Commercial Photography

Commercial Photography

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    • 00:12

      SPEAKER 1: Hey, David.

    • 00:13

      DAVID CASTEEL: Hey, there she is.Come say hi.

    • 00:16

      SPEAKER 1: Very good to see you.

    • 00:17

      DAVID CASTEEL: Good to see you.

    • 00:18

      SPEAKER 1: How are you doing?

    • 00:19

      DAVID CASTEEL: Doing great.

    • 00:20

      SPEAKER 1: Good.Good.Sorry I'm a little bit late, but--

    • 00:24

      DAVID CASTEEL: It's OK.It's a long flight.

    • 00:25

      SPEAKER 1: Yeah.

    • 00:26

      DAVID CASTEEL: My name is David Casteel.[David Casteel, Photographer].I'm a photographer and a director.Today's going to be really fun.A friend of mine is an aspiring television personality.She comes from radio, and it's really simple.And this is not my usual big production,but she would like to have some head shots.So we're going to shoot some stills,

    • 00:48

      DAVID CASTEEL [continued]: and she's going to work on her monologue,so we're going to shoot some video.Very basic video of her talking to the camera.If you're spending 20% of your professional timeactually shooting you're very successful as a photographer,

    • 01:09

      DAVID CASTEEL [continued]: but the balance of your time is spent marketing,running your business-- there is a lot moreto running a photography business that just shootingand collecting a check.You need to have insurance, you're probably paying rent,you're paying people.So I like to at least give this adviceto young photographers and that's

    • 01:30

      DAVID CASTEEL [continued]: pay as much attention to the businessand financial management as the art and creativity.Equipment's an interesting conversation for a photographerbecause we love equipment, and wetend to fall in love with all of these great toys,and we feel that we need every single one of them

    • 01:51

      DAVID CASTEEL [continued]: to do our jobs.But having grown a little older and a little wiser,I tend to focus my obsession on personal equipmentthat I can use for travel and so on.But for projects, I prefer to rent.It's really liberating to not have to storeand maintain equipment, not to keep it up to date, and so on.

    • 02:15

      DAVID CASTEEL [continued]: Light is your main tool.It is by far more valuable than your camera, or your tripod,or any of your other tools.There we go.The interesting thing is that lightingdoesn't have to be complex.

    • 02:37

      DAVID CASTEEL [continued]: It just has to be really well thought out,and it doesn't mean you have to have expensive lights or tools.You can use window light and household items as reflectors.You just need to really pay attention to what's happening.

    • 02:57

      DAVID CASTEEL [continued]: That's as much as we're going to get out this guy.Let's have a look at your wardrobe.

    • 03:04

      SPEAKER 1: OK, so I haven't got loads with mebecause I'm traveling at the momentso it was a bit difficult, but that one I thoughtmight be quite nice.

    • 03:10

      DAVID CASTEEL: Yeah, this is nice.

    • 03:12

      SPEAKER 1: One is one of my smarter ones.As long as black's all right.I don't know.

    • 03:15

      DAVID CASTEEL: No, the black is a questionbut the neckline is nice, so I think it's a nice choice.

    • 03:22

      SPEAKER 1: OK, so there's that one.This is my other smart one, but I'm not sure.

    • 03:26

      DAVID CASTEEL: Too busy.

    • 03:27

      SPEAKER 1: Too busy.OK, so then obviously these two arequite bright but plain colors.

    • 03:32

      DAVID CASTEEL: Well, I would say,normally I would like something like this.The fact that you're traveling and its wrinkled--

    • 03:38

      SPEAKER 1: Oh, yeah.As soon as you put it on it's not wrinkly.It's quite magic.

    • 03:41

      DAVID CASTEEL: Ah, really?

    • 03:41

      SPEAKER 1: Yeah, it won't look-- Idon't think it will look wrinkly when I put it on.Unless I've really mistreated it,usually they kind of smooth out.So I can try that if you want, or obviously,what I'm wearing now.

    • 03:51

      DAVID CASTEEL: Why don't we do this.Why don't you try these two and we'lldecide which one's better?

    • 03:55

      SPEAKER 1: Try those two.

    • 03:57

      DAVID CASTEEL: OK, right in the camera.Good.These are great.Nice.Big smile.That's great.When you're directing models or talentthere's certainly a psychology involved,and your job as photographer is to bring out

    • 04:21

      DAVID CASTEEL [continued]: whatever it is that you want to bring out in this person.A lot of photographers have different techniques.I'm a big fan of connecting with this personand making them feel relaxed.As a director, you really need to becomfortable with yourself.You need to understand what it isyou're trying to convey, and be preparedto give clear direction.

    • 04:43

      DAVID CASTEEL [continued]: Many times I've seen photographerswho just sort of mumble at the talentand hope that something great is going to come from that,and it's frustrating for the talent.And if somebody's frustrated, you don't get good photography.So turn your head a little bit more towards the light

    • 05:05

      DAVID CASTEEL [continued]: and just look at me.That's right.Nice little smile.That's very nice.Particularly shooting fashion, there's a brand experiencethat the client is often hoping for.This can be expressed, really, in the bodylanguage of the model.Let's say you have a lifestyle brand that's very casual,and they sell a lot of jeans, and they want people

    • 05:26

      DAVID CASTEEL [continued]: to look authentic and relaxed but youhave somebody who's a fashion model,and they're always kind of posing for the camera.It can be very, very challenging to getthem to break out of their shell and to literally just bethemselves.Do you want to see some examples of work?

    • 05:46

      SPEAKER 1: Yeah, that would be great.

    • 05:48

      DAVID CASTEEL: Great.So I have this--

    • 05:50

      SPEAKER 1: OK.

    • 05:51

      DAVID CASTEEL: --and there's that.Having a current portfolio is cruciallyimportant to marketing yourself as a photographer.If you're going after big fish, meaning top clients in an adagency, you probably still need to have a large size, printedportfolio.Despite the cost, it shows them that you

    • 06:14

      DAVID CASTEEL [continued]: are committed to a level of quality and presentationthat is worthy of a high dollar project.So I like the ones where you have your chin slightly down.It just shows a nice, clean jawline.

    • 06:36

      SPEAKER 1: Yeah, I do get a bit nervous about my jawlinein pictures, so I'm pleased with these.

    • 06:40

      DAVID CASTEEL: Good.

    • 06:41

      SPEAKER 1: Cool.

    • 06:41

      DAVID CASTEEL: Great.

    • 06:41

      SPEAKER 1: Yeah, the light's really nice as well.

    • 06:44

      DAVID CASTEEL: Very simple.

    • 06:44

      SPEAKER 1: It's going to be great.Really helpful.

    • 06:47

      DAVID CASTEEL: What we'll do is we'llmake a selection of the images, you'll choose your favorite,and then we'll retouch that so it looks spot on.Photo retouching is as important a component of a photoshoot as really any other part of the production,and the retouching really need to align with the concept.

    • 07:07

      DAVID CASTEEL [continued]: If for example, you need to shoot something that'svery authentic and real but you over retouch,then you've done an injustice to the final images,and it won't read well.Another important component of the post-production storyis the editing of images and delivery.

    • 07:30

      DAVID CASTEEL [continued]: You don't want your client looking at the 5,000images you just shot.They'll quickly become frustrated.It would be better for you do a pre-selectand come up with 50 really great images.They'll be happier about you as a photographer,they'll be happier about choosing those two or threethat they're going to use to promote their product.

    • 07:51

      DAVID CASTEEL [continued]: It's just basically a win-win situation there.My advice to anyone that wants to get started in photographyis to make the investment in a good lens.I always recommend starting with a 50 millimeter lenses,as fast as you can afford, and a digital camera that'sof reasonable quality, and go out and shoot.

    • 08:15

      DAVID CASTEEL [continued]: Go back and look at photography blogs,try to reverse engineer images that you really likeand that speak to you, and keep trying.Today is such a great time to be a photographer.The tools that are available to you today

    • 08:36

      DAVID CASTEEL [continued]: are so different than what were available to me when I started.One had to invest so much in equipment, and film processing,and portfolios just to be able to present yourselfas a photographer.But today, with the digital cameras,you can shoot as much as you want, and I highlyrecommend you do so.Almost as important, if not more so,

    • 08:57

      DAVID CASTEEL [continued]: than becoming a skilled photographer.And by that I mean composition, and lighting,and the classic idea of being a photographer,is to be a great editor.By all means, shoot as much as you possibly can,and when you do shoot, shoot a lot of frames.Just learn how to recognize which

    • 09:17

      DAVID CASTEEL [continued]: photographs are the winners and which ones are the losers.

Commercial Photography

View Segments Segment :

Abstract

Photographer David Casteel gives an overview on the life of a professional photographer and offers advice for those wishing to enter the field.

SAGE Video In Practice
Commercial Photography

Photographer David Casteel gives an overview on the life of a professional photographer and offers advice for those wishing to enter the field.

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