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July 18, 2010

BIG NEWS – We Have a Space

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It's been a long and winding road trying to decide where we wanted to set up our home base on this crazy adventure of being a self-employed editorial and commercial photographer. Without the safety net of a staff position we wanted to be sure we were making the best choice for us as a whole. In the end, we decided to set up our camp in the Upstate of South Carolina. Centered in the middle of Asheville NC, Charleston SC, Charlotte NC and Atlanta GA. After all, this is where our friends and families are.

So…

We've been breaking in the new studio space for the past few days. Located at 12 Rutherford Road in Greenville SC, close to downtown it's 1800 square feet, has 14-foot ceilings, and comes with two bathrooms and a dressing room. Having the space will allow us to start building sets, work when it's raining and have a place to educate and be educated. It gets us out of the coffee shops for meetings and gives us an opportunity to create our work under a controlled environment.

The above shots are from a white-seamless set up we did over the weekend with a few Upstate film and theater actors. With the exception of that last droid, that's yours truly.

Interested in a Studio Tour? email info(at)iancurcio(dot)com

June 09, 2010

Turning Down Jobs

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It's tough times out there. No one will argue that statement, especially not a working photographer. Jobs are far and few in-between and competition is in full swing. I shoot more assignments nowadays were I'm standing next to a soccer mom or Nascar dad with a Nikon D3 and an SB-900 hanging around his or her neck then ever before. As an old newspaper photographer I used to gaffer the name on my cameras so I wouldn’t draw attention to the professional equipment I was using. I'm still doing that today but not for the same reasons.

I poke fun but the situation is a serious one. The old "don’t take $200 assignments" truism is a painful one. As professionals and even the professionals-in-the-making we have to educate or clients and future clients on the value of great photography.

Photography is not much different that anything else out there. You have your Mazda and then you have your Mazarati. There are buyers for both. If you give your client a Mazarati for the price of a Mazda, you're not only hurting yourself but you are hurting your industry. Know how to turn down a job. We simply can’t shoot a $2000 job for $200. It doesn't matter how badly we need to pay rent.

May 10, 2010

Patience as a Skill Set

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Anyone who reads this blog knows that I'm a big fan of using lights. I think understanding how and when to setup strobes gives you an advantage over the photographers who do not. It gives you more options and when you need to be visually creative, having and understanding your options is a valuable tool. It also gives you control; there is something to be said for being able to walk into a situation and owning it because you understand how to light it.

But not all assignments are going to require you to light them; some are going to require a different set of skills. Skills like remaining calm while being at the mercy of variables you cannot control and being able to wait patiently for the perfect shot.

While on an editorial assignment last month, it took me two days to get these two shots while it really only took me a few seconds to shoot each one. It was the prep work and waiting that took so long. Waiting for the rain to stop, waiting of the sun to be in the right location, hoping the wind would stop blowing, these were all variable that I could not control. That car you see in the bottom picture, I had to wait for that, there was no big production. Just me and a camera. The skyline shot, I asked forgivness later and not permission first as I scouted out and climbed random rooftops in Charlotte's South End to get that picture. It took patience.

March 11, 2010

Barter Much?

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One of the things I enjoy the most about providing a service is that I have the option to take advantage of the barter system. As a photographer, especially for aspiring photographers, bartering can be a great tool. It's a great way to add to your portfolio and it's the perfect way to hand pick your assignments. Don't misunderstand me here, this is not shooting for free or undercutting other photographers, this is a straight up trade; my service/product in exchange for your service/product. I've bartered, a year's worth of haircuts for me and my family, I've bartered a credit to some of the best farm-to-table restaurants around, I've even bartered plane tickets and vacation time across the country and they're all assignment I'm proud to show, blog about and put into my portfolio.

February 18, 2010

10 Portfolio Tips for Photographers

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1. Just because you shoot something doesn’t mean you have to show it. If you want to market yourself as a commercial photographer and you just shot the best wedding of your life – don’t show it in your portfolio.

2. There is a fine line between being a versatile photographer and the jack-of-all-trades. You don’t have to specialize but don’t let your portfolio be all over the place either.

3. Show the work you want to get hired to shoot even if you have to shoot self assignments to get it. If you show food in your portfolio, you’ll get asked to shoot food. If you show family portraits in your portfolio you’ll get asked to shoot family portraits. Don’t worry, those jobs you don’t like to shoot but pay you, will still come.

4. Don’t self edit, even the best photographers can get emotionally attached to an image that’s not their best. Everyone needs a good editor on their side and it’s not your mom.

5. Be socially active. Use social media. Talk about yourself and your work. Act like you already have the job. Create a blog and update it often with worthy information. What good is it to have a banging portfolio if no one knows about it?

6. Spend the $10 to get a domain name because an online portfolio with yourname.someothershit.com isn’t worth looking through.

7. If you have an iPhone or any smart phone and you’re not carrying your portfolio on it you’re wasting an opportunity to show your work to everyone you meet.

8. A gallery with more than 18 image is too big and less than 8 is too small.

9. Consider having multiple portfolios or Web sites if you have multiple interests.

10. Update often. Don’t be stale. Keep things fresh.

I'll be taking in Richard Ellis' lecture for the SC Chapter of ASMP at The Art Institute in Charleston South Carolina on Saturday, February 27th. After that I’m going to be taking part in student consultations beginning with a round-table discussion on the basics and techniques of what makes a good portfolio. If you live in the area I hope to see you there.

February 10, 2010

Feeling Your Light

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I've been looking at photography like music lately. I've heard musicians say they can hear the sound in their heads but they're not satisfied until they can get that same sound to come out of the speakers. Well I feel the same way about lighting a photograph. There are times I can see the light in my head and I'm not satisfied until I can see that same light in my prints. As photographers we need to learn to "feel" our light, much in the same way a musician "feels" their music.

No doubt we need to have our technical skills down. A musician doesn't just pick up a guitar or sit down at a piano and start producing timeless music without an understanding of the chords or notes, without knowing what A, B, C, D, E, F and G means. A photographer isn't going to pick up a camera and start creating mind-blowing images using flashes without an understanding of shutter speed, aperture, ISO, flash power and flash-to-subject-distance.

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And in the same way musicians forget about all those technical aspects of music when they're grooving along and feeling the music, photographers need to be able to put all the technical aspects aside when shooting and groove along as they're feeling their light. You don't think Jimmy Page or Elton John knows each note by name as they are hitting them do you? They feel those notes, they feel what is coming next, they aren't always thinking about it. It's true that not all great musicians can read music and I don't think it's necessary for all great photographers to be able to spit out math equations all day long either. We need to learn our tools and then we need to feel with them.

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I understand that can be easier said than done. I cannot tell you how many times I've been trying to find my groove when lighting something and I just keep failing at it miserably. It's during those times I start to doubt myself as a photographer. I think I suck and I have no business trying to put my name out into the industry's wave of professional photographers. But the truth is that not even the best musician can walk into the studio and complete a Grammy-award-winning album in one take. Hours are spent trying to perfect those sounds, tweaking those rifts, changing this and changing that and lighting anything in photography whether it's a person, building, plate of food, whatever, is exactly the same. It takes time, practice, trial and error and in the very end, even the most perfectly-technical lit picture isn't going to resonate with your viewers at all if you aren’t feeling your light.

Disclaimer: I shot the above photograph of Radiohead’s frontman Thom Yorke at Bonnaroo in 2006 and did not light it. Those are stage lights and I was one of about 50 photographers stepping on each other for the first three songs.


February 02, 2010

Who said Lighting was just for People

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What do you do when you have an assignment in Chattanooga on energy and the Tennessee Valley Authority's 800-megawatts of electricity-generating-capacity expansion? You light it. I drove by the power grid the evening I arrived in town and figured out the sun was going to come up behind the grid in the morning. I don't always have time to location scout before shooting but when I do I try and take advantage of it. I decided to get up early and use the sun to silhouette the grid. I was trying to get an image that showed a massive amount of power. My thinking was that by lighting the rocks using a blue gel it would create a feeling of electricity and energy.

Here’s how it looked on the page:

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Here’s a link to the virtual magazine: Southeast Resource

January 11, 2010

2010 North Carolina Travel Guide

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I shot for the official 2010 North Carolina Travel Guide which came out this week. Whenever on assignment I'm always looking to grab the safe shot. I tuck it away and it keeps me from worrying during the rest of the assignment. Now I'm ready to shoot something different, something more creative, something I really want to run on the pages. Sometimes the designers will go for it and sometimes they won't but I always try. If nothing else I might end up with a portfolio piece and that's what happened this time. The above shot is what ran in the magazine and the shot below found its way onto my Web site.

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January 06, 2010

What type of photographer are you?

Before I made the transition from cushy-staff-position photographer to freelance photographer, I had to ask myself the question, what type of photographer am I? When we think about photography as a vocation; there are generally three types of photographers.

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There is the Commercial Photographer; they make images to promote a product, person or idea. Think of Commercial photography as print advertising, billboards, annual reports or product packaging.

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Then there is the Editorial Photographer; they create images to educate or illustrate a written story. Think of editorial photography as images used to help tell stories in magazines, newspapers, on-line news or textbooks.

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Last you have the Retail Photographer; photos that are commissioned for personal use. Think of retail photography as weddings, family portraits, greeting cards or school portraits.

I had a general idea of where I stood but I wanted to research the types of photographers to get a better idea of exactly where I fell in this long chain of photographer types. I think you'll find that many of these descriptions overlap and you might be one or more at the end of the day.

What type of photographer are you? Get the full list after the jump and feel free to add to it via the comments.

Continue reading "What type of photographer are you?" »

January 05, 2010

Brooklyn Bridge

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As I travel the country I have a deep interest in photographing structures. Sometimes these are iconic structures and I’m photographing them for a magazine, which is a bonus because I'm getting paid. Sometimes I'm on vacation and I'm dragging my family around waiting for the perfect light, that's how these images were made.

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The idea is to get something different than the mass images that are already out there. The Brooklyn Bridge has been around since 1883, it connects Brooklyn to Manhattan and has been photographed from every direction by almost every photographer living in or visiting the area. What could I do that was different? I knew before heading to NYC that I would only be there for one day. I was visiting family in Philadelphia for the New Year and only had a small window of opportunity. The first thing I did in my research was check the weather. I needed sunshine or at least a sunset, no clouds. We picked our day visiting the city based on this factor. I knew I wanted something with no people and saturated color. I also knew I wanted to get close, for me the skyline was not important, I wanted to focus on the bridge itself.

Here are the two shots I came home with. Shot with a Canon G10 in 4 degree weather.

December 22, 2009

Traveling Light

I’m heading up to Philadelphia and NYC over the Holidays and I wanted to share what I plan on taking with me.

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You can get some pretty amazing photographs with a minor amount of inexpensive gear these days. Outside of using my iPhone, which I do often, I travel with my Domke F-5XA bag, Canon G10, (1) Nikon SB-28s, (1) Nikon SB-80, a Nikon SC-17 sync cord and a handful of filters. The key here is carrying the right gear and this little package offers complete control. The G10 can operate in full manual, a must if you want to use strobes. The SC-17 sync cord and the Nikon SB-28 allow me to get the first flash off the camera and the SB-80 slaves allowing me control of the second light. I can get a folding 6-foot-light stand and a 33-inch umbrella in my suitcase and it still fits in the overhead on the plane. This entire setup takes up about as much room as a pair of shoes.

Shot with the Canon G10:

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Also shot with the G10

Los Angeles - Signs

Disney Concert Hall

Venice Beach

December 18, 2009

The Future is Here

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With the decline in newspapers, magazines subscriptions slipping and the disappearing staff position, you might think it was a bad time to be a vocational photographer. I completely disagree with this way of thinking. It's the future holes needing to be filled that keep me excited about being a photographer. The need for images is as strong as it ever was. Not only is the market there for all types of photography both still and moving, it's expanding into uncharted waters. Don't believe me? Just click the links below and enjoy the future of our industry.

Mag+, a concept video on the future of digital magazines

Outdoor Magazine – Living Magazine Cover

Worlds first video in a paper magazine