Get to know some of the industry’s top photographers, and learn what it takes to capture that perfect shot!
How did you get your start as a photographer? How would you describe your style/aesthetic as a photographer?
I’ve been doing photography for about 40 years now. I started in the advertising studio at Eaton’s, and after that I was an assistant for a well-known photographer in Montreal. I then worked in a photography store for four years. From 1986 to 1990, I was a freelance photographer with a partner. That same year in 1990, I opened a studio in Montreal by myself, and that’s when I started doing hairstyling photography.
How did you begin shooting for the Contessas? (When did you first start?) Tell me about that. (Who was your first Contessa client? etc.)
I started collaborating with Guylaine Martel and that’s how I started entering the Contessa awards.
I noticed that in some of the collections you shoot you add detail to the background such as shadowing, gradient and other effects. How do you decide when to add details like this to images (for the Contessas)? When do you decide to leave them plain (without effects)?
I choose backgrounds for visual and aesthetic reasons. For example, if the hair is very structured, I’ll choose a more neutral background. If the hair is smooth and straight, you can have a more structured background with a lot of details. It all depends on what the hairstylist is going for and what their collections look like.
Tell me about how you work with your clients on a Contessa shoot. Can you walk me through the process? How hands-on are you throughout the process?
I meet with the client and we brainstorm first. We decide the style and the mood of the pictures first. We discuss the images that the client would like to have and then I prepare the backgrounds that we’ll be using. I do things like lighting tests so that I can make sure everything is perfect for my clients and their collections.
How do you deal with any differences in opinions that you may have with a hairstylist when it comes to shooting the collection?
No matter what, I always try to respect the client’s vision while bringing my personal touch. Communication is always important so that way we can talk about any difference of opinions and come to an agreement together.
What do you like most about shooting for the Contessas?
What I like most about shooting for the Contessas is the artistic and creative contribution that develops during the process. I work with the hairstylist to create something that doesn’t exist, from start to finish. They’re always very passionate about their work and the project which I love because I’m very passionate about what I do as well.
How do you feel when a collection you work on wins a Contessa? What does it mean for you? Is there a specific collection or winner that stands out to you (and why)?
When a client wins, it’s like Nirvana to me. It gives me recognition and a certain notoriety because my name is up there with other amazing hairstylists and photographers.
Over the years there’ve been winners that I really appreciate, like Guylaine Martel, Marie-Josée Dupuis of Coiffure Cut-IN, and Jean-Sébastien Chalut.
What are your top tips when it comes to shooting for collections? Any tips on how to plan a photo shoot? Any tips for new stylists who are looking to enter for the first time?
First, define the kind of collection you want. For example, do you want a bright and light collection, or a dark and gothic style collection, or maybe even something in-between? Looking at fashion or hairstyling magazines can also help find a desired style. I often tell stylists to find models from agencies. It costs more money, but it gives us a better chance at winning.
I understand that the pandemic was especially hard for photographers. How did you get through this? Was there anything creative that you did to still be able to work with clients during the lockdowns? (examples: shooting with multiple people/teams on the same day, offering special pricing/packages, travelling to them, etc.)
Yes, the pandemic has been difficult for photographers and of course for many other people too. With government help, a lot of photographers were able to get through these difficult times. I was still able to shoot at least three collections, which surprised me.
I didn’t shoot with multiple people or teams on the same day because of making several collections on the same day seems difficult to me. My clients, who are often experienced hairstylists, need at least six to eight hours to do their work.
How does entering competitions like the Contessas help your clients when it comes to building and promoting their brand? How does it help get their name out there if they’re new to the industry?
Many stylists ask me “what’s the point is of entering the Contessas?” My answer is always the same: It depends on the kind of career you want to have. If you’re okay behind the chair, making money, and that makes you happy, that’s fine for you. However, if one day you want to work on stage in Canada or around the world, competitions are almost essential.
To check out Alain Comtois’ website, click here.
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