Family Photography Sessions

Family photos serve as cherished portals to the past, connecting us with our ancestors, predecessors who shaped the narrative of our existence. They allow us to glimpse the faces, expressions, and emotions of those who came before us, providing a tangible link to our heritage and offering insights into our own identities. In each carefully preserved photograph, we find fragments of our family’s story, a visual tapestry that weaves together the threads of our collective history.

Family Photography Packages & Pricing

All family photography sessions include:
A consultation well before the shoot to assure we’re on the same page and have a smooth session.
A personal online gallery to view your proofs
1 set of final images in color + 1 set in black and white
4K resolution digital images

Single Family- $400

Intended for up to 6 immediate family members.

60 Minute Session
20 Images

Multi Family – $650

75 Minute Session
40 Images
1 – 16×20 Gallery Print

Large Multi Family – $850

90 Minute Session for multiple Families
50 Images
1 16×20 Gallery Print

Print Prices

In today’s digital age, where images are captured and shared instantaneously, the value of printed photographs may seem diminished. However, their enduring importance cannot be understated. Holding a physical photograph in our hands, feeling its texture, and seeing the subtle imperfections adds depth and tangibility to the memories they encapsulate. They resist the transience of the digital realm, standing as tangible reminders of our shared history.

16×20 – $100

8×10 – $50

5×7 – $25

The post Family Photographer – Los Angeles & SFV appeared first on f | 11 Studio.

The post HG Nelson Archive appeared first on f | 11 Studio.

Learn more about Delores Huerta here

The post Dolores Huerta – Photo Essay – Los Angeleno appeared first on f | 11 Studio.

The post Brandon Sankara – Los Angeleno appeared first on f | 11 Studio.

There are many roads in the desert that look like they go nowhere. But you always end up somewhere.

Breaking off from California’s 5 freeway, Highway 14 cuts north through the high desert. As it turns into Highway 395 it runs along the base of the Sierra Nevada Mountains on its way to Reno, Nevada. Mt. Whitney, the highest point in the lower 48 states, sits right off this route overlooking three vast valleys in its eastern view: Owens Valley, Panamint Valley, and Death Valley. This lesser traveled area of California is sprinkled with sparsely populated towns that were once part of a robust mining operation chain. As the mines dried up the towns residents left. Gradually these towns decayed away under a harsh desert sun. What remains is a sun baked mix of relics and the resilient spread throughout sweeping valleys and foothill towns.

I grew up along this route and spent a lot of time in the booming silence of The Big Empty. It is both an inspiring and humbling place – a place where you simultaneously feel big and small. You can yell in the desert and it will both amplify and swallow your cry. At night you can walk between two countless seas: the scattered sands beneath which were once mountains themselves and the sparkling stars above – miniature giants in the infinite. And in between there is just you – a blink in time wandering and wondering among the landscape sculpted and shaped by the slow finesse of natures hand at a pace imperceptible to the short sighted.

What follows in this book is my personal documentation of the strange, the inspiring and the enduring things you find down roads that seem to go nowhere.

The post The Big Empty – A Photo Essay appeared first on f | 11 Studio.

Equipment:

Camera(s): Canon 5D Mark III
Lens(s): Canon 100mm f/2.8 Macro, Canon 24 – 105mm f/4L
Light(s): Godox AD600, Godox V850ii
Reflector(s): Neewer 5 in 1 39″ Round Reflector
Tether: Asus Zenbook shooting into Lightroom Classic

The post Case Study – Flower Photography appeared first on f | 11 Studio.

Gonna tell you a story that you won’t believe
But I fell in love last Friday evenin’
With a girl I saw on a bar room TV screen
Well I was just gettin’ ready to get my hat
When she caught my eye and I put it back
And I ordered myself a couple o’ more shots and beers

You know the night that I fell in love with a Roller Derby Queen
(Round ‘n’ round, oh round ‘n’ round)
The meanest hunk o’ woman
That anybody ever seen
Down in the arena…

-Jim Croce, Roller Derby Queen

The post LA Derby Dolls – A Photo Essay appeared first on f | 11 Studio.

The Importance of Commercial and Theatrical Headshots

As a new actor, having a quality headshot is incredibly important. Your headshot is your first impression to casting directors, agents, and producers, and it’s what they will use to determine whether or not to bring you in for an audition. Therefore, it’s important that your headshot accurately represents who you are as an actor and person, and showcases your unique qualities and strengths.

First impressions are everything. As mentioned earlier, your headshot is your first impression. It’s what casting directors, agents, and producers see before they even meet you. Your headshot should accurately represent who you are as an actor and person, and convey your personality and energy. If your headshot is poor quality or doesn’t accurately represent you, it can negatively impact your chances of getting cast in a project. There are a lot of actors out there, and competition is fierce. Having a quality headshot can help you stand out from the crowd and catch the eye of casting directors, agents, and producers. A quality headshot can showcase your unique qualities and strengths, and make you more memorable in a sea of other actors.

The Difference between Commercial and Theatrical Actor Headshots

Theatrical Headshots:

Theatrical headshots are typically more serious and dramatic than commercial headshots. They are designed to showcase an actor’s range and versatility as a performer, and are often used for auditions for film, television, and theater. Theatrical headshots should convey a sense of depth and complexity, and should show the actor’s ability to convey emotion through their facial expressions.

According to casting director Karen Ryan, “Theatrical headshots should capture the actor’s essence and convey a sense of their personality. They should be engaging and show the actor’s unique qualities.”

When taking a theatrical headshot, it is important to choose a neutral background that won’t distract from the actor’s face. The lighting should be even and the focus should be on the actor’s eyes, which are the most important part of the photograph. Actors should also avoid overly stylized hair or makeup, and should dress in simple, understated clothing that doesn’t detract from their face.

Commercial Headshots:

Commercial headshots are typically more upbeat and friendly than theatrical headshots. They are designed to showcase an actor’s ability to convey a range of emotions in a more lighthearted and approachable way. Commercial headshots are often used for advertising and promotional materials, and are also used for auditions for commercials and other types of advertising.

According to casting director Beth Holmes, “Commercial headshots should be approachable and show the actor’s ability to convey a range of emotions. They should be bright, friendly, and engaging.”

When taking a commercial headshot, it is important to choose a background that is upbeat and vibrant. The lighting should be bright and the focus should be on the actor’s smile, which is the most important part of the photograph. Actors should also wear clothing that is bright and cheerful, and should have their hair and makeup styled in a way that is natural and approachable.

General Tips For Getting The Best Headshots

Hire a professiona photographer – According to Backstage, it’s important to invest in a professional photographer who has experience shooting headshots. They will know how to use lighting and angles to highlight your best features and bring out your personality in the photo.

Choose the right wardrobe – Your wardrobe can make or break your headshot. According to Actor’s Access, you should choose clothing that is simple and classic, without distracting patterns or logos. Stick to solid colors that complement your skin tone and avoid anything too trendy or flashy.

Focus on your eyes – Your eyes are the windows to your soul, so it’s important to make sure they’re in focus and well-lit. According to Backstage, you should look directly into the camera with a relaxed and confident expression.

Avoid heavy makeup – According to Backstage, you should avoid heavy makeup and stick to a natural look. The photo should represent how you look on a day-to-day basis, so don’t try to change your appearance too much.

Show range – According to Backstage, you should aim to show range in your headshots. This can include different expressions and poses that showcase your versatility as an actor.

What To Avoid In Your Actor Headshots

Amy Jo Berman is an award-winning former VP of Casting at HBO who has overseen the casting of more than 150 movies and series. She also runs a membership-based audition coaching program for those actors seeking a little help to be successful in their auditions. Her website https://amyjoberman.com/ has some really good resources both free and paid for Actors. In her article, Actor Headshots: 3 Things Most Actors Get Bass-acwards she notes some consistent trends are:

• “Most actors have bad headshots.”
• “Most Headshots don’t accurately represent you.”
• “Most actor headshots get passed over and never grab the attention of the Casting Director.”

She goes on to claim, “Your headshot’s JOB is to get you an audition.” She focuses on 3 qualifications she sees in a “Great Actor Headshot”:

• “It has to look like you.”
  The casting director has offered you an audition for a part which they understand the character in context of the script, the directors vision, producer notes, and they’re own selective experience. They called you in based on your photo because you look like what the wanted for the role. If you show up and don’t look like what the saw in your photo, you’ve already lost the part.
  
• “It has to represent you”
  Don’t cultivate a look you can’t express in an audition. While your headshot might look like you accurately, it might not depict accurately what you can do in person in a fleshed out character.
  
• “It has to stand out from the crowd… In a good way.”
  The best way to achieve this is to first hire a photographer who specializes in actor headshots. It’s important to work with someone who understands how to create great lighting that’s true to your image but accentuates your best features.

The post First Commercial and Theatrical Headshots For New Actors appeared first on f | 11 Studio.

Subject:

36 Weeks

Nude Maternity Shoot Notes:

This nude maternity shoot was the first session in the new Woodland Hills studio. It was the first photography session I’ve conducted in the Covid-19 era. Masks were worn by everyone except for Jelynn while shooting and only my assistant approached her throughout the shoot. Normally my assistant pays attention to details I might miss with wardrobe and hair. Hair is black hole of time when it comes to editing so getting it right “in camera” is ideal. When it comes to shooting minimalist nudes, there isn’t a lot in the photo that’s going to create a distraction of the eye. So if there’s going to be a distraction, it’s going to be the hair.

My setup this shoot was very simple: Single light shooting into a large 7′ parabolic umbrella placed about 45 degrees to her left side and pointed 45 degrees down to create short lighting. Off and on I used a large reflector to fill the shadows to create a variety of shadow density. The 7′ parabolic umbrella is easily my favorite modifier for maternity photography sessions. It’s large and throws soft light on the model’s full length. It’s large enough to throw a good amount of light on the background too.

We kept this shoot short and simple in the best interest of the expecting couple. I didn’t switch lighting setups or backgrounds. We did various poses and used some sheer fabric to add texture. We couldn’t resist doing a shot of her wearing only a mask. Overall, this was a very quick and basic nude maternity shoot. We followed these up with a few shots outside during golden hour with the expectant couple.

If you have any questions please contact me.

Equipment:

Camera(s): Canon 5D Mark III
Lens(s): Canon 85mm f/1.8
Light(s): Godox AD600, Godox Flash
Modifier(s): Westcott 7′ White Parabolic Umbrella, 7″ reflector
Reflector(s): Neewer 5 in 1 40″ x 60″ White
Tether: Asus Zenbook shooting into Lightroom Classic

The post Nude Maternity Shoot – Maternity Case Study #2 appeared first on f | 11 Studio.

Maternity Portrait Subject:

34 Weeks

Maternity Session Notes:

This was the first maternity session at the Hollywood studio. Andrea showed up after a hair and makeup session off site and needed minimal time at the studio getting ready. Quite often the mother-to-be will forget to bring something to the shoot and in this case, Andrea forgot a garment she wanted to use. So we made use of a soft translucent cloth I bring to all my maternity shoots as well as one of her husbands white collared shirts which was a really nice touch. A lacy sea-foam green undergarment set was worn throughout the session. The color was a good pick for this session. It doesn’t distract and plays well in black and white. She was 34 weeks into her pregnancy which is at the tail end of the ideal 28-34 weeks. End Pregnancy bloating was not apparent .

We used 2 set ups in the studio and started on a black cove with a simple two light portrait set up. The 7′ umbrella mounted to the Godox AD600 stood at a 45 degree angle to the model and maybe 6-7 feet high to give a soft directional key light. Then we alternated using minimal fill light on the background to create separation in some shots. As a personal preference, I typically like my models to bleed out of the black though. Lastly, we alternated using a large 5 ft reflector on the opposite side of the key light for some extra fill. Starting with this simple set up was ideal because it gave Andrea an opportunity to warm up to the camera and get comfortable with the poses we were asking of her.

The first few shots we could see some of the shyness and common hesitation that comes with being photographed in your underwear by a stranger. So we spend a little more time with these to try and establish a flow. She starts to get comfortable and takes to directions very well. Common issues I find with any model on these shoots include positioning for the hands, legs, back and chin as well as rigidity of extremities like fingers. Her hair did really well throughout the shoot and there was minimal post work needed on almost all shots. After a few variations on our poses we wrap this set and move onto the next. One thing I’d check for in the future is the existence of pressure creases. We started shooting so quickly after she arrived there were still some creases on her skin from sitting with her original clothes on — as happens when one falls asleep on a textured pillow.

Our second set up for this maternity session was intended to create the appearance of backlight coming through curtains. The studio has a gigantic window along the wall next to the black cove (it’s always covered by whiteboards to keep the light controlled.) We removed those whiteboards and used them later for bounce. We mounted some nice curtains with plenty of diffusion to keep the light bright and soft on a background stand and placed the setup right in front of that big window. The Godox strobe mounted with the octobox stood to the left of the model to add fill wrap to her right side. From here we did several variations on the lighting using degrees of visibility in the curtains. Some shots they look like curtains, others they look like a faint texture. We also tried set ups with two large white reflectors in front of the model. These bounced the light back from the curtains onto the model and gave a very even brightly lit shot. We added additional light in the form of the octobox 4 feet in front of Andrea about 2 feet above her head. Lastly, we removed all the frontal lighting and shot her silhouetted against the high key back light.

Our maternity session went over by about 30 minutes. Contributing factors to the long time run: unfamiliar with new studio, and model late arrival.

Equipment:

Camera(s): Canon 5D Mark III
Lens(s): Canon 85mm f/1.8, Canon 24 – 105mm f/4L
Light(s): Godox AD600, Fovitec StudioPRO 400
Modifier(s): Westcott 7′ White Parabolic Umbrella, StudioPRO 38″ Octagon Softbox, 7″ reflector, Fovitec StudioPRO 14″ x 62″ Strip Softbox
Reflector(s): Neewer 5 in 1 40″ x 60″ (used only white), 6′ foam core v-flats
Tether: Asus Zenbook shooting into Lightroom Classic

The post Maternity Session – Case Study appeared first on f | 11 Studio.