The "Comp Card" — $700
~6 looks
~4 hours indoor studio shooting
~2 hours street/location shooting
you keep the photo files
an edit of the best of each look
we book a local studio
a finished comp/zed/Z card as a PDF
"Wedding Story" — $700
all the major moments
documentary style
*makeup in the morning*
*in transit*
*best of the B-sides*
*all the details of the day*
*all the little moments*
*all the pretty things*
“Visual Nitro™” Subscription — $200 (monthly)
We plan and train you to do simple, 2+ visually impactful mini-concepts per week that will yield you 30-50 strong, digital originals you can bank for your feed+ and several digital edits per mini-concept.
The "'My Korean Life' Hwabo" — $600
a mix of documentary, street, and studio
~20 best shots
~2-3 hours hours studio shooting
as many looks as you can bring
customized shooting of you doing your favorite things -- not a generic "course"
you keep the photo files
an edit of the best of each look
The "Hwabo" — $600
10-14 best shots
~4 hours hours indoor studio shooting
as many looks as you can bring
you keep the photo files
an edit of the best of each look
we book a local studio
"Engaging Images" — $700
~6 looks/locations
~5 hours outdoor/location shooting
~2 hours indoor/studio shooting
you keep the photo files
you get an edit of the best of each look
we can book a local studio
"Talking Heads" — $300
~2-3 hours indoor studio shooting
as many looks as you can bring
you keep the photo files
"Family Circus" — $600
~~6 looks/locations
~4 hours outdoor/location shooting
~2 hours indoor/studio shooting
you keep the photo files
you get an edit of the best of each look
we can book a local studio
HOW I ROLL
TIME IS MONEY, BUT QUALITY IS KING
We're all busy people. You want to get your photo stuff done, and in an edgy, unique kind of way that will get you noticed. I'm a freelance photographer with research, teaching, and writing work to do. But I have a unique experience set that includes a lot of professional work balanced by theoretical pursuits related to it. But when I do photo work for specific clients, I want to get paid for it. And I generally want to do that in a way that reduces the time and resources-consuming lead-up time to getting the work done. If you're also a busy creative with a variety of life concerns, you want to get a lot of the annoying, lead-up BS out of the way as well. I get it. You're busy, I'm busy.
I GET IT
I also get that you don't want a bad experience or bad set of pictures. You don't want an do-the-bare-minimum, diffident, let's-get-this-over-with, slapshod photographer who doesn't treat your shoot as the special and unique experience it is such that the shoot can really express your personality as not just a model, but a creative and a person. You're wondering not if the money you drop on a package is really going to be worth it, or if the photographer might abscond with your hard-earned cash, but if you aren't going to end up in a mechanical, paint-by-numbers, cookie-cutter photo shoot that will leave you feeling underwhelmed and disappointed.
WHAT I DO
I often encounter models -- many of them new and inexperienced -- who say they want a whole number of things, but then come to find that they either don't actually want what they think they want or who (sometimes) can't themselves deliver the looks or emotions required to make the pictures they want. Or circumstances or finances don't allow for certain seemingly bright ideas that come up in the flow of creating the images. And sometimes, it just rains unexpectedly. So-called "Acts of God" do happen. But my shooting style and acumen literally comes from the street. I am all about adjusting, tweaking, and making do in order to get the job done. Whether it's a $10 red dress from H&M picked up to match the only photo-worthy shoes on hand (the top image below) or a simple white wig to pump up the facial interestingness to portrait level to match the IMSEONOC designer clothing done for an on-the-fly, git-er-done fashion show preview card that has to be done today, my most valuable asset to you is being able to get things done with minimal yet well. In that sense, even though the customer is always right, it is often the case that the customer doesn't know enough or doesn't have the resources to get the job they want done done. In those cases, you want someone who is comfortable with taking the lead when the client can't or doesn't really want to.
A dress for everything.
A hairy situation.
“What people say, what people do, and what they say they do are entirely different things.”
It is in this sense that I like to adapt Margaret Mead's old quip about studying people: "What people say, what people want, and what people say they want are entirely different things." I think this is the key to getting jobs done fast, creatively, yet well. It is in this sense I set up simple, clear photographic packages that builds in structure to allow us to keep the workflow moving and to simply git 'er done, creates concrete goals to hit and allow for useful planning, and includes enough headroom to allow for chance and changing circumstances.
This set of saddle/stable shots wasn't initially planned, but the model's choice of crop top with tassels and jeans prompted a move to the barn, where we were offered the use of an English saddle as a prop, all of which went well with our model's tattoos, toned muscles, and copper-toned skin. All of it combined for a brief instant of rugged and rustic country girl serendipity.