One of my regular assignments is to cover Chrysler/Fiat in Auburn Hills Michigan for LaStampa Newspaper in Italy.

My work is actually regularly available for multiple European magazines and newspapers. If you are interested in my image collection or additional images of Mr. Marchionne you may find them at http://www.sync-studios.com

I had a great time creating this video. It uses some images from my people photography portfolio. I ran the movie backwards to create some of the effects. The music is from the “Dead Ranch Hands”. Enjoy.

United Association training trailer

Most of the images on this trailer are people I photographed as I traveled the country for the United Association. It is always nice to see your work being used well. Plus, there are a lot of memories associated with many of the images.

This trailer is used for training purposes. But, even more important, the union understands that the people photographs on the trailer will grab attention on the road as it travels the country.

Every Year I photograph the United Association (UA) training in Ann Arbor.

I’ve spent a lot of time in my career photographing events, conferences and conventions.  I always enjoy photographing the people.  The United Association is no different.  One difference, the photography opportunities are a lot more varied than most of my events.

Each year the union has an apprentice contest offering great photography opportunities.  Some of the classes they offer to their members, such as welding and rigging, always produce great moments for photography.

I’ve had the opportunity to travel the country shooting UA  job locations over the last couple years.  It’s always fun to catch up with some of the people I’ve met around the country in one location.  Especially, in my own back yard – Michigan.

Ken Daniels

I have a good relationship with Fox Sports in Detroit. I take the public relations photographs of the talent and management staff.

Often we create autograph cards for the talent each year.  Above is an example the of one cards created for Ken Daniels who calls the Detroit Redwings games with Mickey Redmond.

Matty Moroun

People photography - I photographed Manual “Matty” Moroun for Corp Magazine.  The man behind the  Ambassador Bridge and Detroit’s old train station. Click here for the story.

It is common that I only have a short period of time to take a photograph.  I was able to take some interesting images during the interview.  We conducted the interview at his companies headquarters in Warren Michigan.

After the interview I had a few minutes to photograph Matty in a hallway outside the conference room.  Fortunately, the hallway was lined with images displaying the history of the birdge.  I was able to get about ten good images off before it was time to end the interview.

Speaking of the Ambassador bridge, below is an image I took in 2001.

Corporate people photography does not have to be boring. Great images help to build a relationship with prospects and clients.

Poor photography represents companies poorly. Companies loose money and opportunities by going cheap on the photographic element that represents their most valuable assets – their people.

These two images where taken for a large architectural firm. It is part of a series of work I have been doing for them as part of their new branding campaign.

Although the firm has been around for a long time, the company doesn’t want to be known has old and out of data. They are implementing fresh design and photography to attract new clients.

I shot this image for a local Detroit hospital (We have premission). He had two knee replacements at the same time and is quickly back on the move. I shot a series of images using a large strobes and umbrellas out side. This was one of my favorites images.

Rosh

ll start with the moment I receive a job request and finish with the point of delivery.

Yesterday afternoon a client called my office. They needed a portrait of the chief executive officer of their company, who would be honored for his work in the coming weeks. 

My receptionist sent the message from the company’

s marketing director to my voice mail. My voice mail system automatically calls me when a new message is placed in my box. I was able to return the call within 10 minutes. (Believe it or not, I actually lost a job Tuesday because it took me 15 minutes to call back). I asked my client about some of the details and said I would follow up after my current assignment. I also suggested that I would be most grateful if she would e-mail me the additional information about the job.

I should make note that many of my clients know my e-mail by heart. New clients also  find it extremely easy to e-mail me. I have one of the easiest e-mails in the world  to remember. My name is my e-mail: rosh@rosh.com.

When I returned to my office, the e-mail with all the details was waiting in my inbox. I returned the e-mail with a quote containing per- image pricing: X-price for the first image and a price about a third lower for each additional image. I always add the opportunity for more images to be purchased.  I offer per-image pricing to keep the value on the final image and not my time.

I arrived for the assignment shortly before 10:30 a.m. I was directed to set up in the executive’

s office. I also was informed that he was on a conference call and had to leave at 11 a.m.

Pictured below is the equipment I use for quick executive portraits. Two Alien Bee monolights. I am a fan of Paul Buff products. Alien Bees are great travel lights because they take my abuse. When I abuse them a little too much, Buff’

s company fixes them quickly.

I shoot portraits using my 5D with a 135mm 2.8 portrait lens. I usually create my portraits using an aperture of 2.8 for shallow depth of field and a shutter speed of  200 (the highest syc. Available for the 5D).

I place a light and umbrella to one side and a spot grid high over the top of the subject for a hair light. I’ll use a third light to spot the background, if necessary. I always use a reflector (usually a white reflector) on the other side of the subject’

s face.

My portable backgrounds are collapsible and easy to store, carry and set up.  I carry my equipment in one load, much of it in a top-loading duffel bag found in most army navy surplus stores.

It takes me about seven minutes to set up, five to 10 minutes to create about 35 images, and five minutes to break down. I arrived a few minutes early, so I was out of the executive’

s office by 10:50 a.m.

I took the time to show the executive some of the images during the shoot. This is important when the subject is not smiling or has a grumpy disposition in general. Often it is easier for someone to accept the idea that they need to smile or make adjustments if they see or mention it first.

When I returned to my office I downloaded the images to a folder on my desktop. Next, I saved a raw copy of all the images on an external hard drive and then edited the images left on my desktop. After editing, I upload low-resolution images to photoshelter or create a personalized Photoshop Web site. (I altered one of the Photoshop templates to display some portfolio images and links to my Web sites.)

Today, I used the personal Web site option and e-mailed my client the link  to the raw images. Later in the day, the executive made his selection and e-mailed me his choice: img_4789.

I always offer basic adjustments as part of my package. I make any needed color corrections, touch ups around the eyes, highlights, and any slight clothing malfunctions.

When the image is complete,  I will send the large file via photoshelter, e-mail or CD —

depending on the client preference.

Often, I will follow up the next day to make sure everything was to my client’

s satisfaction.

Now you know my work flow for quick executive portraits.

Rosh

Below is an example of one of my corporate portraits.