Final Prep for Eclipse Project

In the end our modest Kickstarter campaign for the quest to capture the glory of the May 2012 eclipse didn't get funded.  Wrapping in a tough year personally and professionally undercuts the resolve to make this happen.

Indeed, a variety of lesser goals have been shelved for the time being, but this one... its not something you elect to pursue later.  You either shoot it when the opportunity presents itself, or you don't.  Its the same reasoning that convinced me to go for it in the first place.  This is here, and this is now.  If you don't feel like it.  If you don't have the funds.  If your resources and process are strained to the breaking point.  In the end, if you don't do it, you don't get a do-over when things come together.  They MUST come together when the cosmos says so, or the opportunity to make a statement is gone, period.

So we're going anyway.  Its not the same team, but the shot is the same.  And the results, for better or worse, will be the same.

Final Preparations

An itinerary of what we're doing next weekend has been drafted -- a long day of location scouting on Saturday; final supplies and tweaks adjusted on Sunday.  A last minute scramble for a local model and a bevy of backups because prudence demands it, just like a prime location and a slew of backups.

My recurring anxiety is the premise of showing up to a pre-selected spot of suitably desolate landscape only to find a flash mob of eclipse groupies wandering through my field of view.  There is 600 feet of scrub brush between the end of my lens and the model and all it takes is for one groupie's head to block my view, let alone hundreds of them.

Weather too weighs in the back of my mind as a factor out of my control.  Wouldn't it be lovely if it rained or was overcast during the 4 minutes I have to shoot.

For these issues, I am at the mercy of good fortune.  For all others, I have my logistical background as a former engineer to lean on for all manner of contingency planning.

Among the Critical Tools -- the Lowly Paperclip

The idea to capture a shot of grandeur is to put the model inside the eclipse.  Anyone who's ever tried to shoot someone in context to the moon or a sunset knows how small these titan celestial bodies are in relation to a person.  Just a small glowing bubble the size of a balloon, at best.  But for a truly eye-popping shot, it needs to be HUGE.  The trick is not to make the moon bigger, because you can't.  Instead, you push the person further away -- much further.  600 feet further in fact.  And without a tape measure it can be kind of hard to know how far that is.

Except if you use a standard office paperclip.  It turns out the moon fits in the end of a paperclip held at arm's length.  That's how big the eclipse will be.  And that's how big a person needs to be to be the size of the moon.  So you hold the paperclip out and keep walking away until they're just that small.  A good 600 feet as it turns out.

And once you do that, you understand why such a gargantuan lens is needed to get anything more than a tiny spec in the distance.

Only a week away at this point.  Woohoo.

Dario
SolArt Project
INFINI Boudoir

Size DOES Matter

Have you ever been to a place that had a fun and interesting landmark and wanted to get a picture of yourself with it only to find that the object is so large it dwarfs you?  You are lost in its hugeness and the shot is fun but is kind of lacking from a "good" shot perspective?

Its all about proportionality.  As humans, we have a fairly well defined size range.  Its relatively easy to shoot people with people -- we're all similar in size, give or take.  But it can be challenging sometimes to shoot people in relation to something really big, like say the Eiffel Tower, or a jumbo jet.  Those objects are so big its easy to lose people in their presence.

Objects in Mirror may be Larger than they Appear

It turns out you can resize objects to be more in proportion to each other.  Its similar to the side view mirror effect where large vehicles can appear smaller than they actually are.  There's some visual trickery there that you can use to your advantage.

It's a common human experience that the further something is from you, the smaller it appears.  You usually have some control over how far things are from you -- you can stand as far as you like from the Eiffel Tower for example.  As well, you can control how far from you the person you're shooting is.  By controlling how far the tower and the person are from you, you can control their relative sizes.  The closer the object, the bigger they are.  Since the person is much smaller than the tower, to get them to be at least reasonably close in size to each other, the tower has to be much farther away than the person.

By bringing the person up ridiculously close and being very far away from the tower you can even make the tower seem insignificantly small by comparison.

Notice how the size of the relatively similar sized planes can be controlled in the above shots by where the person is standing relative to them.  In the left hand photo, the plane is very large because the person is right next to it -- most of it doesnt even fit in the shot.  In the right hand photo, the person is much closer to the camera than the plane.  The plane's size has been "resized" so as to be in proportion to the man.

To be sure, the shot on the left is certainly a professional, well shot image.  But the shot on the right gives a more complete shot of the plane.  The left side shot uses the plane as an impression, the shot on the right is more of a documentation.

SolArt Project 2012

So how then to address the solar eclipse that we will be shooting in May.  We are familiar with the moon as being a rather smallish object in the sky.  In actuality of course the moon is a massive object.  Shooting a person in relation to such an enormous object as the moon would ordinarily be nearly impossible -- you simply couldn't get far enough away from it to be able to comparably size it and a person together.  Instead, the moon has somewhat taken care of the problem for us by being so far away, appearing relatively small and almost manageable.

We end up having the opposite problem.  Its so far away, its a bit small and when shooting a person at normal distances, the moon shrinks to an insignificant size.

Since the majority of us are not able to get any closer to the moon than we are, we are left with positioning the person much further away making them much smaller and more similar in size to the moon.  It is at this great distance that a person can be seen to be near, or surrounded by, an enormous moon.

And since the moon and person are so far away at this point, you have to zoom in... a lot... to be able to get a decent shot of the pair.

Hence this rented behemoth.

If you haven't already, please check out our site for more information on this interesting and challenging project!

INFINI Boudoir

800-941-6640

The No Lookin' Zone -- Where to Look During Your Photoshoot

Today in our continuing series on how to get the most out of your boudoir photosession, we cover the eyes.  Not literally of course as that would be counter-productive, but we will discuss and illustrate what you can and shouldn't do with your eyes so far as where to look.  Many of our clients feel awkward and clueless as to what to do when they first get in front of the camera, and that is completely natural!  They don't know how to stand, what to do with their hands, where to look, whether to smile, etc.  We guide you through all that of course, and even reading this you'll forget.  But this is a good backgrounder on why we tell you to do something and why you should avoid other things.

Normally photographers are peering through the back of their camera when they're about to take a shot.  Usually that is, but for a variety of reasons, not always.  

Clients have a hard enough time trying to figure out where to look when the photographer is behind the camera let alone when they're not.  Do you look at the photographer?  The camera?  Somewhere else?

The No Lookin' Zone

Well, in general its a good idea to vary your gaze to a number of locations.  You can look up, down, to the sides, at the camera, just about anywhere.  But there's a peculiar doughnut shaped "No Lookin' Zone" you should not look towards.  

In general, the No Lookin' Zone is hereby defined as a region somewhere in the vicinity of the camera.  The doughnut hole of the zone is where the camera is, and that's certainly ok to look at.  Keep in mind that the photographer is not doing the actual recording of the scene -- the camera is.  If the photographer steps away from the camera to take the shot, generally you avoid looking at him unless he specifically requests it, because there's a good chance he's in the No Lookin' Zone.  This "exclusion" zone extends a few feet around the camera (but does not include the camera itself).  When you look in the No Lookin' Zone, you look zoned OUT.

What do these individuals have in common?  They were looking at the No Lookin' Zone, resulting in a detached, vaguely disconcerting look.  Like the person is reading a cue card behind you or giving secret signals to someone else in the room to make bunny ears behind your head.  And trust me, it wouldn't be the first time for me.  Its not a particularly attractive look for photographs.  

*************************

When looking away, there is a sense of intrigue and mystery.  It is a more artful visual statement because you're not engaging the viewer directly.  Its almost a tease; the viewer gets to enjoy the image surreptitiously.  Plus its a wonderful way to show off your beautiful eyes.

*************************

When looking towards the camera, you make it personal.  Now its a direct enticement and challenge to the viewer.  The image becomes more sexually charged.

*************************

Looking near the camera into the No Lookin' Zone simply results in a weird, zoned out look.

So remember to either look well away from the camera, or directly toward the camera, but never near the camera.  And no matter what, we at INFINI Boudoir will be there to remind and guide you to get the most flattering shots for you!

INFINI Boudoir

800-941-6640

Deciding a Modesty Level for your Boudoir Shoot

Men and women are wired differently in a number of ways.  It's generally accepted that men are a visually focused creature, and as nature would have it, women come adorned with a visually appealing form.  Win win!  This is why women figure so prominently as the subject of the visual arts.  Their form is universally accepted as a pleasing form to behold, and of course obviously so for men.

Women on the other hand tend to relate their sexuality in a more subtle way, appealing to a nuanced sensuality, and expressing desire with body language, gestures, and facial expressions, less so an overt appeal to their physical attributes.

It is this disparity of sexual portrayal that we at INFINI Boudoir sometimes find ourselves caught between.  Sometimes a husband will make the appointment for his wife and give us direction about the kinds of shots he's looking for.  Or sometimes we'll get a call or indication from his wife that he's looking for very revealing and sexy photos.  At the same time his wife will point out she is not very comfortable with the idea.

We're on Your Side!

It is very important that all our clients who step in front of our cameras understand that we are on their side.   We cannot be put in the position to exhort our client to go beyond her comfort level for a given photosession.  It puts us in a very awkward, unpleasant, and unethical position to do so.

We are open to all kinds of modesty levels from the most conservative to the most racy, sexy types of shots imaginable.  However our allegiance lies squarely on the preferences of the person in front of the camera.  That position is one of vulnerability and must be one of decisive personal conviction.  Our clients must feel comfortable and secure for the images to have their maximum impact and intended effect.

Mr. Sneaky Husband

One humorous incident of diverging preferences came to us through a client who, during the make up portion of her photosession, provided us with a stack of sample photos for us to review for her shoot.  Having consulted with her prior to the session, I already had a pretty good idea of what she was looking for.  The first few photos in the stack confirmed expectations for a fairly modest, artistic shoot, but somewhere along the line the sample photos diverged into a much more exposed, sexually oriented direction.  Thinking this was a little odd, I sought her confirmation that the far more revealing sample photos were correct, and she expressed surprise and embarrassment that her over-eager husband had slipped the photos into the middle of the stack.

                                            

It is important to us that couples are on the same page for the direction of the photosession.  The first question to ask yourself is who the final images are intended for.  Some women come to us of their own volition desiring to feel and look beautiful as a visual work of art.  In this case, we are interested in pleasing her sensibilities and capturing her vision.  Many women on the other hand come to us to give a very special gift to their husband or boyfriend.  Thus begins a more complex navigation of issues.

First, consider the target eyes will be his and not yours.  It is an unfortunate missed opportunity to go through the time, effort, and expense of a boudoir photosession and yet fail to meet his expectations.

When you know his expectations, its then a matter of bridging a compromise between what he may want and what you may be comfortable with.  This is an understanding that the two of you should come to resolution on; it is our policy to strongly resist advocating on his behalf in the modesty level of your photosession.

Alternatively, estimating his expectations is an important exercise in judgment when the gift is a surprise that he doesn't know about.  Will relatively modest shots underwhelm, or hit the mark?  Equally consider how more risque shots will be received and come to a decision on what you want your photoshoot to look like.

When you've given consideration to all these factors before the date of your photosession you will be much more resolved and comfortable with your decision which always provides the best possible results.  Regardless of the modesty level you choose, you will always be treated with respect and dignity in a non-judgmental environment at INFINI Boudoir.  We see the feminine beauty in all our clients and our mission is to use our artistic talents to capture your vision.

INFINI Boudoir

800-941-6640

An INFINI Boudoir Session Survival Guide for prospective clients, from a recent client "Tracy":

I recently had a boudoir photography session with Dario and I thought maybe I could help others by writing my thoughts down while they’re still fresh in my mind. I know I was incredibly nervous and had no idea what to expect. Maybe I can help others with that.

In the first place, if you’ve just booked yourself a session? You’ve just done yourself one of the biggest favors you’ll ever do. It will make you look at yourself in a whole new way. Just wait … you’ll see.

The first obstacle I came across was … what do I bring to wear?!? I’m not a girly‐girl and I hate shopping so I don’t have a lot of clothes. I have some decent work clothes but my after‐work attire is usually a man’s big shirt and a pair of sweat pants. As long as my underwear doesn’t have holes in it, I’m a happy camper and bedtime means throwing on an old football jersey. Not very photogenic. And let’s face it … these sessions are too expensive to consider buying new clothes too.

So I went digging. My significant other did a double‐take once upon seeing a photo of a woman wearing a suit jacket and nothing else. I’m sure you know what kind of look does it for your guy too. So that was a given. Then, because I usually hang around in a man’s shirt, I found one that was kind of filmy and brought that. A couple pairs of pretty underwear and a couple decent plunging bras and that was all I really needed. I felt bad that I didn’t have some sort of exotic lingerie but after seeing my pictures? I’m glad for what I was wearing … it was truly representative of me … not someone else. So that’s my first rule … be true to yourself and who you really are and what you really feel comfortable in. Depending upon how you wear it, just about anything can be sexy for pictures, I think.

The next hurdle was hair and make‐up. I’m not very good at those things either so I put myself in Kathy’s very capable hands. It seemed like it took forever. How could it possibly take that long to put a few swipes of make‐up on? The only directive I gave her was that I didn’t want to look highly made up … just be the best possible me that I could. But when she finally got done and I looked in the mirror? I was shocked … and scared! I thought for sure that someone was going to think I was channeling Tammy Faye Baker. But they kept assuring me that it would look perfectly natural in the pictures. Despite their reassurances, I was fully prepared to be disappointed when I saw my proofs. But no! It was perfect!

Maybe it did look like me on one of my better days and not my every day look … but there was no doubt that it was me … and not a Mary Kay fanatic. So rule #2 … trust Kathy.

Then we get to the posing. Much harder than it looks. Dario puts a lot of thought, effort, time and energy into getting it just right. He even invented a new phrase while I was there … “If it hurts, it works.” Some of those poses were downright uncomfortable and I thought they’d look it when the pictures were done. He kept telling me that it would end up looking natural and he was right … again.

But after viewing my pictures … I did learn something. The pictures I like the best are the ones that have me posed in a manner very similar to the way I’d ordinarily sit to watch TV or hold a conversation. So I kind of wish I’d gone more in that direction. For instance, I do office work. Maybe I could have brought my glasses into the picture or something, gone for the sexy secretary look. There was a bathtub there and I should have inquired about using it. I’m known for spending hours lounging in the bathtub. Here’s my suggestion in a nutshell … just as Kathy made me up to look natural and I wore clothes that were representative of my normal attire … perhaps you should try to have your poses build upon your real life situations.

One last thing. My very favorite picture has turned out to be one that was completely un‐posed. I was laughing at something (you’ll do a lot of that during your session!) and had my hand up by my mouth.

It’s a look you’d see me in 100 times a day … only I was looking better than ever, wearing my clothes in a sexy manner and otherwise posed to my best advantage. Just as I started out wanting … it is the best of my real self. I felt very awkward trying to move at all while he was posing and setting up the shots, so determined to be cooperative and get them just right but now I think that I should have relaxed a bit more.

To recap:

1. Wear what you’re comfortable in but make it sexy.

2. Trust Kathy. She’s a real artist with a make‐up brush.

3. Trust Dario. He sees things in his mind in ways you could never imagine.

4. Be yourself.

5. Last … relax and enjoy!

INFINI Boudoir
800-941-6640

World Imitates Studio, and Vice Versa

On occasion we'll get an artistic boudoir shot that is taken outdoors and somehow has a "fake" look to it.  The technique used may be unusual, causing a "studio-like" effect as if it was shot in a studio and manipulated to look like it was shot elsewhere.  Its not necessarily a bad thing if the shot was compelling but it can undermine the sense that the shot was indeed shot in the field.

This photo is one such example.  Shot with a time lapse effect, the water smoothed out over the duration of the exposure causing an unexpected "polished" effect, vaguely resembling our studio floor.

We were intrigued with the possibility that such an exquisitely beautiful image might be reproducible or at least emulated in the studio.  We're always looking for ways to push the boundaries of our abilities further.

In our considerations were creating at least some kind of plausible background.  A complex cloud and distant boat structure were possible, but not necessary to capturing the essence of the shot.  What was important for realism was emulating a distinct, glowing horizon.  The horizon is what gives the image a feeling of "depth".

I often mention to my students that as photographers we do not have the luxury that videographers have in conveying a sense of depth in a scene.  A great shot will have to capture that sense through careful composition of elements in the shot, as well as traditional camera techniques such as a wide aperture and careful focus.

Next was creating that mysterious water element.  While our floor did indeed provide the reflective glow captured in the original shot, we decided to try a technique that would give us the flexibility of different lighting options.  The result ironically is a look that resembles reality more than our original shot.  The "water" has a rolling, wave-like texture to it which is not reminiscent of the typical studio environment.

So oddly, our in-the-field shot looks vaguely studio-like, and our studio set up looks vaguely real.  The important thing is that both techniques result in very beautiful environments that can be used to complement the unparalleled beauty of the female form.

INFINI Boudoir
800-941-6640

Photography and Sports, but Not Like You Think

We are all familiar with sports photography, the Sports Illustrateds of the world with great action shots of our favorite players doing what they do best. I admire the great shots I see that capture the players' emotions, their raw strength and skill.

But there is also another link between photography and sports. I find myself using certain analogies over and over when describing to a client or student what we're doing and why. I should warn the reader this post has a tongue in cheek sense to it. On the one hand, what I'm about to say is silly; on the other hand, the analogies are true, and illustrative.

Photography as Baseball

When I'm shooting a client or a model, I find it necessary to advise that there will be a few warm up shots I take over the course of the shoot to ensure the lighting and general environment looks good. No need to smile or pose for those, they are just technical "test shots". And after that, there will be lots of shots taken when we're on point. Why do I take so many? Won't one do? Snap and move on? Probably not.

If you have ever watched America's Next Top Model, you'll note that they shoot perhaps hundreds of photos of extremely beautiful women. Then when they're reviewing the shots, certainly there are lots of very nice photos, but at some point, everything aligns.

The hair waves just so, the fabric falls just right, the prop is in the most flattering, complementary position. The model's hand, her arm, her shoes... all ease into a natural and appealing position. And her expression... finally her expression captures the inner life of her personality, the intensity that penetrates and transcends a static image to captivate the viewer... forcing them to stop and look. She "pitches" her shots at me, look after look, while I tease and coax out her best throws. I'm swinging away as batter with a camera. Snap, snap, snap. Foul away, out to the bleachers...

The camera is a time capture machine. I dont have the luxury of the continuum of video, picking out the best moment from the reality presented. I have to snap it when it happens. And I miss. She pitches, I swing, and like most batters, there's a lot of missing. But at some point, she throws, I hit, and wow, home run. And when we hit that home run, then yes, time to move on to the next play.

Photography as Football

When I'm teaching a photography student, I'm often taken by the complexity of what I'm trying to explain. On the one hand, I have internalized an awful lot of subtlety and inter-related issues that affect each other. Sometimes its hard to pick a starting point; it sometimes feels like a big circular wheel of complexity. I can't explain this without first explaining that. And I can't explain that without discussing the other thing.

On the other hand, photography can at its most basic be reduced down to a fairly simple set of rules that can get someone grounded. Adding complexity from that point on is relatively easy once you understand the rules. Its not something that is easily understood by watching other people shoot, or by looking at great photographs. Someone essentially has to explain it to you, at some level.

I remember for years strongly disliking football as a sport of very large men beating each other senseless, then picking themselves up off the ground and doing it again. Until someone explained a few basic rules of the game -- the idea of first and 10, the idea of first down, the touchdown, the field goal, the defense, and the quarterback. SUDDENLY the game was enjoyable. No, I didnt understand all the nuances of the game, but now I could understand the progress of the game, why the players did what they did, and could even cheer along with everyone else when something identifiable good happened. But someone had to explain it to me. You can't really understand football by just watching the game.

And to get better at photography so that your shots progress beyond the odd lucky shot, someone at some point is going to have to explain to you the basic rules of the game.

And there is even a similarity between photography and boxing, if nothing else, in the phrase, "Stunning shot!" LOL.

Whether teaching students or shooting our INFINI boudoir clients, we always strive for "stunning shots" that leave a mark.

A Customer's Testimonial

We do understand that the INFINI Boudoir experience is a transcendent one, far beyond merely taking photographs of feminine beauty. For many if not most clients, it is an affirming, almost religious experience, deeply gratifying and uplifting.

It is testimonials like this that help us see our work as something more than just an exercise in the creation of beautiful art, but of touching someone's soul in a way that we never could have set out to do. We present to you Danielle's words of gratitude.

Dear Dario,

I’m not entirely sure where to start. It is the day after my photo session and I still find myself at a loss for words. When we were researching photographers and came across your website, I found myself immediately drawn to your photographs. As I told you when I met you yesterday, there wasn’t a single photo on your site that I didn’t like. However, going in, I hoped to have some good shots, but quite honestly, I figured that I am 43 with bulges and sags I didn’t have 20 years ago and therefore, I didn’t think my photos would be as good as those on the site. I’ve been happily married for19 years and I knew that my husband would really like for me to indulge and have these types of pictures taken and I really wanted to be able to give him this gift.

My husband asked me afterward, what the shoot was like. The only way I could describe it was to say that during the entire shoot I felt appreciated. From the time that Kathy started applying my makeup, through all the work you and Lisa did to stage the shots, through the time that you spent at the end of the shoot, I felt appreciated and valued.

Late last night we received the link to the photographs. With more than a little doubt in my mind as to how the pictures would look, we opened the link…and there they were.



Through the first four or five pictures that scrolled across the screen, I found myself surprised. I thought to myself…wow that one was really good, and then the next would scroll and I’d think, that was one pretty good too! I glanced over at my husband and he had the best smile on his face. I turned back to the screen and realized that all the pictures were absolutely amazing. As I watched shot after shot scroll on the screen,

I realized that you had created these amazing images (just like the ones on your website) with me…for me.

I have to admit, as I watched, I couldn’t help it…I wept. I could see the great smile that you kept talking about (you see it’s just my smile, I use it every day, what could be so great about it?). I saw all the things that you encouraged me on and complimented me on. I never think of myself as beautiful, mostly just average.

I believe you have a gift

and you found and captured so much of the essence of me. Of the 90 pictures we received, there wasn’t a single one that I didn’t like. Of course I liked some more than others, but seriously, I’m not sure that I have 90 pictures taken in the last 19 years that I can say I really liked. You were able to crush that in a few hours.

Thank you seems inadequate.

I want to take a minute and also thank your team. Kathy was absolutely amazing with the makeup and hair for the photos. When I saw myself in the mirror the first time, I actually thought to myself, I’m not sure who this person is. With my heavily lined eyes and false eyelashes (a first for this 43 year old!), I wasn’t really sure. I really had to step out and put my faith in the professional. What I saw in the photos was that it really was me there, under the shadow and lashes. Only, my eyes glowed and the expressions were more pronounced. The images were made more powerful by Kathy’s artistry, using my face as a canvas.—A million thank-yous Kathy!

Lisa wore many hats yesterday. I especially appreciated her coaching and encouraging throughout the process. I tell you, I passed my nursing boards, but nothing was more complicated than, pop your hip, but don’t bend your leg, keep your toe pointed at the camera…oh yeah, and smile! Her “styling” made each photo the most flattering they could be. Between Lisa and Kathy I knew that all of those little things would be caught; straight laces, hair lying just right. I could relax and enjoy the shoot, or just the ride around as she pulled the bathtub or couch with me on it! Thank you Lisa!

Your team is outstanding! It is no surprise to me that you have a 100% customer satisfaction. During the shoot, nothing is more important than the client. I feel honored and privileged to have the opportunity to experience this with your team. Since I really have no better words,

let me just say a heartfelt and grateful…thank you.

Danielle

The Realm of Fantasy Art

This is an art category that wanders into the surreal -- extra-terrestrial landscapes with sometimes vivid colors, whimsical realizations of timeless myths, and completely unique, dreamy interpretations of pure fantasy. It is a specialized category of the visual arts, promulgated by masters of the realm. There are many realms of the arts I admire, and this is no exception.

The combined power of digital photography and software such as Photoshop provide easy passage into this realm. This is one of those arenas that are easy to enter, but quite difficult to master. Many a photographer has pushed the boundaries of "normal" photography as a rite of passage in exploring the capabilities of editing software. Indeed, its almost unavoidable, since learning such powerful tools requires testing the extent of their control. It is during this process of exploration that a photographer comes to a definitive decision -- are they purely a photographer, or a "digital artist"?

The former is concerned with making the most of what the camera can capture. Photoshop is not verboten, but is used to enhance the power of the image which at core represents a decidedly "real" scene. A digital artist on the other hand is almost a painter using technology as a canvas, palette, and brush. Restrained only by their imagination, the digital artist transfers that which has already been conceived in their minds without limitation. Digital artistry does not come without penalty however. Where a photography-minded artist might set a scene and capture potentially hundreds of images, a digital artist's production is significantly more modest, perhaps a handful of images or less of a certain type or scene. It is painstaking work, crafted with care and precision.

Years ago, I decided to focus on being the best boudoir photographer I could be, leaving behind my attempts at digital art. My market generally prefers many beautiful images rather than a handful of highly processed works, but there does exist a certain fantasy-oriented clientele which desires and appreciates the surreal and elaborate. Recently a couple of clients requested fantasy type images which now fall outside my typical style. Doing anything outside your comfort zone can always add a bit of adrenalin and anxiety to your day, but I'm gratified to say that the results were stunningly beautiful. I'm grateful to be given the opportunity to expand my domain a bit, though I plan to stay well grounded in the realm of the traditional photography of feminine beauty.

Nevertheless, if a client has a desire for this sort of thing, clearly INFINI can deliver the goods.

INFINI
800-941-6640

The Power of Black and White

Color is an interesting component of our vision. The ability to see color is like salt and spices on our food, providing an explosion of visual flavor. We experience this every spring when the grey shades of dead landscape bloom into the vivid hues of colorful flowers and vibrant green foliage. We've enjoyed the universal availability of color photography since the 1950's (though experiments in color photography had been going on since before the turn of the century).

But our common visual experience of the 1940's and before is through a black and white filter. We see the quaint history of a simple and sometimes gritty America through a nostalgic lens. Common scenes were filled with meaning and drama, or alternatively were imbued with a certain campy charm, often seen in old carnival photos.

A cache of color photos from the 40s floated across my email recently and I began looking through them with interest. The initial intrigue of seeing a more accurate representation of what old America looked like eventually gave way to a certain disillusionment. What I had become accustomed to as a beautiful era of hardy, hopeful Americans in drab clothes driving charmingly antique retro vehicles was actually a very ordinary, every day reality. The beauty of nostalgia it turned out was conveyed in the shades of grey.

Color was like a harsh light, exposing the almost contemporary mundaneness of their lives. Old America was minted, idealized, and glorified in the drama of black and white imagery. We created an alternative visual memory of our history which was greater than the reality. The mundane was augmented to the height of drama through the removal of color.

Color is in a sense, a distraction. Relating back to the food analogy, it is like ordering filet mignon and dousing it with ketchup. Not that there's anything wrong with ketchup -- fries without ketchup is almost a travesty! But the complexity of a fine steak, or a powerful image, can be undermined with the distraction of color. And hence, black and white imagery is still with us today despite the obvious technological advancement of color.

To be sure, black and white is not a cure-all for injecting drama where there is none, or forcing "artistic interpretation" on a patently bad image. But for some images, their true power is revealed when the mantle of color is removed.

We at INFINI sometimes incorporate a process where the essence of black and white is entreated into an image though a color tone remains. It is a blended treatment that enhances the drama but also provides a hint of visual "flavor", a pleasing compromise between the vibrancy of color and the mystique of black and white.

Dario

INFINI Boudoir

800-941-6640

The *ART* of INFINI Boudoir

We've decided to create a new type of package catering to those clients who are more artistically minded. The reality is that there are many different ways to shoot the female form. Boudoir is a category with multiple sub-categories -- things like Victoria's Secret style glamour, pin-up, Playboy, etc. But the artistic realm is a different direction. Its intent is less oriented towards the provocative and sexy, and more towards the classics.

Focusing on form, substance, and story telling, such creations require some thought and collaboration with the client. We become less interested in lots of sexy shots, instead focusing on a small number of "concepts". Each concept is pre-conceived and developed with story elements. Considerations include the client's body type, incorporation of the client's interests and preferences, and constructing the "scene". Sometimes this means selecting a suitable location that provides the correct ambiance for the concept. Other times, the scene is more abstract and can be effectively constructed in the studio.



Photographic art is something that can hang on a wall and be objectively admired and appreciated by many viewers. It stands the test of time. Achieving this requires some painstaking effort. Many shots are taken with small adjustments along the way to adjust and perfect the various elements in the shot. Each shot is an improvement towards a final image where all the elements finally come together in harmony. Having captured that piece, we move on to the next concept. In practice, 2-5 concepts are about all that can be achieved for the normal working duration of a session. Beyond that someone starts to get giddy and the intensity and productivity of the process wanes.

Your take away is a fraction of shots from our regular INFINI boudoir sessions which can number 150 or more beautiful images. But each of the handful of artistic images will be a masterpiece in its own right, admired by multiple generations, family, and friends alike. And included with the Sanders package is a 16x24 canvas print ready to make a bold statement on your wall. Fabulous!

New Referral Program Announced!

We've finally formalized a definitive referral program. For years, we've cultivated a word of mouth presence in conjunction with our regular advertisements. Our clients have been so universally pleased with the results of their photoshoots that they've broadcast their satisfaction far and wide to all their friends and co-workers. We have of course been grateful to them for their referrals and now want to show that gratitude with an incentive plan.

What You Get

Now when you refer a friend to us and they book their own session, you both get an 8x10 of your favorite print! After three booking referrals you get a framed, matted 16x24 wall portrait ready to hang! An astounding $559 value! And ladies, after 10 referrals you reach our INFINI VIP Super Star status!

That entitles you to your own REPEAT SESSION with professional hairstyle & makeup AND a beautiful 10x10, 20 page album of your incredible photos, absolutely FREE, as a thank you for being our own INFINI Super Star! Altogether the referral rewards total over $1700 of value ABSOLUTELY FREE!!

The truth is, ladies, that subsequent sessions ALWAYS result in even better photos than the first session. The reason is that as an experienced pro, you know how we conduct our sessions. You know what to expect. You're familiar with the magical transformation that happens when the fans blow your hair just right, the fabric flutters in just the right way, the lights fire at just the right moment. You "get into the moment" rather than worry if you look silly or if the outfit is flattering on you. So a follow up session with the included album will result in artwork worthy of museum walls! A wonderful gift as a thank you from the INFINI team!

How it Works

Simply have your friend enter your name in the special instructions section of the booking form and its as simple as that!

When you shoot with INFINI, you become part of our INFINI team of beauty specialists, spreading our special brand of glamour far and wide!