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Today’s Odd Journey

I flew hang gliders for about 34 years but officially retired about 6 years ago. It was a sad day and I miss flying terribly. Today I drove over to the place where all the hang gliders land.

Soon as we exchanged greetings my friend Joe offered,”Hey wanna fly this glider?” and I said “Nah, I don’t have a harness” then another pilot/friend, Fred volunteered,”I’ve got a harness”. Me,”I don’t have a helmet”. Fred,”I have a helmet, too!”

Next thing I knew, I was headed up the mountain with a truck load of fellow flyers. We quickly set up our flying machines then ran off the mountain into the beautiful sky. I visited places a few miles away that I hadn’t seen in a long time and watched as a Red Tailed Hawk circled in an updraft hundreds of feet below me.

So many memories from hundreds of hours floating thousands of feet above the Earth were flooding my brain.

One particular memory was  meeting my dear friend, Wayne Yentis.  I met Wayne 25 years ago in the hang gliding landing zone (LZ). He was a tall lanky man with a twinkle in his eye and was most probably the brightest individual I have ever met. Truly a renaissance man… he was an artist, a photographer, an electrical engineer, a musician, a computer genius, an inventor (of  the Clavitar) and a host of other things. He knew more about more than anyone I have ever known. Wayne had a recording studio in his house and was constantly sending me files of music he had written, played, and produced. Beautiful music.

One particular day I was in his studio and we were having a beer…or two…or many… and I got this goofy idea to take Karaoke music and substitute hang gliding lyrics. It was utterly silly stuff that made no sense to anyone other than another hang glider pilot but in our compromised condition, it seemed a marvelous plan.

I said to Wayne “How about “I got VG?” as I sang the tune of “I Got You Babe” by Sonny and Cher.  He beer giggled.

For non-hanglider pilots, VG stands for “Variable Geometry” and refers to a string a hang glider pilot can pull that changes the shape of the wing in flight.

Then I started singing “On the Road Again” just like Willie Nelson, except I sang “In the Air Again.”

More beer giggles as Wayne recorded and mixed it.

The following week, I played one of our recordings for a fellow pilot who unwittingly believed we were serious and asked for a copy of it! Nothing feeds a gag like having an audience so I drove back to Wayne’s house with more beer, more Karaoke, and more silly lyrics. We recorded 15 songs, 12 of which made our cut onto the “Pelican Tunes” CD. When word got out, the local pilots bought them like hotcakes, then the Editor of Hang Gliding Magazine somehow got his paws on a CD and gave it a rave review in the international magazine! We were amused that pilots enjoyed the absurdity and got the jokes. Orders started coming in and we sold this CD all over the world.  That was over 7 years ago.

Today after about an hour of flight, I touched down and chatted with the guys in the LZ, when one of them mentioned “Pelican Tunes” had been used in a video of the European Hang Gliding Championships. I was shocked to say the least. SO…I did what any irresponsible gag writer would do, I Googled it…and wow….there it was…

I  seriously considered doing “Pelican Tunes 2” but Wayne Yentis passed away this Wednesday January 23rd, and with the passing of my partner in crime, my motivation is gone. The lyrics in my desk drawer will have to collect dust as the ink fades.

But have a beer and enjoy our goofy time together on YouTube.

Here’s to Wayne.

Interview: Magic Image 12/10

Headshots and Effective Marketing by Michael Helms

Los-Angeles-Headshot-Photographer-Michael-Helms

Bryan Batt

I have been a professional photographer in Los Angeles for 35 years. The thing I hear most when actors come to my studio is, “I just want a photo that really captures ME and who I really am!”

While this may sound good, it tells me there is a very basic lack of understanding of how this business works and how to carry out a strong marketing strategy. As harsh as it may sound, not ONE casting director in all of LA concerns themselves with who you really are. It is their job to CAST you not analyze you.

If you are a 30 year old female, you will get “Mom” roles, business women, nurses, a wife, or a host of other characters seen on TV and in movies. It doesn’t matter if you REALLY ARE a Mom or not…that’s why it’s called ACTING. If you are a curvy girl, don’t shoot sexy photos because you’ll get called in for an audition and find yourself in a room full of skinny models. Conversely, if you are a lovely young woman and you have a nice figure, understand that this is a business driven by money. What sells on TV and in movies is sex and violence. So make sure you have a sexy head shot.

Danny DeVito is a sexy leading man to Rhea Perlman because she is married to him, but it is not his casting. While “type casting” may not be right or fair, it is what it is. Get used to it.

Research, research, research to find the right photographer. The guy in your acting class who has a camera and will do your headshots for free or for fifty bucks is NOT a working professional. An actor who does head shots on the side is NOT a working professional photographer and if he has an audition the day of your shoot – you will be out of luck.

If you want this to be your career – invest in it. Go to a professional photographer. Look for someone with a studio (who can shoot natural light OR studio light), who has been in business for 10 years or more, who has a GOOD web site.

Los Angeles Actors Headshot by Michael Helms

GO SEE THEM! Don’t go to someone who shoots out of their apartment. Simply put, go to a pro. Beware of Agents or managers who INSIST you go to their photographer. An Agent should give you a list of known working pro photographers that you can choose from.Get plenty of sleep the night before your shoot. Don’t get involved in an argument with your significant other.

Don’t bring “a friend” to your photo shoot. Don’t bring your family or Mother or your dog. This is YOUR day.  Most of all… ENJOY your photo shoot. I often hear actors say how much they “hate having their photos taken”. This is your career…learn to love it. ALL of it. Taking headshots is an acting job just like any other acting job.

If someone tries to tell you “film is better than digital”, just walk away. You should expect to shoot, look at the photos on a computer, get them retouched, and have them burned onto a CD, and walk out with them done all in the same day.

Basically, it is a business. If you treat your acting career like a business, you will have a much greater chance of success!

Photography Workshop – Saturday, January 26, 2013

Los Angeles actors headshot photography workshop by michael helms

For one day only – Sign Up today – CLICK HERE

 

Frequently Asked Questions:

 

1) What are the hours of the workshop?

The hours of the workshop will be 9:00 A.M Till Sunset Saturday January 26, 2013 

2) What kind of photography experience should I have before attending?

Intermediate level photographers with a basic understanding of Adobe Lightroom and brief knowledge of Adobe Photoshop

3) What equipment do i need for the workshop?

A digital SLR, wide to medium focal range lenses, shoe mount flash unit i.e Nikon SB-24-Sb-900 or Canon 580ex speedlight, laptop (preferable) with Adobe Lightroom installed, and a willingness to change the way you shoot forever.

4) What clothing should i wear?

Casual

5) Who will benefit most from this workshop?

Persons interested in improving their off camera lighting, composition, and post production skills for Wedding and Portrait Photography

6) How much does the workshop cost?

The Workshop is 475.00 U.S.D, a 150.00 non-refundable deposit will be collected at the time of reserving your spot. The day of the Workshop the rest will be due the morning of.

 7) Where is the Workshop being held?

Michael Helms Photography Studio 10349 Siesta Drive  Shadow Hills, CA 91040

8) How many persons will be attending the Workshop?

We are taking up to 20 students

9) What is planned in the Workshop curriculum?

Perils of a Los Angeles Head Shot Photographer – Part I “Shoot dis!”

Thirty five years of photographing actors, models, celebrities, corporate folk, and anyone else who’d pay me, gives me a certain bag of stories that seem “normal” to me until I start telling my friends “what happened in my studio today.”

Take, for instance, the case of Sonny Stiletto.  I’d be comfortable wagering that wasn’t his birth name but that’s who he was when he walked into my studio.  He actually didn’t “walk” into my studio – he swaggered in. Webster defines “swagger”, when used as an adjective, as “denoting a coat or jacket with a loose flare from the shoulders” and that’s a good description of Sonny.  Starting at the top, his hair was lubricated to the point of one molecule away from dripping and it was jet black like shiny plastic.  His cheeks remained sucked in the entire visit so I feel confident he had super glued them to his molars.  He nose was Roman straight (geometrically speaking) and his lips pursed permanently in duck fashion.

“Yo, Michael, how you doin?” he nodded.
“Great Sonny, pleased to meet you. What are we shooting today?” I smiled.
“I need some pichas.  Some good pichas, ya know, to like, get some work or sumthin, ya know?” he pursed.
“OK…pictures you want, pictures you got.  Let’s go through your wardrobe” I interpreted.

So we pulled two wadded up shirts out of a grocery store plastic bag and chatted about which one brought out his eyes best.   Were we going to settle on the shiny dark black cotton shirt (shiny from being ironed too hot), the charcoal black, or the shiny black silk? Sonny preferred the shiny black silk because it “looked good” and showed off his gold chains nestled in his chest hair.   Since that was what he wore in, I figured it was a favorite anyway.

I have learned over the years when someone asks me what I think that they really aren’t interested in what I truly think. The REAL question is,”Try to guess what I think and then agree with me!”. I have also become fairly proficient at reading the air, so I felt rather confident  in choosing shiny black silk. He nodded approval when I said I thought that shirt would bring out his hair also.

After twenty minutes of rearranging his hair to EXACTLY the same position it was when he walked in, we started our shoot.
He stood in front of my camera and proclaimed, “Yo Michael, dis here is a good picha. Shoot dis”
So I did.
He unbuttoned his skin tight jeans and hung his thumbs from the waist band, gave his lips and extra purse and then swaggered,”Den how ’bout I give ya one of deez!”
So I took that photo also.

What I need to interject at this point is that during our entire session he was perseverating about the recent demise of a relationship with a girl in New York.   I’d shoot a few frames and Sonny would say something about that puzzling breakup, then he would return to “Shoot dis”, and off we’d go for a few more frames.   I will condense the two hour conversation to my favorite passages.

Sonny,”I don’t know what her problem is, ya know. What is her problem?”
Me,”You got me, Sonny”
Sonny,”I mean…I got a normal penis, ya know.  So what is her problem?”
Me,”Don’t know, man, that’s truly a mystery”
Sonny,”What does she want anyway, ya know? I got a normal penis!?”
Sonny,”You know what’s wrong with women dees days, Michael?”
Me,”Not a clue, Sonny, do tell”
Sonny,”Their minds are fuckin degenerated.   Dat’s it, ya know.   I think it must be the smog or sumthin, ya know!”
Me,”Ah…it’s the smog… got it.”
Sonny,”You  know what, Michael, I got an idea”
Me,”Yeah!?”
Sonny,”You know what I’m gonna do?  I’m gonna tell ya what I’m gonna do.  Here’s what I’m gonna do!”
(Why Sonny felt compelled to let me know in three different ways that he was called to action, I have no idea, but I was on the edge of my seat.)
Sonny,”I’m gonna get me a couple of dikes. Yea – I’m gonna get me a couple of dikes.   Den they can move in wif me, and I can watch them, and they can watch me, den they can do my laundry!”

I must say I was stunned.   Even for the likes of Sonny Stiletto, this “idea”, left me absolutely speechless.
I stammered,”Wow…well, I’ll be anxious to hear how that works out for ya there, Sonny!”

Somewhere deep (admittedly not that deep) inside me I wanted him to attempt to implement this boneheaded plan. I could just see the headlines in the newspaper:
“Disenchanted Lesbian Couple Hangs Stiletto”
“Gay Couple Throws Stiletto Out Window”
“Dead Stiletto Found Sonny Side Up”

What disturbed me most I  have to say, is knowing that somewhere in the world, Sonny has most likely, reproduced and little Stilettos are running around saying,”Shoot dis!”

Studio Light Workshop -Sun. Nov. 25 – 3 pm to 8 pm

I have been a professional photographer in the Los Angeles are for over 37 years. When I first started shooting head shots for actors, everything was shot in Black and White and in a studio. This required a photographer to invest in expensive lighting equipment, backdrops, stands, reflectors, and a host of other items that were needed to produce professional quality images.

Here we are all these years alter and images are captured digitally and in color. There is no more film processing or waiting to see if the images are acceptable because we can look at an on camera monitor and make adjustments if need be.

However, in the studio, the same lighting techniques still hold true. Key lights, fill lights, background lights, hair lights, and whatever accent lights one chooses are still necessary to work in the studio effectively.

This coming November 25th from 3-8PM, I am hosting a one day intensive studio lighting workshop. We’ll discuss the choices a photographer must make regarding hair and makeup, lighting, cameras, lenses, and  reflectors. We’ll also go over the basic tools in Photoshop.

Workshop class will be limited to a small size so everyone can get personal attention.

I look forward to having you in my studio to learn about the basic lighting techniques for photography.

actors headshot studio lighting photo by michael helms

actors headshot in the studio - Photo by michael helms

Moving Headshot – Does it work for actors?

Brian Batt - Actors headshot by Michael Helms

Cannot wait to read his memoir "she ain't heavy - she is my mother." www.brianbatt.com

I’ve been hearing and reading about an interesting new phenomenon in the head shot world. It seems there is a new trend toward shooting video for head shots also known as Moving Head Shots. The idea is to then go back and sift through the images for a still shot that is the “ultimate moment” captured to print or use on line.

What I am  amazed to hear is how many people think Moving Head Shots is not only a good idea, but that it will somehow revolutionize the world of head shots. Some think Moving Headshots will redefine the way a portrait is captured and that it will improve our art.

Part of this thinking (Moving Headshots) has been set up by the digital revolution. Back in the day, a photographer was limited to 36 exposures on a roll of 35mm film. That meant he had to be aware of moments that were fleeting and he had to be specific about what he chose to shoot and the timing of when to push the button.
These days, photographers have huge memory cards that hold hundreds of photos. Where a photographer used to shoot 3 rolls of 36 exposure film (108 frames), now it is not unusual to shoot 200-400 images in a session. This is not necessarily a good thing because more is not always better.
In so many areas we have replaced quality with quantity. I even see photographer’s web sites where they boast “unlimited” number of images.

The photographers who have attempted to shoot video (super high resolution video) and then sift through the images for the “perfect frame”, have found this task daunting to say the least. If you think of shooting 24 frames a second over a period of time, it takes VERY LITTLE time to amass HUGE numbers of frames. For instance, if a photographer shoots video at 24 frames a second and he shoots for 10 minutes, he will have 144,000 frames to go through for a head shot. If his client is wanting to shoot 3 or 4 “looks”, then he can conceivably end up with over half a million frames. I’m wondering how many agents will be willing to look through half a million frames to find the “perfect” head shot?? How many clients have the time to go through that number of frames?

Basically – it’s not practical – and is counterintuitive to what a good photographer is about. One of the gifts of a talented photographer is knowing WHEN to push the button. Not only when, but having the ability to set up a situation where this magic moment CAN happen.

If an actor comes to me wanting 4 different types of head shots, I will shoot anywhere from 15 to 50 frames on average. I listen to what my clients needs are and provide the shots they want. Perhaps 35 years in the business gives me some insight into how to set up a shot and make it happen. Perhaps enjoying the company of the people I shoot makes for a relaxed atmosphere. Perhaps it is because I ask people to be specific about their ideas for the images they want.
For whatever reason, I seem to shoot fewer frames and have a higher percentage of “winning” photos than beginner photographers who hope quantity can overcome lack of quality.

All the great photographers have been able to set up a shot, be clear what their objective was, and know when to push the button.
It is this “magic” that separates the mediocre from the marvelous. I have had instances where I shot less than 10 frames with a client because I KNOW we got the shot. Half a million frames would not have changed that fact.

Video is good for video but for head shots, it’s not a good idea.

Thank you for reading my article about why Moving Headshot is not practical for working actors.

 

“Capture ME!”

One of the things I hear the most from actors who come to me for a head shot is,”I just need a photo that really captures ME and who I REALLY AM!”

As harsh and cruel as it sounds, I really want to say,”Why? What casting director cares who you REALY ARE??”

If I go to the beach, I dress very casually. If I go out to dinner, I dress up a bit. And if I attend a formal event, I wear a tux. It’s still “me” at each event but I dress differently and perhaps even behave differently, and hopefully appropriately, for  each occasion. actors headshots by michael helms

To have one head shot that captures who and what we “are” is impossible because we so many different people depending on the situation. For actors, it is imperative they identify their “casting”. It is vital they know how they are seen by casting agents, not how they see themselves or are seen by their friends, loved ones, or relatives.

A tall lanky model type girl walked into my studio one day for head shots. She was really beautiful and had a sort of “Playboy” look with blonde hair, blue eyes, slightly oversized breast implants, and rather obvious lip injections. She said,”I’m so sick and tied of getting sexy roles and always being asked to take my clothes off. I’m a GOOD actress and I want to do more serious roles!”

All I could think of to say was,”WHY?”

While not an understanding or compassionate answer, it was painfully obvious she had invested in her physical looks, her body, and her skimpy wardrobe.

She told me she could play a “lawyer” and “here’s my suit jacket” for the shot. Indeed she did have a suit jacket but it was a plunging neckline and she chose not to wear anything under it. When I suggested she wear a blouse under her jacket to “look a little more official”, she said she didn’t want to because it “didn’t feel sexy”.

Oddly, the very next day I had a sweet and charming young lady come to the studio who was sort of the opposite. She was rather plain looking and I thought about all the wonderful roles she could get as a farmers wife, pioneer woman, or dust bowl maiden. She said,”I want some photos like these” and handed me magazine photos of Cindy Crawford, Linda Evangelista, and other top models.

Acting requires one thinks of themselves in third person and remove ego from the equation. It requires an actor to look at themselves objectively as possible and ask what roles are right for them.

Who looks like you? What roles are they playing? You don’t have to BE a mom to play mom roles. You can be a full time mom and play roles as a judge, a sexy hooker, or a fighter pilot. It just depends on how you are perceived by casting agents.

While there are many classes available for figuring out what “type” you are, it really is a matter of basic homework and being honest with yourself.

Acting is a job and like any other job, it means you work at it. Figure out how to best market yourself because YOU are your product.

For Actors: Camera gear n Photographer

Actors’ Headshots – the most important tool to Jump start your career!  Take it seriously.

I guess I am becoming Mr. Wolff in the headshot business nowadays.

Today I got yet another set of head shots in my email from an actor wanting me to see if I could save a disastrous set of photos. He decided to shoot with a “friend”. He thought he could help his friend get more established and add to his portfolio.

What he sent me was a set of photos that wouldn’t pass Photo 101 in any reasonable course study of photography. The photographer used a camera that is just slightly better than a point and shoot. He used the wrong lens for a head shot (35mm). He shot from a disturbingly bad angle (BAD idea to shoot UP at a jowly dude!) and the lighting was deplorable.

But the actor thought the photos were “OK, but not that great”. He asked me if I could “…fix them up a bit till he could come in and shoot with me”.

Why would an actor spend $100 on headshots OVER and OVER again before they get ONE SET of headshots that works for them?

I will offer one easy quick piece of advice at this point. If you are looking for a professional photographer to take your head shots, ask this simple question. “What camera do you use?”

And if the camera cost less than $2,500. Then just keep searching because professional cameras start at that base price. I have seen beautiful images shot on a cell phone, so I am not saying wonderful images cannot be shot on a lesser price camera. However, professional photographers use professional equipment. He will also have a backup in case something happens with his primary camera.

If an actor, model, or corporate leader takes their business seriously, they will invest in professional photos. You can help your friends, but don’t use it to represent you.

Photography is an expensive profession.  Just FYI – here’s my equipment – AKA: guns: (yeah, brag brag!)

 

Canon 1DS Mark II camera (primary camera)- $8,000.actors headshots by Michael Helms - blog - equipment

Canon 7D (backup camera) – $1,700.

Canon 16-35mm f2.8 lens – $1,700.

Canon 24-70mm f2.8 lens – $1,600.

Canon 70-200mm f2.8 AF IS lens – $2,500.

Canon 85mm f1.2 lens – $2,200.

Canon 100mm f2.8 lens – $1,000.

Canon 135mm f2.0 lens – $1,100.

I have also invested in lighting equipment, stands, computers, and a full studio with all the amenities.actors headshots by Michael Helms - blog - equipment

In short, I have survived the competitive LA market as a photographer for over 35 years because I take my job seriously and invest in my career. I continue to invest in my career.

To find the right photographer, ask for referrals, look at web sites, interview photographers IN PERSON, and ask a lot of questions. BEFORE you “just try and help a friend” put your career first.