Another difference between "the good old days" and now. Wardrobe.

David Sim and his wife listening to the audio portion of his interview for Ottobock Healthcare.
Photo: courtesy of ODL Design / Toronto, Canada

I love this image from our video shoot earlier this year. David Sim (above, left) lost a leg in a tragic accident and was speaking about his experiences using the latest microprocessor-controlled prosthesis from my client, Ottobock. I had the pleasure of working with one of our VSL "family" while in Canada and he was gracious enough to make some behind the scenes photographs of our work process. It's fun to see what I look like when I am trying hard to look smart and thoughtful. It's an expression that is fleeting for me, at best.

I spent half an hour this morning doing some retouching that was required because we're losing some aspects/guidelines of public personal presentation that used to be more rigorously followed in the past than now. At some point in the not too distant past nearly everyone who had made it to the level in their field where a business portrait was required took some care to make sure their shirts fit, their ties were clean and properly knotted and that their suit coats or sports jackets were appropriately sized and well pressed. When someone from the legal, medical or business professions walked into the studio they were, for the most part, well polished. Their clothes fit.

Over time the casual nature of Austin (and I'll assume most other locales) has caused a loosening of standards. Now suit coats are more or less bought off the rack and worn without having the sleeves properly shortened or lengthened. Many men have jackets or suit coats they acquired back when they were twenty or thirty pounds thinner and which have not be altered or replaced. Some of these issues are easy to deal with but the harder one, for me, is a situation in which the man in front of my camera has a shirt which frankly, does not fit. People have become  ever larger without compensating for things like an increased neck girth and how it affects the fit of their dress shirts. 

My nemesis is the shirt collar that is now far too small to allow its owner to button it properly (at all). The shirt collar gapes wide while the necktie is tasked, unsuccessfully, with camouflaging the gap. The problem is that the camera sees everything. I've recently had to work with images that required me to create multiple layers, grab a wide flung collar on one or both sides and transform the grabbed collar image so that it fits over the initial gapped image and is more or less accurate and presentable. It's time consuming and nitpicky work but it has to be done if the image of my portrait subject is used publicly. 

There is a simple solution. Men could pay attention to changes in their size and upgrade their wardrobe to match the here and now. I wear a size 15 and 1/2 collar. If that collar becomes to snug to button I know that I need to head to the store and buy a shirt with a 16 or 16.5 collar. Whatever it takes to be able to comfortably button the collar and provide a nice nesting place for a good tie. I can handle a person showing up with a bad tie; I have three or four dozen on hand from which to choose.

Once you know your shirt's required sleeve length and your neck size buying shirts becomes more of a science and less of an art. You can order a shirt on line or call your favorite men's shop and specify what you want. They'll ship to you. Just about anyone will. 

You may find that you've gained a lot of weight and it may be that finding a shirt with the right sleeve length and neck size doesn't give you enough shirt to get around the middle. You should be aware, especially if you need to wear a coat and tie frequently, that there are companies that will make custom shirts to your size requirements. If you are not an average size this is something you should really consider since a good fitting shirt can really make a difference in the image you project to the world. A well tailored shirt starts at about $125 and can go much higher depending on the fabrics you choose. The efficient part of the equation is that once you are properly measured and fitted, and the custom tailor knows your preferences, you can order more shirts in the future over the phone. 

A shirt with a properly fitted collar gives the impression that you are trimmer than having shirts with collars that defy comfortable (attainable) closure. Not to mention that your tie will also be much better presented. 

This sounds silly to people who work in casual industries but it makes a big difference to people in a wide range of professional occupations where one is required to speak publicly, meet with the public, and socialize with peers and clients in business situations. Whether this requirement is "right" or "wrong" a poorly assembled shirt/tie/suit can be the difference between closing a deal or walking a potential client. Given that many of the people we photograph are working with transactions worth millions and millions of dollars it seems a bit careless (negligent?) to disregard sartorial standards when doing it right can be so easy. 

Don't get me started on shoes. Or shoes and belts. Or where a pant cuff should break. It's a slippery slope. 

Get three perfect shirts. Two white and one light blue. Keep them laundered and wrinkle free.  You'll be ready for your close ups at any time.


One of the features I've always valued in the Olympus and Panasonic cameras is the option for a 1:1 aspect ratio.

A journal of Lewis Carroll.

Every so often I'll write about how enjoyable it is to shoot with a camera that can show a 1:1 aspect ratio, with black borders, in the EVF. Before the blog ink is even dry someone always posts a comment telling me that all frames from any camera can easily be cropped into a square in post production; the ability in camera is, to them, meaningless. These individuals suggest I should, therefore, reject the wonderful advantages of being able to see the boundaries of the square at the time of composition and instead see the square within a more awkward flabby frame at the time of capture, and then be able to replicate same cropping, after the fact, while working with the image file in post production. This fascination with post capture cropping might have H.C.B. spinning in his grave.

Persons peddling this preposterous proposition are, of course, insane. Having black on all four sides of a square composing tool is heaven for anyone who values the perfect symmetry of the square frame. In fact, psychology professionals use this particular choice scenario to determine who might be a danger to themselves or society. In some countries having to use a camera with no changeable aspect ratios and no electronic viewfinder is punishment for petty crimes such as shoplifting or jaywalking. 

All the images here were shot with a fully functional camera. They were shot square because the photographer determined that he wanted to shoot square and he set the camera to show him a square frame in the electronic viewfinder. Shooting in Jpeg he was able to go from initial capture all the way to the final sharing on the web without ever seeing parts of a greater scene extending sloppily outside the confines of the 1:1 aspect ratio. It was great. Comfortable. Logical. Reasonable. Fun.

Going to museums with a square capable capture device seems normal and sensible to me. If you want to see the kind of havoc caused by a camera unable to realistically show only a square competition you need look no further than to the last image in this series; at the bottom of the page. 
Just image how much better that image would look if the 3:2 ratio of that camera's finder hadn't intruded in the process.....

The image below is from a Nikon D610. No 1:1 aspect ratio.

But the heart of the composition is still a square.

Dare to be Square.

Behind the scenes at the Theatre. Using an Olympus EM5-2 camera and two Panasonic Lenses. The 25mm Summilux and the 42.5mm f1.7.

Back in 2015 I was using the Olympus EM-5.2 cameras and a bevy of lenses from Panasonic and Olympus as second system alongside my full frame Nikons. Needless to say I enjoyed the process of shooting with the Olympus cameras much more. It was the combination of a great EVF along with state-of-the-art image stabilization that made that format so much fun. 

I was sorting and deleting old files and folders in Lightroom when I unexpected came across these images. I'd almost forgotten that I'd taken them. We did it for a project that never found its footing but it's alway instructive for me to look back and see what we were doing two or three years ago. We build mythologies about cameras and lenses but it's alway nice to be able to go back and sort fact from fiction. Fact: Those two little lenses were very, very good and the files from the Olympus cameras were so easy to work with. 

Now I find myself doing the same thing with Sony and Panasonic (with an Olympus lens tossed in for good measure). I hope to look back in two or three years and be happily surprised at what we were able to accomplish. 

Part of Austin's Downtown Skyline.

Channeling my inner "Walker Evans" to study "surban" life in Austin.

 "Surban" is suburban living in the midst of an urban environment. I thought it sounded cool so I went with it. I'll try to think up some sort of artistic manifesto later; if I need to...

Camera: Sony A7Rii

Lens: Zeiss / Sony 24/70mm f4.0