted to share the method with other photographers. Get Real teaches how to approach a family session from pre-session forward that allows everyone to be relaxed and have a lot of fun at their session by playing my proven games. My style of “posing” is guided but loose. I teach photographers some good base poses to start your clients in before playing games that are time tested to result in amazing, connected family portraits.

Get Real has all of that information: pre-session client education, how clothing can make or break a session and how to communicate that to your clients, base poses and lots of games. It also has a section on difficult situations and how to overcome them.  Get Real 2 is a supplement containing 27 more games that I've come up with and been using at family sessions since publishing Get Real.

5) After Get Real was launched, what kind of a response did you receive? What were photographers saying to you?

Get Real was an instant hit, especially with seasoned photographers who were looking to really take the emotion in their family work to a new level. There aren't a lot of educational materials out there for established, experienced photographers and they have been so verbal in their appreciation. From newer photographers, I am told over and over how they now look forward to family sessions rather than being afraid. I also get “love letters” about how this method has finally allowed photographers to photograph their OWN children and husbands without resistance and with fabulous results.

6) In their essence, what do your workbooks Get Real and Get Real 2 achieve?

If I were to sum them up as a pair: Learn the systematic, reproducible “secret formula” to family sessions that results in truly connected, emotional portraits that leave everyone feeling happy, refreshed and willing to come back year after year!

7) Why are games so much more successful than “posing” people?

I think people get really nervous and self-conscious when they think they are supposed to “smile”. Or they think THEY have to spontaneously do cute things with their kids. They feel put-on-the-spot. When you make the whole session a series of games, the clients can relax and let you run the show because they can feel that they are being adorable and photogenic while they play your games.

8) When a photographer starts to learn from these workbooks (workshops in a book, essentially right?) what strategy do you suggest works best?

Yes, I've been teaching workshops since about 2008. And all of the information I cover in my 2 day workshop is contained in the 4-book set. I decided to break the books into smaller, digestible bits for those people who can't attend a workshop or for those who may only be interested in one or two aspects of the workshop. I think the strategy really depends on where the photographer is in his/her journey. Do they really understand their camera and it's settings? If not, they should start there (my workbooks and workshops are based on the premise that the photographer understands camera exposure and settings). The next question should be if they understand light in it's most basic form. Seeing where it's coming from, whether it's harsh or soft, whether it's drastic or feathered, etc.

If they don't feel like their images have consistent lighting, then Lighten Up would be a great place to start for outdoor portrait photographers. Lighten Up also covers my editing process in detail. Two of the things I'm most often complimented on are the emotions in my portraits (Get Real & Get Real 2) and consistent, natural, even skin tones (covered in Lighten Up).

For photographers who live in areas where shooting indoors for some or most of the year is necessary, I recommend Step Inside. It contains information on utilizing natural light inside client homes (or a natural light studio) including intimate, small space games and posing, lighting and post processing.

9) How is the Get Real series different from your other book, Lighten Up and Step Inside?

I think the Get Real series is more practical information that anyone can utilize at any skill level. It's the human side of photography. Lighten Up and Step Inside dig more deeply into the technical side of things with lighting and post-processing.

10) Your workshops on location are just as popular as your books. When are you coming back to the Northeast?

That's a great question! I was in Connecticut in 2014 and New Jersey in 2013. I really enjoyed both locations. My workshop schedule is really dependent on my family schedule and whether I can “get away”. I don't have any workshops planned at this time (subject to change at any time).

11) Using the techniques in your Get Real books, what has been the client response to the games you prescribe for photographers?

They love them! I know I keep harping on this, but … especially dads! Here is a quote from an actual dad client:

“There is almost nothing that I can think of that I'd rather not do than family portraits. But I was pleasantly surprised that Laura made the session fun, easy and best of all-fast!  When we saw the photographs, it was so incredibly worth it.” – John from St Louis who, in full disclosure, was bribed by his wife to provide feedback for me. He was not told WHAT to say though. Ha!

Kids also really love the games. Believe it or not, the tweens and teens are some of my biggest fans. I think because I make them ALL feel silly and let loose, they don't feel self-conscious. It's important for the photographer to be silly too and laugh along with them.

Here is a quote from a mom about her tween/teen trio: “I'll never forget the first time I took them to meet Laura for pictures. I was stressed, yelling, not a great start… They were dreading it. After pictures we got in the car to leave and one of the kids said, ‘That was really fun!' in a surprised voice. The other two chimed in in agreement. They never worry about photos now. They always turn out great and it's never stressful. ~Kerri

12) In your opinion, why are family portraits important?

Oh gosh, why AREN'T they? Yes, we have a million and one ways to “document” our lives now. Snapchat and Instagram and Youtube and … But professional portraiture is still the best way to capture the whole family for generations to come. Having professionally printed and framed portraits in a home sends a message to the children that “Our family is important. We take time out of our lives to remember who we are TODAY as a family, because we are never promised tomorrow and because we will always be changing.”  

There is a wonderful song by Johannes Stankowski that sums up my feelings about this in a couple sentences: “The years are flashing by and everything will change. But way down deep inside, we all just stay the same. Old memories come alive and then we know.” Video of the song below for your listening pleasure!

Workshops In A Book

Interested in buying Laura's “workshops in a book”? Click this link or click on the graphic below! Thank you!

Commercial and portrait photographer John Mireles is based in San Diego, but he is on a mission to visit all 50 states for his Neighbors portrait project.

When Photo Projects Are Personal

“Neighbors” is a personal project, grown out of the need to stay creatively engaged in photography as well as to prevent burn out in the industry. But it isn't John Mireles' first long term photography project.

A few years ago he drove from southern California all the way to North Dakota, to discover and photograph oil workers in the Bakken oil fields. At the culmination of that project, Mireles published a book called The Bakken.

It's impressive work, no doubt, but I imagine they weren't easy to produce. Persuasion, charm, efficiency and professionalism perhaps were all factors in aiding John's efforts on that trip. And he is feeling that itch to get on the road again.

This time, he started photographing his neighbors in San Diego. He wants to continue setting up studios in different locations across the US, to photograph even more people; giving them a face and a voice to express themselves.

Take for example this striking portrait of Chuco that John created at Chicano Park Day in San Diego.

Mireles writes about Chuco in his blog:

The gang life lost its importance however, once he began to raise a family. His wife and kids – he has four now – became the focus of his life and he took to it with all the seriousness with which he formerly administered his gang life.

The portrait is one of many Mireles has created. But he doesn't stop there. He prints them and then displays them on his fence for the whole world to see.

Neighbors began as a series of portraits taken on the streets of a lower income community in San Diego. Instead of focusing on attention grabbing characters, I chose as my subjects the everyday people who constitute the backbone of the community. Afterwards, I displayed these tightly cropped portraits at 4 feet by 6 feet in a prominent location available for all to see.

Check out this short documentary about John creating these large portraits:

Again, pretty impressive. All of this as you can imagine takes a fair share of financial resources. This is where he needs our help. He has set up a fundraising campaign that will help him finance this new project. Having seen his previous accomplishments and what he is able to produce, I have no doubt that the “Neighbors” project when completed will become a historical document as this country goes through massive changes in its demographics.

The Interview

A few weeks back, John and I got together to chat about “Neighbors” and how he plans to pursue it. Give this interview a listen:

For those who do support this project, John is offering a signed magazine that will most definitely become a collector's item.

Other Neighbors

Support The Neighbors Project

If you have scrolled down this far, you know that John Mireles is creative and resourceful. As an artist who engages so successfully with his community, John needs our timely support to continue and complete “Neighbors”.

Can I count on you to support him? Click this link to make your donation, however big or small, now.

It's unusual for me to be up at the crack of dawn on a Saturday. But there I was stirring my cup of hot tea before anyone else was up at home. I knew that by 6.30 in the morning my kids and wife would be down for their breakfast, but I made a quick left turn out of my driveway and onto New Haven at 5.30 that morning. It wasn't a particularly cold morning, but I still clung onto my NorthFace jacket as I boarded the Metro North train to New York City.

The reason for the hustle and bustle? I was heading to the Big Apple to learn a fresh new approach to creating business portraits.

Making It To New York City

Dylan Patrick, was in town to walk a small group of us through his Cinematic Headshots approach. A few months ago, when I saw the crew at FStoppers promote their then new tutorial, I knew I wanted in. The headshots looked and felt different. I mean, go ahead and take a quick look for yourself.

Unlike the stodgy portraits against a maroon backdrop that we have all seen and perhaps avoided doing, Dylan Patrick's Cinematic Headshots offer something truly fresh and new. So, I had to make the three-hour one way trip into the city to explore and learn from him.

When I walked in to the studio Dylan and his wife, Sass, had secured for the day I was greeted warmly and we got down to business right away. Dylan set the tone of the workshop by making it clear that successful headshots were about three important things – your subject's expression, the quality of the light and body language. He walked us through with examples, talked about the gear and quickly jumped into showing the subtle differences between good headshots and great ones.

Dylan Patrick's The Cinematic Headshot Workshop

Dylan patiently worked with each of us, photographing us by turn so that we could each watch and listen to the way he photographed his subjects. I enjoyed how he prompted a change in posture or an expression by simply engaging with his subjects in a positive and jovial manner. Keeping it light and almost funny is his way of relaxing his subjects. Your approach may be different.

After a quick lunch, which was included in the price of the workshop, we jumped back into the two shooting bays to photograph each other. I have got to say that I really appreciated this opportunity to not only photograph my peers but also be photographed by them because it gave me a good idea of how my potential clients often feel on the other side of the camera. As soon as we were done photographing each other, we were introduced to Michelle and Ian, our models for the day.

Borrowing Dylan's Nikon 70-200mm f/2.8 VRII lens I photographed them both. Below are my favorites from this short session:

The Required Gear

The shoot requires essentially two strobes filtered through modifiers. Dylan used both Lastolite and Elinchrom octaboxes. A reflector below the subject was used as a fill light. The lights we used were Nikon SB900‘s and Nikon SB700‘s. Because I use a Nikon system, I wasn't totally paying attention to what my colleagues with Canon gear were using but they were also set up to create incredible portraits that day thanks to the Canon strobes loaned from B&H Photo Video.

Also a critical part of the set up were Dylan's PocketWizard MiniTT1 and Pocketwizard FlexTT5‘s. Allowing us to control both the flashes from the camera was a PocketWizard AC3 Zone Controller. A few test shots to get within range for your exposure and you are off to making some truly great portraits for your subjects!

The Interview

I was so thrilled with my experience at the workshop that I had to get Dylan Patrick on TiffinboxTV. Here is our conversation about The Cinematic Headshot:

The Cinematic Headshot Tutorial on FStoppers

Now, Dylan isn't on the workshop circuit and so catching him in New York City was a bit of a blessing. While he will be back in May, you can buy the tutorial download now.

The Cinematic Headshot by Dylan Patrick and FStoppers is sold for $199. But use this code: TIFFINBOXFS to receive a $40 discount through October 31st, 2015. Yes, I like to hook you all up! How does that sound to you?

Want to know more about The Cinematic Headshot? Just watch this video by FStoppers video :

Other Photographers Who Rock The Cinematic Headshot

Still not convinced? Other than Dylan Patrick, here are some other photographers who are rocking the cinematic headshot:

Christian Webb (New York, USA)
Linus Petterson (Sweden)
Bruno Kongawoin (Australia)
Michael Schacht (Chicago, USA)
Michael Moon (Houston, USA)
Josh Rottman (Baltimore, USA)

If you can, look these two guys up on Facebook:

Dean Webb (United Kingdom)
Rafa Móyer (Spain)

If you can't make it to one of Dylan's workshops, the alternative is to learn from him through the tutorial. Get the digital download for just $159 now through the FStoppers store. Remember, you have to use TIFFINBOXFS when you check out to get the discount for a limited time!

Jen Rozenbaum is a celebrated New York City boudoir photographer. Thanks to ShootDotEdit, she will be presenting a free webinar on the Art of Posing Women, on April 29th, 2015.

A little bit more about Jen – “Jen embraces her femininity while allowing women to embrace their own. In just five years, Jen has found a burgeoning audience in the intimate photography market. She proves that you can own your world if you live fearlessly, think audaciously, and act spontaneously. Jen has been featured in such places such as Good Morning America, AOL, and Entrepreneur Magazine.”

Being one of the best in the business, I wanted to find out more about the resurgence of boudoir photography in the last 10 years and her role in making it so popular among women. So we sat down and talked about it and also about her forthcoming free webinar on ShootDotEdit.

If you have ever felt challenged to pose women, I recommend you stop by and check out this webinar. I bet you and I both will be taking notes from what Jen has to teach us about posing women and making them feel truly comfortable and feminine.

Register for the free webinar here.