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Reflection

Something that many of my readers here may not know is that my thesis was a photographic exploration of self-segregation in certain Boston neighborhoods.  I spent about 1/3rd of my time shooting in Boston, 1/3rd of it researching in various libraries across the state, and 1/3rd of it putting everything together into a book back on campus in western Massachusetts.  Though I focused on specific neighborhoods for the project, I also spent a decent amount of time in the city in general and really enjoyed getting to discover the city through my lens.  This is one of my favorite “off the clock” photographs from my time spent shooting there.

A student sits on the side of the Christian Science Center reflecting pool near the Prudential Center in Boston, MA. Taken in 2006.

When I look back at my older work, it is in some ways less sophisticated, as I was less practiced and had a much poorer understanding of processing, but I also think that in many ways, I used to observe more and shoot less, and the light in some of my earlier work such as this is truly astounding and 100% natural.  This image is almost SOC (straight out of the camera) and I personally don’t think I’ve had images that look this good SOC in years.  I really would like to get back to shooting more work like this.

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Busy Bee!

My life has pretty much revolved around shooting and editing for the last few weeks.  While I’m glad to be doing so much of both, I am beginning to feel a bit like my editing desk is a second home.  I most certainly need a more comfy and appropriate chair than the wooden dining chair that I’ve been using the last few years!

What a busy few weeks I’ve had.  Two weeks ago I was in upstate New York, shooting the Defiance & Independence event at Fort Ticonderoga.  I took around 3600 photos, and I spent most of the following week editing.  While I have sorted through many of them and sent some early picks off to the fort staff, I still have a long way to go before I can consider that project “done”.

The weekend after that, I was asked to shoot Urban Evolution’s “Circus for a Night” event.  My camera was having some issues, and the lack of lighting or bounce space for a flash, as well as some other issues made for a difficult shoot, and I’m sad to say that I’m not particularly enamored with my work from that shoot.  But, at least there were several other photographers there, getting good shots with lenses that aren’t half-broken.

Two days later, I was off to Richmond, Virginia to see a concert by Old Crow Medicine Show, The Lumineers, and The Milk Carton Kids.  I was only able to shoot The Lumineers and The Milk Carton Kids, but I was pretty pleased with what I got, despite having a mike stand in the way much of the time.  I drove down to Richmond, spent a couple hours wandering around, went to and shot the concert, and then drove back again that night.  It was a long day.

Two days after that, Marc and I headed up to the Mohawk Valley area of New York, for the reenactment of the Battle of Oriskany.  Due to traffic, it took us 10 hours to get there, and we arrived close to midnight.  I was up the next morning at 6am to get some of my best shots of the entire event, of the camps in the morning mist.  I accompanied our unit in the battle in the ravine, and ended up running up and down the 45˚ angle dirt walls several times, as well as running through the creek, all in my petticoats and stays!  There was another photographer with the group we were running with, Amanda McNaughton, who was a lot of fun to shoot with, and she very kindly lent me one of her lenses for the portrait session I had booked on Sunday.

This week and the following week are going to be spent editing the shots from everything I’ve done in the last few weeks.  I’m happy to be shooting so much, and my Netflix account is certainly being used for all it’s worth, as I tend to watch movies and TV in the background while editing.

What does this mean for all of you?  TONS and TONS of pretty photos soon!

For now, here’s a quick look at some of what I’ve done recently:

Archive

Why I’m glad “The Mongolian Experiment” failed, and my new plans…

When I came back from a year abroad in South Korea, I had two great ideas that unfortunately fell by the wayside after I realized that both of them were a bit beyond my reach at the time.  One was a documentary project that I called The Mongolian Experiment, and the other was a crowd funding/crowd sourcing platform that sourced people’s skills instead of their money, which I called “Tindr” (which I gave the tag line ‘it only takes a spark to start a fire’).  Sadly, I had neither the programming expertise or the money to hire a programmer for Tindr, and after doing a heck of a lot of research on what it would take for me to accomplish my plans for The Mongolian Experiment, I realized that I was too out of shape, too inexperienced with horses, too new to the travel blogging and photo blogging spheres to be able to pull it off, and the project itself was too esoteric to appeal to a larger audience without a 5 minute explanation.  In retrospect, I have also realized that frankly, I had no idea what I was doing and was working based on pre-conceived notions that were pretty far off from reality.

That was three years ago.  Three years may not be a huge amount of time, but I have changed substantially as a person and fundamentally as a photographer since then.  In those three years, I’ve paid attention to where my strengths and weaknesses lie, as well as the subjects that interest me the most and that I’m best at portraying through photography.  I’ve honed my skills and specialized.  I’ve gone from an aspiring professional to an actual professional.  The biggest change, though, is that I’ve realized that I can come up with ideas until I’m blue in the face, but nothing is ever going to come of them unless I actually put myself out there on the line and do something about them.

Just because I cancelled The Mongolian Experiment doesn’t mean that I gave up on large-scale projects.  If anything, it actually made me more determined to make something work.  For the last few years, I’ve been thinking about just what it is that I really can throw my heart and soul behind, what it is that has a snowball’s chance in hell of succeeding.

I had a conversation recently with another photographer about what I’m most passionate about shooting – the stuff that really just makes my heart sing when I see it through my viewfinder.  I came up with three subjects:  reenactors, horses and equestrians, and little-known or ill-understood cultures/subcultures.  I actually have some ideas for a domestic project involving reenactors, but what I realized is that there was a great opportunity for me to combine my interests in horse cultures and little-known peoples with my love of international travel.  And lo, I came up with an idea.

I want to do a series of explorations of the long-standing horse cultures in several different locations around the world:  Mongolia, Argentina, Spain, the American West.  Possibly even places like Russia and Central Asia would be included.  I would love to take a year and examine all of them over the course of a year, but if there’s one thing I learned from my failures with The Mongolian Experiment, it is to break things into manageable chunks.  So, I will do each country one at a time, at least at first, with the photos being turned into a large format photography book (and possibly an exhibition, if I can secure one).  I am hoping to start off with either Mongolia or Argentina, as both of those places have deeply entrenched horse cultures and are somewhat enigmatic to an American audience.  If that project does well, then I will move onto doing the other countries.  The project will be crowd funded through either Kickstarter or IndieGoGo.

I feel that this project has a lot of advantages over my earlier concept.  First of all, it’s a large project that is easily broken down into smaller, more manageable chunks that each still stand on their own.  Secondly, it’s an easy, relatable subject that doesn’t take much explanation: horse culture in X country.  Third, whereas The Mongolian Experiment relied on trying to find people who were interested in Mongolian culture, which is a fairly small number of people.  By comparison, this project can pull from the gigantic equestrian subculture that is fairly easy to tap into (and it helps that it’s a demographic that tends to have money to spend).  Finally, I am now much more well connected and marketing savvy than I used to be, and more and more crowd funded projects are successful every day.

I have quite a bit of research to do before any of this can get anywhere close to getting off the ground, but you can expect to see me posting about my progress on figuring this all out in the meantime.  I am hoping to have enough of it all put together to get my campaign started early this fall.  Until then, I have a huge amount of work in front of me.

What do you all think?

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Lessons learned from my recent client snafu:

I learned a few things from the recent snafu I had when trying to get a reenactment coverage gig for an event in a few weeks.  While the guy was definitely condescending, I also realize that I made a few mistakes that could have helped the process go a little more smoothly, even if it still resulted in me not getting the job.  Here’s what I’ve been mulling over for the last day or so:

  • Never deal with a client through an intermediary.  Always deal with the client directly.  You can use an intermediary to introduce you, but that’s where their role should end.  It’s too easy for someone else to misrepresent you or your services, which can lead to misunderstandings and possibly losing the client.
  • I need to work on moving my personal “brand” even farther over into the photographer category.  Right now among reenactors I’m known as “that reenactor who takes awesome photos” when really I need to be known as “that awesome photographer who also reenacts”.  As long as I’m seen as a reenactor first and a photographer second, it will be difficult for other reenactors to see me as a professional.
  • I desperately need to write both a “why you should hire me” page and a “what I do” page.  These pages serve two very important but very different purposes.  The first is all about marketing, and explains why it’s likely worth your money to hire me to shoot you, your family, your reenactment, your horse, etc.  There are some very real benefits to hiring me, and I think that putting them out there is important.  The second is a page that better explains what it is I do when I’m photographing people/horses/reenactments.  Every situation will be unique to a certain degree, but there’s kind of a standard groundwork to how I shoot that needs to be explained.  This will help people to understand that they’re hiring me for a professional shoot, not to stand around and take a few random snapshots.
  • I have more friends in high places than I realized, and I need to start using that.  I’ve always known that I’m fairly well-connected in the reenacting world, but in the last few months, I have realized that “fairly” is actually “very”.  I know the directors of three major historical sites, assistant directors at a handful more, plenty of event organizers, and more unit commanders than I can count.  I’m pretty well-known in the hobby for my photography, and now I need to start tapping those influential friends of mine to help with getting paid work.

On a completely unrelated note, this is where I’d rather be today.

So, while I’m annoyed at myself for how that particular mess went down, at least it has helped me to figure out a few more things that I needed to learn, and that’s almost as important as getting work.

Thoughts?

Archive

Figuring Out Reenactment Photography Packages: Unit Shadowing and Event Coverage

Awhile back, I wrote up a post about trying to figure out pricing for my reenactor portrait services.  Given my recent troubles with being paid a reasonable amount for covering an entire reenactment event, I feel it’s a good time to do some thinking about how and what I should charge for two of my other services: unit shadowing and event coverage.  So, here are some vaguely organized thoughts about those two:

The boots of the 18th Regiment de Ligne.

Unit Shadowing

Unit shadowing is a chance for reenacting units to get great photos of their unit in action.  Depending on which package is chosen, I will stick to your unit like glue for anywhere from half a day to an entire event.  I will photograph your unit in camp, in battle, even setting up and breaking camp if you so wish, including shots at night.  Think of it as similar to modern wedding photography, where every step of the way is documented.  The result is a set of photos depicting the true personality and quality of your unit.  These can be used to recruit new members, and greatly help with a unit’s professional image.  The number of finished images provided will depend on the length of time I am covering your unit.  An early set of a small selection of images will be provided within 2-3 days of the end of the event, with a larger, more complete set of images coming 1-2 weeks later.

1/2 Day:  With this package, I will cover your unit for half a day of your choice.  It can be in the morning or in the evening, on Saturday or Sunday.

Full Day:  With this package, I will cover your unit for a full day of your choice, either Saturday or Sunday.

Full Event:  With this package, I will cover your unit for the full duration of the event, starting either on Friday evening or Saturday morning and ending when your unit leaves the event on Sunday.

 

6am in the British camp at Rock Ford Plantation.

Event Coverage

Event coverage is a great way to lend a fledgling event some legitimacy and professionalism, and to draw greater crowds to established events that may have seen their attendance wane in recent years.  Depending on the timeframe chosen, I will be constantly on the move, shooting as many aspects of your event as I possibly can.  I will shoot camp life, battles, detail shots, even staged photographs indoors or out – whatever you want me to shoot, that’s what I will shoot.  The number of finished images provided will depend on the length of time I am covering your event, and will include rights to the images for marketing, advertising, etc.  An early set of a small selection of images will be provided within 2-3 days of the end of the event, with a larger, more complete set of images coming 1-2 weeks later.

1/2 Day:  With this package, I will cover the event for half a day of your choice.  It can be in the morning or in the evening, on Saturday or Sunday.

Full Day:  With this package, I will cover the event for a full day of your choice, either Saturday or Sunday.

Full Event:  With this package, I will cover the event for the full duration of the event, starting as early as Friday afternoon and ending as late as Sunday night, based on your preferences.

 

A young Soviet soldier at a private WWII tactical.

Pricing

For both unit shadowing and event coverage, the prices will likely be at least roughly, if not completely, the same, as the amount of work is essentially the same.  My hourly rate is generally around $25 an hour, no matter whether that’s time behind the camera or in front of the computer.  An average day of shooting is somewhere around 800-1000 photographs.  Now, I don’t process all of those, but I do have to go through them, choose the ones I want to do a “quick & dirty” processing on, choose the ones I want to do more detailed, time-consuming processing on, prepare versions for print and for the web, upload them, etc and all of that takes a considerable amount of time – often multiple 8 hour days in a row spent sitting at my computer.  If you figure that a half day of shooting at an event is 6 hours behind the camera, that’s $150 just in shooting time alone.  A full day, which will run more like 14 hours, is $350 just in shooting time, not counting any other part of the process.  Taking that into account, along with a slightly lower rate for my (considerably longer) time in front of the computer, here’s what I feel is reasonable:

1/2 Day:  $300

Full Day:  $500

Full Event:  $1000

For events that I wasn’t already planning on attending, there will be a travel fee of $50 for every 2 hours or 100 miles outside a 1 hour radius of Alexandria, VA.  For events already on my “confirmed events” listing, there is no fee.

These prices aren’t set in stone, and I’m hoping for feedback from people, especially reenactors, event coordinators, and historical site folks about these packages and prices.

So, thoughts?

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Clients who low-ball you…

So, it’s a no-go on shooting an event that I had tentatively been hired to shoot.  I got the terms back from the person in charge of approving me as official photographer, and was quite honestly aghast at how condescending they are.  Unfortunately, these sort of things are more common than you’d think when it comes to dealing with clients.

Note:  My original quote for them was $500, which is half what I typically charge for full-weekend event coverage.  The discount was due to the smaller size of the event, and the fact that it was a period I had never shot before and was interested in shooting.

Here’s what I got back (this was the email to a mutual friend, for me):

I agree that most of us are too busy reenacting to take good pictures… and having a photographer and hopefully some short video clips as well would be of value to the [organization] for future advertising. When I did this in 2008, I did it for free, but I understand that gas is more expensive these days, so here is what we can offer…

* I’ll pay her $25 on Friday when she arrives. (I will be reimbursed by the [organization])
* If she is seen to be actively photographing and video taping us all day saturday, saturday evening, and sunday till we finish.. we’ll pay another $50
* We are to receive the edited images in jpg format on disks with full rights to use them in any way the [organization] wants. If I am pleased with the quantity and more importantly the quality of the images, we would then be willing to pay an additional sum between $50 and $125. If I am really blown away; I’ll personally add a tip from my own pocket over and above what the [organization] can afford.

 

You’re kidding, right?

“If she is seen to be actively photographing” um, as opposed to what?  Sitting around on my butt?  Sir, if you’re hiring me to shoot, I’m there shooting.  And what is with that piecemeal payment system?  Do you pay your plumber for each pipe he clears and then only give him the rest of the money if you really love his work?  No.  This was not an event I was already attending as a reenactor – it’s not even a period I do; this was an event I was going to be hired to shoot, so I would have been there as a civilian, sleeping in my car.  The fact that he says that “he used to do this for free” tells me that he doesn’t really understand what it is I’m going to be doing.  I’m sure he’s a good guy, but I don’t think he understands that at those prices, I’d be working for well below minimum wage on that job.  Considering that my hourly rate is generally closer to $25-$30 an hour, this offer is just insulting.

If he had come back with a well-reasoned, professional response and said that they could only afford X amount, I would have worked with him.  I would have maybe only shot one day instead of two, or I would have worked out a payment plan, or something.  But the attitude behind those terms shows me that he really doesn’t understand anything about hiring photographers.

Especially this early in the game, it is very important for me not to low-ball myself, or when I do, to do it on my own terms.  Accepting terms like these would have sent the message that I’m not really a professional and that it’s okay to pay me like an amateur.  My good tailor friend Neal Hurst charges $700 and up for a coat, and what you’re getting for that price is an exceptional product made with Neal’s years of experience creating high quality garments.  If he charged only $200, I’d be suspicious.  Price reflects quality, and you have to price your services according to your own abilities and skill level, otherwise people will forever see you as unprofessional.

What are your thoughts?  How would you react if someone tried to pull this with you?

Archive

Off to a good start!

Portrait of Mateo Ehrlich as a Spanish Civil War commissar.

While I figured that I would start getting clients right away once DriftingFocus Photography was finally “open for business”, I never expected quite the volume of response that I’ve gotten in these past few weeks.  People seem eager to procure my services, and I am really happy to see that there is a demand for reenactment portraiture and event coverage, as I suspected there might be.  While I am still circumspect about my ability to make a full time living off of reenactment photography, it seems that it will at least be a larger portion of my business than I had initially projected!

In the last few weeks, I’ve gotten the following services booked:

  • Fort Ticonderoga | Defiance & Independence:  Official Event Photographer
  • Napoleonic Grand Tactical:  Official Event Photographer (tentative)
  • Battle of Oriskany:  2 Portrait Sessions, 1 Family Session

In addition to those, I have had several other folks tell me that they are anxious to hire me, next time that we’re at an event together.  So, things are looking very up for my budding business!

Over the next week or two, I will be working on finally getting my “Rates & Services” page up, in order to make it easier to hire me.  I’m also going to be working on writing up a page about the benefits of hiring me to cover a reenacting unit or event, as virtually every unit I’ve ever shot has reported increased recruitment afterward, an almost every event I’ve shot has reported increased attendance in the following years.  I hate writing marketing stuff, but it’s one of the most crucial parts of this business and sadly, cannot be ignored.

I’ll put up some shots from this past weekend’s Spanish Civil War event sometime today or tomorrow, so keep your eyes peeled!

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What will/will not change when I start booking reenactor sessions:

Someone on Tumblr raised the concern that now that I am working towards turning my reenactment photography into a profitable business, that I’m going to start “charging what looks to be friends for something that [I] did before for free”.  While that is a valid concern, it is an incorrect one, and it’s also something that I would like to clear up from the start.

So, here is what will and will not change, in regards to my reenactment photography, once I start booking sessions:

 

What will not change:

 

  • I will still be taking photos at reenactments, regardless of whether or not I’m being paid to do so.
  • I will still “shadow” units that I belong to for free.  Consider it a perk of having me as a unit member, as some of my units do.
  • All shots that I take on my own, outside of an established, scheduled sitting/session/shadowing, will still be free to download.  Prints of those photos will still cost money, just as they do now, and will still be at my “reenactor price”, just as they are now.
  • If reenactors or units (that I don’t belong to) want my dedicated time and attention, they have to pay for it.  This has always been the case, I’ve just never had a formal system set up for it.
  • Reenactors and units will still be able to use my photography for free on unit websites, Facebook, etc, including shots of them that I was not specifically hired to take.

 

What will change:

 

  • Reenactors will now be able to schedule sessions with me through a formal system, something that has been requested of me by many, many people.
  • I will now be able to turn something I love doing into something that also helps me pay my bills.
  • Units will now be able to formally hire me to shadow them at an event, allowing them to get much higher quality shots of the units, rather than hoping that I grab a few random shots of them at an event.
  • I will start being more proactive about making it known that I do this for a living, not just for fun.
  • Reenactors will now have a structured way to get even higher quality shots from me than I have gotten of them in the past, to be used at home, for unit PR, etc.

 

Also, I should note that any “friends” who would take issue with me trying to make some money doing what I have been formally trained to do are not exactly the type that I would count among my friends.   If you wouldn’t ask a carpenter or doctor to work for free just because they’ve occasionally done so in the past and because they enjoy their work, then don’t think that it’s acceptable to ask me to work for free either.  If I want to work for free, I will offer, and I often do, but I can’t do it all the time.

Archive

Figuring out Reenactment Photography Packages: Individual and Unit Portraits

So, I’ve decided that one of the things I want to focus on over the next few months is how to combine my two loves, reenacting and photography, into something profitable.  Yesterday I took one of the first steps toward this by asking my various Facebook reenactor friends whether or not they’d hypothetically pay to have me do portraiture and general unit photography at events.  The response was overwhelmingly positive, so I’ve started brainstorming a bit as to how to structure it all, etc.  Here’s what I’ve come up with so far, and it is by no means set in stone.  I will obviously be significantly rewriting this to emphasize why reenactors will want this, but for now, this is just text to explain what I’m thinking of for each package.

Individuals

Individual sessions are a chance for reenactors and/or their families to have professional portraits taken of them while they’re at an event.  Most reenactors only have random snapshots of themselves at events, and this is an opportunity to get a keepsake of their involvement in the reenacting world.  If they have a new impression that they want to show off, this is an excellent way to do that as well.

30 Minute Mini-Sessions

This package includes 30 minutes of dedicated shooting time at an event, and 10 hand-finished digital files.  Prints may be purchased separately.  30 minutes is generally enough to shoot in two locations at the site, as long as they aren’t too far apart.

Price: $90

60 Minute Full Sessions

This package includes 60 minutes of dedicated shooting time at an event, and 15 hand-finished digital files, as well as one 8.5×11 print.  Additional prints may be purchased separately.  60 minutes is generally enough to shoot in three to four locations at the site.

Price: $150

Family Supplement

Since my prices are based on shooting only one or two people at a time, for more than two individuals, a family surcharge of $50 is added to the price of the previous packages.

 

Units

I have several options available to units, ranging from a quick and easy group shot to a full documentation of your unit over the course of an event.

30 Minute Unit Group Photo Sessions

This package is for units who want to have a few professional photos taken.  For 30 minutes, I will photograph the unit either in traditional formal group shots, in candid and relaxed group shots, in posed action shots, or in a combination of all of the above.  The unit will receive 20 finished digital files.

If individual unit members wish to also have photos taken of them at this time, I will be available for 5-10 minutes per member at a rate of $25 per member.  If members want more time, mini-sessions can be purchased at a discounted rate of $50, provided that they are booked before or during the unit shoot.

Digital files will be provided to unit members for use on websites, etc, and prints can be purchased separately.

Price: $125

60 Minute Unit Package

This package is for units who want to have professional photos taken of both the unit and of individual members, or for units that want more time to get a good set of action shots.  For 60 minutes, I will photograph the unit either in traditional formal group shots, in candid and relaxed group shots, in posed action shots, or in a combination of all of the above, as well as any individuals who would like some personal attention.  No extra fee is charged to individuals with this package, provided that the shots are taken during the hour-long period.  More time can be purchased at a rate of $40 an hour.  The unit will receive 30-40 digital files.

Note: This is the best deal I offer!

Digital files will be provided to unit members for use on websites, etc, and prints can be purchased separately.

Price: $225

A note about travel fees:

If the reenactor schedules a session with me at an event I was already planning on attending, there is no additional fee.  If I was not planning on attending an event, there will be a travel fee of $25 per 150 miles from Alexandria, VA.  If multiple parties are interested in having portrait sessions at an event I wasn’t planning on attending, I will divide the fee between the various parties.  If they really want to book me for a shoot but can’t afford an un-split fee, I will also do my best to find other clients to shoot at that event, to lower costs.

A note about my pricing:

In order for me to pay my bare minimum of bills, I need at least $1000 a month.  Since I go to about two events a month on average (and I will definitely be attending more events if this becomes a big thing for me), that means I need to clear at least $500 each weekend.  If I’m shooting just individuals, that’s 2-4 shoots, depending on what packages are chosen and how many prints are ordered.  If I’m shooting a unit, that’s one unit shoot per weekend.

One thing to keep in mind is that the reenactors aren’t just paying for their time in front of my camera, they’re paying for the time I have to spend processing and editing the photos afterward (which is actually the most time-consuming part of the process and is comparable to darkroom fees in former days), they’re paying for my equipment, and most of all, they’re paying for my skills and experience as a photographer, as well as my understanding of reenactors and the reenacting hobby.

The other thing to keep in mind is that most reenactors will readily plop down this amount of cash for a new piece of clothing or campware, and good quality photographs of a reenactor in their heyday in the hobby will be far more cherished 20 years from now than that new campfire reflector oven they’re lusting over.  For units, the cost of having unit photos taken can be divided among the unit members, and with high quality, professional photographs of the unit, they’re far more likely to get new recruits in the future.

I should also note that these prices are sort of “early bird” prices.  As soon as I get more established, these prices will go up, but for right now I’m willing to work for less because the folks who will be the first to know about all of this are the people who have known me the longest and who I know will help me advertise through word of mouth.  If the response is good and I’m getting a reasonable amount of work, I’ll raise prices by 50% after 6 months.  If I continue to get clients at the same rate at that price, I’ll raise it by another 50% after another 6 months.

Next post:  Unit Shadowing and Event Photography

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Photos To Be Known For: Reenactor Portraits

One of the “exercises” I have given myself in this whole “figuring out how the hell to turn this into a living” craziness is to think about what I enjoy shooting and what I want to be known for.  The first step is to figure out what I like shooting, regardless of how feasible it is to make money off of it, to focus purely on the work that I enjoy and that I’m proud of.  Once that’s all done, later on I’ll work on trying to figure out how the hell to monitize it.  For now though, I’m trying to leave the logical side of my brain out of this.

So, this is the first post in what will be a short series of mine called “Photos To Be Known For”.

In looking through my work, many of the shots that I’m most proud of are my reenactor portraits.  They are, not un-coincidentally, also the work that tends to bring the most joy to those I shoot.  One thing that most people notice about my portraits is that they vary rather widely in sentiment, from a near-replication of a period photo (as seen here) to a very modern, traditional portrait of someone very much out of time (such as this one).  I like the fact that I tend to go with what feels “right” for each given moment, rather than restricting myself to a particular “feel”.  I really love getting the chance to shoot such wonderfully unusual people, and since most reenactors have never really had any sort of professional photos taken of them in their gear, it really makes me happy to be able to give back to the community.

The following are some of my more recent favorite reenactor portraits, and are indicative of the style I’d like to continue to strive for.  Please click the cut to see the rest.

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