Actor's Headshots!

Those who are trying to get their 'big break' in Hollywood or on Broadway have probably heard, countless times by now, that the head shot is a vital element toward getting noticed by agents and casting directors. If you are looking for a spot on the silver screen or under the stage lights, you don't want a "good" head shot - You need a compelling one! One that gets you noticed... and gets you the role! I want to help you create those shots. Most of all, I want the photos I take to help you land the job! Check out the website as I will be expanding the gallery of headshots with both NY Legit and L.A. Style images.

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Turning Day Into Night

Shooting at night is like having a clean slate. A very challenging clean slate. Why do I say it that way? Because as far as the camera is concerned, there is nothing there. We may know there are houses, cars, or trees in that moonlit space around us - but without adjusting the ISO to extremely high (and usually noisy) levels, the camera sees a blank, black canvas. In order to make it come alive, we need to paint with light. In the world of big budget films, this means using huge amounts of lumens and wattage to create either a large wash of psuedo-moonlight, or pools of selective light shining on specific parts of the scene. Either way, it means having lots of lighting - and lots of power - at your disposal. Maybe. And maybe not... There is an age old trick that has been used by Hollywood for decades, and is even seen in large-budgeted modern films such as Jaws (1976), Peter Jackson's King Kong (2005) and Mad Max Fur...

Playing With Dramatic Light

I have this image that keeps recurring in my mind. It involves the cold blue feeling of a dark winter and the glowing orange of a firelight. So far it seems to keep eluding me, although I think this is largely because every attempt I have made to capture this "mood" has been done in a hurry, or in the rain, or some other situation that forced me to run through it rather than walk it out. This shot is one such version. I may need to go back with a slightly different lighting setup and try some more. Perhaps in a different location.

Everything Old is New Again...

Due to events that would take far too long to explain here, I now find myself working with a camera that I have not used for more than half a decade. Granted, it will largely be used only as a back-up at this point, but the question of why anyone would 'go back' to using such "antiquated" technology as a 10-year old (at the time of this writing) digital camera that is only 12.3 megapixels and has a max ISO of 3200 has an interesting series of answers. Let me cite the method to my madness. The camera in question is a Nikon D-90 with a vertical grip. At the time it was released it was considered a top-shelf pro-sumer model, and it was the definitive purchase that pushed me from film into digital. At 12.3MP, it was quite the heavy hitter for it's time, considering it was not all that many iterations down the line from the days of the "5MP cieling", where even high end DSLRs were still climbing out of the 3.2 range. To show you just how far things have co...

C. M. Franke | Photography

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