How did you become a photographer? Describe your career development?
My father was a photographer, a commercial photographer in fact. He did weddings as long as I can remember, but it was his portraits that interested me most. I sort of “tripped” into photography with all the photographic gear that surrounded me. What started as an ongoing hobby, turned very serious in high school when I was brought on to the Correspondent Staff of the Sun Sentinel, a major newspaper in the South Florida area. It was there that I saw my future, and paid keen attention to my desire to create images.
2. More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?
I had two muses from high school who from their abundance of images came an abundant flow of requests from people in their network. A network that grow to over hundred individual “models” durning my five year wedding spree. And “that” is where my creativity grew.
3. How do you learn your techniques?
The answer to that question both plain and still PRICELESS. I’ve learned virtually EVERY technique from actually making mistakes. Real mistakes that ended with me posing the questions: “Why did that happen?” and “What should I do instead?”. The latter question leads me to trial and error. Trial as in “intentionally” re-creating the mistakes (and any variance on them), and taking the time to identify the circumstances. Error as in directly avoiding the mistakes by doing perhaps the opposite when the circumstances arise once more.
In essence, my techniques come readily, easily, and successfully from a wealth of understanding “what not to do”.
4. Who are your photo heroes? Or who has inspired your career?
Easy – Patrick Demarchelier. His work is uncomplicated and beautiful. His images are achieved seemingly without effort. He seems to quickly establish a rapport with his subjects and is blessed with their best moods at the time of shooting. The end results are as minimalistic (in terms of editing) as the original state to begin with.
5. What is the worst part about doing what you do?
Editing. Yes, I could share my workflow with a retoucher, but that often means that the last hand to touch the work is not that of the original photographer. I have always questioned the merits of that. None the less, I do edit my own work, and because I dislike it so, I have developed several methods for streamlining my work flow so that I take equal to if not less time at the computer than during the actual shoot itself.
6. What is the best part?
The best part is either my actually “seeing” the image in the seconds before touching the camera, or “seeing” the reaction that the subject(s) have afterwards when showing them why I was so happy in the first place.
1. What are we going to shoot today?
Four poster images over two days for SR Perrott, Inc. who is the distributor of Miller Lite and Coors Light beers in the Daytona Beach, Florida area. The posters are promotional pieces for the 2010 Daytona 500 NASCAR event of which SR Perrott is also a sponsor.
2. How did you learn how to do what you are about to show us?
The simple answer is that I learned through years of experience. The more creative answer is that I learned through patience and the basic premise of focusing the lighting and camera on only what is important to the client, and leave the rest to the viewers imagination.
3.What tools are you using to make this image?
*Nikon D3 with a 24-70mm f/2.8 lens
*Verso A4 (x1)
*Topas A2 (x2)
*Pulso G2 lampbase (x2)
*Beauty Dish with diffuser (x2)
*Para 220 Soft with Ringflash P
*Sekonic L-758dr lightmeter
*Gitzo Systematic tripod
*Really Right Stuff Ballhead with bracket & various plates
4. Why did you choose these tools?
Because I don’t yet own any Scoro packs! The Ringflash C was essential to give me even light coverage across the surface of the image, with emphasis on the areas that the models encompass. Also, in order to remain softly lit throughout the image area, I had to use the beauty dishes in relation to the PARA 220 Soft. The reason that I chose the PARA 220 Soft is because despite the nature of the poster, the main subjects are the models of which are on a large canvas (the NASCAR). Otherwise, I would have used a greater number of heads with P65 reflectors to compliment a single Ringflash C as my my main light.
5. What features of the equipment that you use make it easier to do your job?
The PARA 220 Soft has a distinctly wide spread of light that works favorably with wide-angle lenses. The Ringflash C is just one of my favorites as an all-in-one light source. I love the robust nature of the Verso A4 and if only by appearance & audible sounds, lends itself to establish the feel of an intense photoshoot.
6. Did you use competing products in the past? What made you change?
This could lead to short novel. Yes, I started with Norman (over a decade of use and familiarity), then moved over to the Pro-7 line of Profoto (six solid years of use), before switching vigorously to Broncolor. I really would need a great deal of time to explain the decisions and nuances as to why I switched, but to sum it up – drawing from my years of experience and knowledge, Broncolor offered a superior product, and NOT by a marginal amount.
Andre divides his time between NYC and Miami. Andre kicks off a traveling seminar series starting in the North East this month. For more information please email us at email@example.com