Cinematic Headshots

If you are in a business that involves customer facing, your online presence has to have a way to project the personalities of those people who are the face of the business. Pictures may serve to identify the individual, but beyond that, you want the client to get a sense that they know this person and would like to do business with them. It’s a snap judgment, but it’s real and you want it to work in your favor.

While there are different styles of headshot, you want something that relates to your personality type and the message you are trying to send. Cinematic Headshots are a style of headshot branded by Dylan Patrick. They have now been introduced to Phoenix, AZ.


They can be done literally anywhere – an office hallway, parking lot, anywhere. They make the subject look professional, yet approachable. I give all the direction you need, and the results are always excellent.


The image below was the setup for the result obtained above. Even when your environment does not look particularly attractive, you get a beautiful out-of-focus background that enhances your look. You can see more examples here. If you want to stand out from the crowd, please contact me at and give your image a boost. #Headshots, #Executive, #Portraiture, #Phoenix, #Chandler, #Scottsdale, #AZ

Photography is more than just pushing a button

In the past just getting a photograph correctly exposed and in focus took some effort and know-how on the part of the photographer. With modern cameras, no competence whatsoever is required to get an image correctly exposed and in focus, so anybody can do that. What the camera does not take care of is the creative details of making the image. The camera does not decide where to place anything or even in which direction to point itself.

The first image was made just pointing the camera at the subject and pressing the shutter release with no consideration for background, environment, composition or lighting – which is why the result is mediocre.

Model: Shay Elizabeth

The second image was made from the same spot just turning to a different composition and paying attention to the afore-mentioned important factors in image-making: background, environment, composition and lighting producing a much more pleasing result.

Model: Shay Elizabeth

A place for film in a digital world

A place for film in a digital world

An article I wrote for the AZPPA on the value of film technology as an educational tool.


There was a time when the question was asked with regards to image capture, film or digital? Today digital photography is the default. Film has been relegated to a specialty medium. Initially, film had the qualitative edge over digital, but with the march of technology,  those advantages have been eroded. First, it was resolution, then dynamic range and color fidelity. Sensor size remaining equal, digital capture has the clear edge.

That said, film is far from dead, and there are a number of reasons for this. Among others:

The look: Film lovers swear by this, that in spite of a wealth of filters and software processing tools that promise to replicate the ‘looks’ of various types of film, there is nothing quite like the real thing.

Large format: There are currently no commercially available cameras with sensors as large as 4×5 or 8×10. If you want the specific look of either of those formats (razor thin depth of field, unique perspective etc), then you have no choice but to use film. Large format film cameras are about the only film cameras with image quality to rival today’s digital cameras.

“Because I can”: This was a response I got from a professional photographer a few years ago and I can sort of relate because not everyone can. It is a more deliberate process, and if you don’t at least have some idea of what you are doing you will most likely end up with nothing. It, therefore, helps to give a photographer the prestige of being more than a ‘digital kid’. Opinions will differ.

Educational value: This leads me to the reason that is the focus of this article, and that is, film as a teaching aid. The more manual, more intimate process of shooting film forces the photographer to become more involved in the process. The emphasis here will be on 35mm film.

Shooting 35mm film on a manual body forces you to slow down. Get your basic composition, set exposure by adjusting shutter speed and/or aperture (not ISO), wind film, finalize composition, focus and press shutter release – or however you prefer to do it. All that effort to make just one exposure combined with the fact that you have to take the film to be processed after just 24 or 36 exposures and then wait a further period of time to see the results amounts to quite an emotional investment. Who wants to go through all that just to see a bunch of worthless images? If you are going to work that hard for a few pictures, you might as well put in the effort to learn the correct methodology and get something worthwhile out of the effort. Let us not forget the financial investment of actually buying the film and paying for it to be processed.
Contrast that scenario with today’s world of digital in which you can click away with no consequences whatsoever and delete the resulting images just as easily.

Aperture, Shutter speed, Appreciation of ISO
The beauty of a manual film camera lies in its simplicity. It is not hard to teach the concept of aperture –  just hold down the depth-of-field preview button and turn the aperture ring and you can see the lens diaphragm opening and closing in response to your movements. Shutter operations and shutter speed are also easy to demonstrate by opening the back of the camera (not an option on digital cameras) and operating the camera. Wind the film advance lever and press the shutter release while varying the shutter speed and you can see a clear demonstration of shutter speed and of first and second curtain concepts. You can easily explain the concepts of flash sync speed in a visual, practical way.

Reducing levers of control
Using a film camera, you have just shutter speed and aperture with which to control exposure – there is no possibility to vary the ISO from one exposure to the next. You are stuck with one ISO for as long as the roll of film lasts. This makes it easier to demonstrate that getting the right exposure is a dance between these two values.

Slowing down
The entire process then is a much more deliberate, more time-consuming process. It forces one to slow down and give some thought to the process of what you are doing. You also have fewer opportunities to make mistakes and a financial consequence for each mistake you make.

Challenges of film
Using film these days does present some challenges:
Cost: Exposures are not free (they are not really free with digital either, but that is another discussion), you have to pay for each roll of 24 or 36 exposures and you can burn through those really quickly. It adds up.
Processing: It is becoming more and more difficult to get your film processed. A number of major drug store chains have stopped processing film in-house. They send it off to a collection center and get back digital files which they put on a disc and print for you – you get a disc and prints – no negatives. Your wait time also goes up.
Storage and management of negatives/slides: Managing physical objects (that have no metadata) in a way that they can be easily referenced and protected from damage is a challenge.
Scanning and Sharing: We have become so used to using online media to share our images that it has become a given. There is no comparable way to get such wide reach with our work. With film, there is the extra bother of scanning to get the digital file.

Where digital takes over as an educational tool
After acquiring good habits and discipline from film, it is time them to graduate to digital for the next phase of one’s photographic education.

Despite the usefulness of a manual film camera as an educational tool, I feel it is complemented in this purpose by the digital camera. The instant feedback obtained from the LCD monitor is invaluable in understanding the effects of various settings and configuration changes. You have a lot more opportunities to make mistakes with no financial consequences for doing so. The likelihood is that you will shoot a whole lot more and therefore learn faster. Digital, therefore, opens up a world of creative exploration which would not be as readily accessible with film.

In conclusion, nothing stops you from learning and developing the virtues obtained from this process on your own by whatever means you choose, but using film (in combination with digital) is certainly an effective path to that goal.

Portrait Photography

When choosing a photographer, it is important to look at the quality of images they present. These days, cameras have very high resolution and are able to capture high levels of detail. Look at the images and determine if the photographer is able to take advantage of this strength or if they rely on Photoshop tricks to disguise their inability to adequately light and compose their images.

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If you can go to a store and buy a sophisticated camera, why would you pay a photographer to do your portraits? Well, because the camera, no matter how wonderful it is, is still just a tool. A true professional is a master of their equipment, not just the camera, but the lighting equipment too, understands posing, is a master of lighting, knows how to make the best of any location, knows how to solve problems on the fly – and there will be problems. It is this expertise that you pay for. That is why you need to choose photographers who do in fact have this expertise.