That it's good for everyone - the newspaper, the celebrity, the photographer. Outside I make an appeal to the public relations representative that these five minute portraits should be longer. Efron" He was cordial in his goodbye as he was in his greeting.ġ1:28 a.m. One more minute." Thankfully, she agreed. person from outside steps in doorway and says, "All done?" I say "No. The window is behind him (a good white backdrop when you expose for it), and the softbox would light him well - if it would cooperate. He's got a remarkably handsome face and that will carry the photo. So I suggest shooting him over the shoulder. I still hope to get a picture from above, but they all react negatively when I suggest standing on the wood edge of a glass coffee table. I suggest he lay down (what fan of his wouldn't want to see him lying down) but he calls the idea of him laying on the couch with his arms behind his back, "cheesy." Ok, maybe it was. At this point, due to the situation of thinking on the fly, I'm drenched in sweat. I try a profile of him looking out window, but it doesn't work. After a few frames, the agent says, "Can we see your pictures now?" I realize I can't shake the request so instead of giving an outright, "No", I respond, "No, not if I'm only getting five minutes". I have a softbox out at that point, and it's figuring to be a Bill Coupon-style portrait. He begins to get comfortable sitting down. The simplicity of a wall to my left catches my eye and I ask him to move next to it. Zac is a nice guy and a pro (not like he's never done this before). Besides, this is a serious marketing environment so humor not worth the risk. I attempt a humorous comment to soften the moment but immediately realize that humor can presume a basis of knowingness - and they don't know me from Adam. As I unfold stands, etc, I talk about how his new film looks interesting (truly). It's not our policy at the Tribune but I don't want a disagreement between us to create bad vibes in the room before I've even taken a picture.ġ1:21 a.m. I know, desperate.Īs soon as I enter, an agent in the room say is "So you have five minutes, and after a few minutes we'll take a look at your pictures in your camera." I ignore the request. Hope maybe the added respect will get returned in some way. Ephron" I figure the guy is young-looking enough that he doesn't get the formality he's due. I'm frustrated, sweaty and hoping I can pull this off. Reporter emerges from room, and I'm escorted in to meet Zac Efron and two different agents standing in a small room. P.R person asks, "All ready?" Try not to exhibit panic as I say "Almost." Right before we go in, I find my TTL off-camera cord, which I can screw into the softbox bracket. ARRRRGGGGHHHHH.īasis of pre-visualized strategy is now over. I rifle through my bags, but can't find replacement battery.
When did that happen? It's not AA, but I do have a replacement somewhere.
Realize that the battery in the infra-red controller is dead. Choose to wait to get softbox, stands, etc. I'm given choice between entering immediately for my five minutes, or staying outside until reporter is done. Don't know what kind of light I'm facing, colors of walls, placement of couches, etc…But in the end, it's just a hotel room.ġ1:05 a.m. Reporter and I are ushered up to wait in the hallway outside of hotel door. Arrive to be greeted immediately by public relations representative. On-camera infra-red controller forms basis of shoot.ġ0:55 a.m. Theorize that a shallow depth of field with high speed sync of softboxes using Canon Speedlites might work. Go down to car and rifle through all my equipment and brainstorm what I can do with equipment available. Wow, Jay Clendenin has been doing great work.ġ0:20 a.m. Look at recent pictures of him from a Parade shoot and at other photojournalists' celebrity portraits to get creative juices flowing. Nice guy? Tough guy? Dark? Light? Serious?ġ0:15 a.m. Looking at websites to update myself on what Zac has been doing and what direction he might be wanting to go as an actor. Arrive at paper and look for the tilt shift lenses in the pool locker- "Arrggh, Where did they all go?" I grab an 85mm f/1.8 lens, thinking shallow depth of field with my Canon 5DMarkII.