Dream Job: Photographer
Chad Jason Flakoll, CEO of Risqe’ Factor, began in film working as a Production Assistant and then as a Grip working on various independent films before taking a job at Warner Bros in their International Marketing Department, and then in their DVD department as a Production Coordinator on all domestic and international DVD release titles starting with 'City of Angels' up until I left, with my final project being 'Matrix Reloaded'. In 2000 he began building model portfolios and running a website on the weekends until he left Warner Bros and moved onto doing more frequent freelance photo shoots. In 2004 he moved from Los Angeles to Sacramento to get a fresh start outside of Hollywood and while working full-time at a photo studio he built up his own business. In this interview Chad told AUTONA about the (dis)advantages to become a photographer … and if it’s a dream job.
Autona: When did you know that you wanted to become a professional photographer?
Chad: 2000, by accident, or happenstance, really. I used to work at Warner Bros in the DVD department as a Production Coordinator, where I helped setup interviews and documentaries with talent featured in the movie we were creating special features for, and many times, had to review talent contracts and go over legal issues with the Business and Legal department. So I saw a lot of contracts, and with my mom being a Paralegal and my one-time desire to be a lawyer, I have always been fascinated with language and how a simple word can make all the difference in a contract.
Well, what happened was I started attending Glamourcon conventions to meet various models whom I was a fan, particularly Lisa Boyle and Sung Hi Lee, whom I had gotten to know and had the opportunity to meet more than once face to face, and they told me of situations where they, as professional models, had been mislead in agreements made for modeling work, and come to find, the contracts which they had signed didn't provide what was promised because of a single word here or there that made it near impossible to go after the photographers who had deceived them.
From there, I met other models who were having the same trouble with photographers not providing what was promised and a few started asking me to review the model releases they were being asked to sign, and advised them what needed to be changed if they really wanted to have any rights at all over how the images were used, since many weren't being paid for the shoots, but were supposed to receive copies of the images that were taken, but never did, or found images used on websites that they hadn't intended when they took the photos, or agreed to.
So, some started asking me to do the photos, since I had done photos with friends and loved photography, but never had thought of it as something to do professionally, and from there, ended up doing shoots on the weekends whenever possible.
To date, I have done over 5000 photo shoots, mostly for the studio I work for during the week. I wish I could say it's been a lucrative profession, but when you hear the term "starving artist" - I have gone without meals more than once since I started doing this. But I love doing photography and am waiting for the day someone takes notice and things finally take off for me where I can start calling this a profession.
Autona: Some people think that working with beautiful models must be paradise, some say it's hard work? What do you think?
Chad: Guys constantly tell me how lucky I must be to photograph the models I do, and I get a lot of offers for assistants. It's all amusing to me. To tell the truth, every shoot is work, even when I'm doing it for fun, because I want each shot to look amazing, so that requires lugging equipment (sometimes up and down cliffsides), heavy camera bags, and making sure the models don't fall trying to get to the locations we shoot at. It's a lot of fun, but it is a lot of work to make a shoot look good before the editing starts. Honestly, when I'm doing a shoot, I'm focused. I don't think about what is being shot, but about what will make it a good shot. I've shot nudes, but don't tell my mom (laughing) and I've had people ask me if I get turned on, or how I can do that and not feel uneasy, but really, I'm just there to get the shot. I rarely ever look at the model when they're getting into position, regardless of how scantily clad they are, since I'm usually setting up the lights and getting the scene adjusted, and even if nude, I'm just trying to get the shot, even if I have to explain the pose so they understand what I'm envisioning, not just how awkward it may seem or how revealing they may think it is, because I tend towards the "tease" or a shot more than the "show" and many of the nudes I've done, haven't shown anything all that revealing, they just hint at it - that's my style.
Photographing beautiful women is always amazing - always a thrill, and always fun, but it's also always work to make it look like I did nothing at all but just take the shot.
Autona: If you're booked for a shooting, maybe a fashion shooting, do you already know the models before entering the location/studio to do the job or can you be surprised?
Chad: I like to build a rapport prior to a shoot, and try to talk to the models on the phone, or meet at a Starbucks to get a sense of who they are, and let them get a feel for me. I find it makes shoots go so much more comfortably when you already have met - none of that awkwardness from shooting with a stranger whom they don't know what I'm thinking or what I'm about. It's not always possible, but when it is, I find that it helps build a vibe between me and the model, a confidence, that makes they come alive much more quickly in front of the camera. A lot of photographers would say that the first set of any shoot is a "throw out" set since it's usually the set where both the model and photographer build a symbiotic relationship that allows them to get the phenomenal shots they will get in later sets. If I can get to know the models a bit first, that set is often one of my favourites as I can see the transformation for the model from shy and unsure to confident and commanding of the camera. I try to hang in a bit when they are doing their hair and makeup as well, so they see I'm not just loitering around while they're getting ready, but trying to engage them in some banter that lightens the mood and makes everyone at ease before we start shooting.
Autona: Which job has been your biggest challenge?
Chad: 2004 Playboy.com's Sexy Girl Next Door #81, Tina Kristine. First off, I didn't even know the shoot was for Playboy until after the shoot, and I did it initially simply because she asked me to and offered to give me $100 for the shoot, which is what I needed to make the rent. So, I put $20 gas in my car and drove out Concord from Sacramento to do the shoot. Now, I should preface this with the fact that just a couple weeks before, my lights had been stolen out of my car while I was at work and had to buy a set of halogen work lights to do shoots in the meantime until I could afford to replace them... With that said, we shot in her house, in two different rooms, and had a lot of fun doing it, got a lot of great shots. I had to do a bit of colour correction on the edits though, since the halogen lights do make the shots more yellowish. And, after the shoot, while driving home, I drove past a construction area on the side of the highway and flattened a tire - it shredded, and while driving home on the spare, had an 18-wheeler on my tail the whole 45 miles home - he wouldn't go around me, just stayed on my tail the whole drive, headlights glaring into my rearview mirror. But, what made the trip is that I got to laughing about the irony of it all - that I put $20 in my car to make $100, only to flatten a tire that I would have to replace, and new tires cost about $100, so I was actually $20 less than when I started... I've learned to laugh at situations where I've had no control.
Autona: You work with many models; is there a certain attitude a model needs to become a top model?
Chad: I've been fortunate to photograph what I believe are some of the most breathtaking beauties I've ever met. In my line of work, there's something more than just what a person looks like in a photograph, but how they portray themselves, or the concept of a shoot. I admit I am a bit picky when it comes to the models I work with. I get to know many prior to shooting with them, and if I feel we have a good vibe, go ahead and schedule the shoot. I look for something particular in every girl's look, what it is about them that really stands out, but they all have one thing in common that truly catches my attention - more than just an outward beauty, but an inward beauty. I've seen girls who, if you passed them on your every day street, you may not even notice or think of as "beautiful", per se, but when they have their hair and makeup done just right, and get in front of the camera - BAM! They just turn on and light up a room. And then I've seen some very pretty girls who you'd think - wow, they should be a model, and when they get in front of the camera, they just can't deliver - they don't have the "look" or the ability to captivate with a stare. And that's what makes a "top model", in my opinion - someone who could be the goofiest person one minute, and when they stand in front of the camera, become something else, something amazing - someone amazing. They deliver. No matter what they situation, what the weather, they come through and make every shot count. And, no matter whether or not you get the exact shot you may have envisioned, you get "the shot" that takes the cake, so to speak. But a girl has to be more than pretty, more than have the ability to capture with a stare, more than an ability to pose themselves and make any concept their own - they have to want it, to have the drive to make it happen, because without that, there's nothing that is going to make them stand out from all the rest because without that, they just blend in.
Autona: If a girl wants to become a photo model what's good advice to have a good start?
Chad: There are some great resources on the internet for getting tips and advice, as well as networking - exploretalent.com, models.com, modelmayhem.com and even myspace. For many beginners, getting a quality portfolio together for cheap, well, you get what you pay for. Quality comes from photographers with experience and a portfolio that is professional. It's important to consider this when looking for a photographer. You don't necessarily have to go the most expensive route, but with the cheapest, you might as well not even bother submitting the work. Do your homework, check references, find a photographer with a style that matches what you are looking to create with your portfolio, and once you have the right images, start shopping around to various agencies - check out who their clients are, what companies they hire to. Look into companies that you'd like to model for and find out who they go to when they want models. For some independent clothing companies, it's as simple as sending an email with a few images and letting them know you'd be interested in working for them. Basically, it all takes determination and drive. You can't just sit on your derriere and do nothing. You have to get yourself out there, submit everywhere! Just because an agency turns you down today doesn't mean that in 6 months, you aren't perfect for what they need. Models are commodities and the market is ever changing. Be persistent and keep checking with the same agencies, try new ones, you never know when you might be perfect, even if you weren't what they were looking for before. It's all about desire. If you want it, and strive for it, you can make it. You just have to do it.
Autona: What's the hardest thing of the job as a photographer?
Chad: Coming up with concepts that are new and original and specific to the model. This is the hardest part because who really wants to have all their work look exactly the same every time? Sure, some photographers are known for a certain look or style, but for me, I like to keep changing things up, try something new - not just do glamour, but mix it up, do themes, concepts that are different from anything else in my portfolio, and hopefully, also the model's portfolio. It's nice to think outside the box and reduce redundancy and typecasting. I believe that a varied portfolio is the true test of a creative and diversified photographer and I continue to strive to be both. I am always eager to try something new and am always open to ideas and themes that are different than my already extensive portfolio.
www.risqe-factor.com
© 2009 Dennis Rowehl
