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Wednesday, April 9, 2008

fotolog (47 сообщений)

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Nelson Pouring the Cement Floor in the New Milking Parlor

Posted on April 9, 2008

Nelson Pouring the Cement Floor in the New Milking Parlor
(Too small? Click here for a larger version.)

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On Assignment: Peter Yang Shoots Admiral William Fallon
Imagine this:

You have all of 25 minutes to shoot Admiral William J. "Fox" Fallon for an Esquire Magazine feature story. They need a portrait that conveys intensity, but you will be shooting in a typical office setting.

And on the day you show up, your subject (who also just happens to be the U.S. CENTCOM Commander) is busy focusing on the fallout from the just-announced assassination of former Pakistan Prime Minister Benazir Bhutto.

What do you do?

If you are A-list shooter Peter Yang, you're too busy thinking about your light to be distracted by all that other stuff.

His photo, and how he made it, after the jump.
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Photo ©Peter Yang

Pictured above is Peter Yang's photo, as it appeared in a double-truck from the U.S. April 2008 edition of Esquire Magazine. Please excuse the artifacts -- it is a copy shot. I wanted to show it in the context in which it appeared in print.

Before you read any further, take a moment to try to reverse engineer the photo. The light is simple -- only one source -- but will still require some decent decoding skills. Click it to see it bigger, as it was presented by Esquire .

I caught up with Yang by telephone recently, shortly after being stopped by his photo of Fallon in the magazine.

Yang says he was a little surprised to get this particular assignment, given the subject matter and styles in his portfolio. But he had a lighting style in mind he had used on a previous multi-country shoot on atheists, so he at least had an idea of how to visually convey the Admiral's tough reputation.

"I was told by his people that I would have about 20-25 minutes to shoot," Yang remembers. "Which usually means about 8-10 minutes before you get, 'Okay, you can leave now.' "

He had three different setups ready to go in Fallon's office: One on white, one on black and a third with a more standard lighting scheme. But he quickly realized that he was going to have to use light effectively to connote a visual feel that would match the story.

Writers will frequently try to help/guide/steer into their vision of the piece, and this time was no exception. A good shooter will pay attention to these things -- visual and word continuity are important -- without selling out his or her own vision.

Yang recalls him as being a nice guy. "But there was no sense of urgency in a standard portrait," he added. "How can I make you look intense?" Yang remembers thinking.

His answer was to use the appropriate style of light.

Yang shot Fallon with a Hasselblad H2, an 80mm lens and a Leaf Aptus 75s digital back. His single light source was a Profoto 7A with the head in a gridded reflector up high and in very close.

With the light source very close to the subject (it's just out of the frame) you get some apparent size even though you are just using a reflector. But with a harder, more directional beam.

Before you go nerding out (or crying poor house) on all of the gear, understand that in essence we are talking about a single, smallish, directional light source and a normal lens. Granted, the gear Yang used is probably out of your economic zip code. But at its core, it is very simple stuff.

Actually, most really good light is pretty simple, when it comes down to it.

But, unlike a big flash in a reflector, a speedlight will not come close to this look unless you increase its apparent size somewhat. When I need to make a close-in speedlight look like a standard big-flash reflector, I like to use a little LumiQuest Softbox II, which actually is not even supposed to be used on a speedlight. It is designed for a bare-tube head (Lumedyne, Sunpak 120, etc.) but I really like what it does off-camera, in close, on a speedlight.

The "Softbox II" spreads the light out in over a ~6"x8" area, but it hot in the center. They have softboxes that have more diffusion in the center, and designed for speedlights. But I like the straight one better.

At ultra close range, you are not gonna need a ton of watt-seconds to get some serious aperture. (And you'll need it, to hold focus on the ears.) It takes a little imagination, but you can usually translate different types of light down to speedlights.

And speaking of gear, Yang backed up the shoot on a Canon DSLR (Mk II) and actually prefers the display screen on the back of the Canon to that of the Leaf for chimping purposes. He said he uses the Canon as both a Polaroid and as a backup.

The nose shadow tells us that Yang came in straight, high and close, as we have seen above. He has it aimed a little down and in front of Fallon. The grid causes the light to quickly fall off up top, creating an "out-of-the-shadows" look. Pretty straightforward, really, when you create the shadow with the light source.

If you do not have a grid, you have to figure out another way to cut the close/high light from the top of the head. But rather than spoon-feed that info, it would be a good exercise for you to think about it and experiment a little. We'll be doing an exercise on this later.

Yang dropped some black fabric in back. Nothing fancy here, though. He got it at a local fabric store and taped it to the wall. He notes that almost anything -- even a white wall -- in the background is gonna go black with this lighting scheme. The black material was just there for good measure. Remember, this all comes down to lighting distance.

The end effect was one of intensity and drama, kinda like the way you'd shoot that guy from the X-Files who was always showing up with the critical, top-secret information.

BTW, Yang had previously tried the light out on his assistant's face. The takeaway: Always test first.

Within the short time window, he also produced photos from the two other setups. Yang notes that it had great light and made for very good portraits, but they were not as well-suited to the intensity level of the story.

As for color-vs-B&W thing, Yang could not remember who first suggested black and white for the portrait. He characterized it as a mutual decision between himself and the folks at Esquire. It was captured in color, of course, but the plan was to go B&W for this one all along.

Back to the shoot itself, as is frequently the case, the handlers proved to be running a little tighter than the actual subject. They wanted to move things along to get back to reacting to the developing geopolitical news.

You can always tell by listening for those subtle little signs that tell you your time is up. Like when they are saying repeatedly, "You gotta go, you gotta go, you gotta go..."

But Yang already had what he needed -- a dramatic portrait done in a typical office setting.

He quickly pulled all of the gear -- still set up -- out of Fallon's office. But Fallon came in a few minutes later to pass out some souvenirs and talk about photography.

"He was a nice guy," Yang said. "He has a natural curiosity."

Shortly after the Esquire article was published, Fallon's now very public views on the middle east -- particularly on the prospect of a potential war with Iran -- were deemed to be at odds with those of the Bush Administration. Admiral William J. Fallon announced his resignation on March 11th, effective as of March 31st.

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A Little Background

Yang is 30 years old. He was raised in Austin, Texas, where he was for a while a shooter for the Austin American Statesman. In fact, he still includes some work from the Statesman in his portfolio. That's both a nod to how fast he has risen, and how he did not let the fact that he was shooting for a newspaper constrict his style. All you newspaper shooters take note.

In fact, just ten years ago, you would have found him soaking up information wherever he could find it. I note that not to dis Yang (who a very nice guy and a heckuva shooter) but for two very important reasons:

One, to show the speed at which he has risen in the profession. And two, to point out that if you are currently hanging out in in the minor leagues on photo message boards asking gear questions, it is entirely possible that you could be work your way up to The Show in ten years.

To see more of Yang's work, take a look through his website.
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Related links:

:: Peter Yang's Website ::
:: Esquire's Article on Fallon ::
:: Other 'On Assignment' Features ::

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Look

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Recovering at Home
It's Naomi here, Neil's wife who he has been blogging about this week. First of all thank you for everyone's kind thoughts and well wishes - it's wonderful to get these from people I don't even know! I thought you would like a brief update on my situation.

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Captivated by the Light
Sorry for the late night post. I am out of town for Ed Pierce’s Captivated by the Light Tour - link The total cost was about $ 50. There was an expo with vendors such as WHC, collages.net, Marathon Press, Canon, and of course the Ed Pierce series of DVD’s, etc. I am glad I went, [...]

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Can-Do Approach to Cheap Lighting

"Back when we were young, we didn't have no speedlights. We had utility lamps. And we didn't have no light stands, neither. We had sticks. And cans. And we were glad to get 'em."

If my dad were guest blogging, you'd being hearing that kind of thing left and right. But maybe that's not a bad thing.

Hit the jump for an old-skool, ultra-low-rent lighting tutorial.
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One day after threatening you with gazillion-watt-second studio strobes, we head way down to the opposite end of the scale for proof that light is light. It doesn't care where it comes from -- only that it has to obey the laws of physics.

Sticks and cans. Cool beans. And besides, this oughtta economically balance out the Profotos I am gonna be throwing at you tomorrow...

(Courtesy Jim Talkington, over at ProPhotoLife.com.)

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Yes It Is, and Yes I Did
Before I get 10 gazillion emails asking if megablog Consumerist had permission to use my photo all life-sized and stuff:

Yup, they did.

I am a huge fan of Ben Popken and his merry band of little-guy advocates. Not to mention their impeccable art directing chops, natch. If you are like-minded and sufficiently generous with your pix, they have a Flickr pool where you can drop your pictures of Wal*Mart, Best Buy, greasy hambugers, etc. (Putting them in the pool makes them eligible for inclusion in the blog.)

I am always happy when I pop up on their site, doing my little part to stick it to Da Man. Besides, it gave me something to twitter about.

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Photojournals - Achromatic World Through My Glass #16
Las Vegas Blvd., Las Vegas, NV

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Birthdays, Heresies and Watt-Seconds

Strobist turned two this weekend. And while I will admit that it is not yet completely potty trained, now is as good a time as any to announce some upcoming changes.

What to expect in the coming year, after the jump.
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Looking Forward

In upcoming weeks you will no doubt notice some changes. They will be welcomed by some, and poo-poo'd others.

This site started out in 2006 as a small trail of bread crumbs for photojournalism students and young pros on how to use their shoe-mount flashes a little bit better. It was designed to fill the gap between what they taught us about light in PJ school, and what we needed to know in the real world.

But over the last two years it grew into something way bigger than that. It became a place where people gather to learn about light. And believe me, I have learned more in that time than any of you have.

Given that we have spent two years digging very deeply into what kind be done with a small kit of speedlights, there is a growing danger that the site will just become a circular, self-dirivative discussion. And since excessive inbreeding (especially the intellectual kind) never did anyone much good, it is time to shake things up a little.

Starting in year three, we will be expanding our coverage area into all kinds of off-camera flashes to see what we can learn form the photographers who use them.

(What the...?)

Why? Three reasons:

First and foremost, the beauty of learning to use your speedlights in manual mode means that every single skill you acquire is translatable to the larger strobes. That's such a cool thing, not to having to learn a whole new skill set just because you are moving to a larger powered light. And many of you are making (or have already made) that leap.

(That alone is reason to expand your speedlight abilities beyond TTL systems such as CLS and eTTL.)

Second, the vast majority of what is being done with big strobes today is translatable down to speedlights. And easily so, since you understand the 1/1-, 1/2-, 1/4-power thing. And as such, it is crazy nuts not to take a close look at those guys and see what we can learn from them.

Third, if you want to improve your game in any arena you really need to learn to look beyond the genre in which you are operating.

Here's how I thought while I was at The Sun shooting with light for a newspaper:

Say for the sake of argument that I was operating on a theoretical level of, oh, 20 on a scale of 1-100. Say the hot shots at the bigger papers were shooting in the 40's on the same scale. If I merely looked at what the other newspaper guys were doing, tried to learn from them, and partially succeeded, I might end up in the 30's. If I were lucky.

But if I looked at the very best people in the photo world, the 90th-percentile guys, learned from them and still failed to totally get it, I might end up in the 50s' or 60's. Kinda weird, granted. But that is the way I always thought.

So from here on out, I am going to make a concerted effort to expose you to some of the hot shots in the business in the form of reverse engineering exercises and "guest" On Assignments.

I don't care if they are using speedlights, Profotos or magnesium powder. Light is light. And we may as well be learning from the folks who are working at the highest levels.

If you have any particular favorites, leave me a URL in the comments. I cannot promise I can get them, but I can promise to look into each suggestion.

I will be translating the big lights down to speedlight-speak wherever possible. Because that is where most of us are working. Look for the first one in that series to appear later this week.

Speaking of shooting and "On Assignments," that is what you most requested on the last reader feedback post, so that is going to be given a higher priority. I want this site to be the place for the next-gen folks to learn about light that us older farts never had.

If you are a high-end pro and you are reading this site, I will very likely be hitting you up for a chance to pay your early mentors back. Or, more accurately, pay them forward. I cannot promise you riches. But I can promise you some serious, industry-wide traffic to your site. And I can also teach you what I have learned about search engine optimization for shooters.

And, as I have officially gotten bored silly with not being a regular shooter after eight months, I am back in the saddle. I will be shooting some jobs for The Sun (call me, Chuck) and would be very happy to be in the rolodex of any of you dear readers' various publications.

To that end, I have put some photos into my Zenfolio page, with appropriate contact info for possible location people jobs in the Baltimore, MD, area.

So if you are reading this from your scanning station (or, better yet, at the picture desk) of an editorial publication, I would be much obliged if you would take a moment to enter me into your system of stringers as Your Man in Baltimore. Of leave a note on the appropriate colleague's desk.

Having been a kept, in-house shooter for 20 years, this photographic dating stuff will be new to me at first. So I am going to be jotting down my "lessons learned" in the occasional OT post in the hopes that it might be helpful to some of you in similar positions.

I also have started work on what I think is a very special self-generated project. There will be more on that, soon. So between those two shooting venues, my OA's will be coming back, too.

And speaking of OA's, remember the Old Masters post from late last year? We are gonna be using those guys as a way to sharpen our reverse-engineering skills while we get our culture on. After all, they were the first quality reverse engineers of light. In short, look forward to some interviews with some dead guys in the mix. They have good stuff to teach us.

If that's not enough, we still have two sections of Lighting 102 to finish up. And then we'll be doing regular, real-world assignments as a group. I might be able up the ante a little to make it more interesting. I have a few ideas.
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And finally, for those of you who are interested, some stats from the year that was:

Over the past year ending April 5th, 2008, there were 503 posts, which received a total of 14,540,459 page views from 1,493,505 different readers from 208 different countries/territories. Heck, we even had one visitor from Antartica who read 8 posts over a span of 21 minutes.

Thanks for a wonderful year, and I am very much looking forward to learning along with you during the next.

Thanks,
David
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(Handy flash photo at top by Ecatoncheires)

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Patterns and Masks
Have you ever created a pattern in photoshop. It is really easy and when you combine it with other tools like a layer mask in photoshop you can create some amazing images. Tomorrow, I am going to make a pattern and use in a portrait with a layer mask. In the mean time, take a look [...]

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Les glaces nous quittent

Avec la chaleur des derniers jours, les glaces commencent à quitter les rivages. Bientôt, elles seront totalement disparues.

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Finale en beauté II

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Finale en beauté

Une de ces premières journées plus chaudes du printemps qui se termine par une finale spectaculaire. Ça augure bien pour le lendemain.

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Solitaire

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Solitaire

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Délimitation

Une délimitation de moins en moins apparente à mesure que la neige s'accumule.

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Un homme et sa moto

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Coucher de soleil

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Fisheye at Foot Level - P365 Mar13
I was inspired recently by posts of a couple of blogging friends to try a camera-on-a-stick approach. I've tried doing this before of course, but only hoisting the camera overhead. Their idea was to keep the camera very low, and to walk around with it.

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Charolais Cow & Calf

Posted on March 29, 2008

Charolais Cow & Calf
(Too large? Click here for a smaller version.)

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Also…
Check out the new Photoshop Express techniques by none other than Matt Kloskowski, of the National Association of Photoshop Professionals. Get a jump start using the newly introduced web-application, Photoshop Express. You can check it out here.

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Bergans ALLY Is Focusing on Folding Canoes, No More Kayaks

I have had e-mail exchange with Mike Palmer, a dealer of Fujita folding kayaks and ALLY canoes.

Marek, nice to hear from you again. Unfortunately Ally is not making the kayaks anymore. They sale numbers didn't justify the production efforts. All their production is going into the canoes, which are doing very well.

It is a pity, because I liked the design of the ALLY 560 folding kayak I had a chance to paddle three years ago. Well, I have got some historical pictures ...

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Photographer Site of the Week
The photographer site of the week is Martin Photography- link I have meet both Guy & Julie Martin, great people and great photographers. By the pool this week, I have been reading Joe McNally’s new book- The Moment it Clicks. I really like it, it has some “how tos” that Joe pulled off the shots and some [...]

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Force éolienne

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Force éolienne

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Photoshop Online
[youtube] [/youtube] Scott and Matt explain the new Photoshop

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Stick Your Flash Where the Sun Don't Shine

I'm down in Charlotte, NC, prepping to teach a pair of beginner's lighting sessions Thursday afternoon at the Southern Short Course. I prefer not to wait for the allergy season to get to Maryland -- I want an early start for my seasonal misery.

So I am going through the Flickr pool at about midnite, faving pix. And I come across this one, by Evan Schoo. I dunno what it is about this shot exactly, but I just found it to be a little bit magical. And it brings up three very good points for adding small, battery-powered strobe to a photo:

1. Adding light to the darkest area in your photo can flip it around and make it the center of interest. It's important to know when to stop, so the log (in this case, for example) doesn't look like it came from Three Mile Island. I'm talking about the flash power level -- and this one gets it just right.

2. Cool-colored ambient environment (whether natural, white-balance-shifted or done in post) just begs for some flash color contrast, which Evan got by using a CTO gel.

3. When sticking a flash into a tight space, always consider a dome diffuser. A Sto-Fen Omni Bounce was used here, but you could use a Gary Fong Light $phere, a LumiQuest UltraBounce, a piece of Tupperware - whatever. Just get that light going in all directions, like a bare bulb. It really works for cramped interiors.

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No Matter Which Swivel You Get, You're Screwed.

I got a note from Stu at MPEX that the LP632 "shorty" swivels (which have been updated to have screws in the shoes for securely mounting the newer, metal flashes) have been selling faster than they can get them in. They are on backorder for, well, awhile.

But... when he wrote to tell me that they are subbing out the LUM5099's (pictured above) for those who need a swivel, I noticed that they, too, are now coming with the little flash-securing screws.

Amen.

This is good news for people (like me) who do not want to see their SB-800's (or 580 EX II's or many other newer flashes) crashing to the floor. I hope this little feature finds its way through every single flash swivel on the planet.

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Ogden Water Overflow
Shot Info This was shot looking down from the middle of a stream flowing over the weir into Ogden Water last weekend, before the snow came. Canon EOS 400D 400 ISO Aperture Priority, set to 4.0 1/100 18mm

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Photojournals - Vancouver Wandering #17
Skytrain Commuter, Vancouver, Canada

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Sony Alpha A350 ships — Adobe pulls ACR update
Sony has started shipping the Alpha A350. I took delivery of one of the big orange boxes last week and have started putting the A350 through it’s paces. So far, I am fairly pleased with the 14m dSLR — I will post a review with samples shortly. I had hoped to update my copy of Adobe [...]

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Flash Flavor Test Drives the RadioPopper P1

For those of you following the RadioPopper Availability Slow-Motion Strip Tease:

Matt Adcock has posted the most complete write-up (to date) over on Flash Flavor. Even though he shoots mostly manual, Matt's more comfy with the TTL stuff than I am. So he was able to put it through it's paces better than I ever could.

(Thanks, Matt!)

But wait, there's more:

Hit the jump for a new RP video which includes the above shoot and some outdoor, high-speed sync stuff.
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For those of you who signed up on the email list, RadioPopper is now taking (domestic) orders. More info here.
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Related:

:: See All RadioPopper Updates ::

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Lose the Smile for More Versatile Headshots
If you are going to go to the trouble to shoot a head shot (or, "mug shot," as we called them at the newspaper) you may as well set up good light. This can elevate a head shot into a portrait and yield a photo suitable for many more uses.

And if you are going to make a portrait, shooting a range of expression can further expand the ways in which the portrait can be used.

Hit the jump for a very good, current example.
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British photographer Platon (whose site we accidently overloaded when we all showed up to watch his videos a few weeks back) photographed Eliot Spitzer before he became better known as Client #9.

(At least, I am assuming he shot Spitzer before that, as pretty much nobody has been near Spitzer with a set of lights since. I would think that not even Platon is that smooth...)

The photo, seen above, appears as lead art, running full-page on a two-page spread on pages 24-25 of the March 24th U.S. edition of Time Magazine.

Platon's photo was lit with a simple, two-light scheme -- soft source directly above the camera, back light aimed at the background. He usually uses a medium-format camera, with a moderately wide-angle lens, which creates both intimacy and lots of detail in his portraits.

Reverse engineering notes:

The location of the nose shadow (butterfly position) reveals the position of the front light source: above the camera. We can also see the front light source reflected in a specular highlight on the forehead. The softness of the highlight-to-shadow transfer area further reveals it as a soft light source.

The even quality of the background light tells us it was almost certainly behind the subject. It was either between the subject and the background, aimed toward the back, or behind the paper, aimed forward at the paper.

Where is the chin light coming from? Looks like the shirt, to me. White shirts kick a ton of fill in at close range. And it would have been awfully hard to hide a mini softbox under Spitzer's chin.

But what about that expression? The same photog who famously got Bill Clinton to "show me the love" (resulting in another much talked-about photo) captured Spitzer in a quiet, downcast moment, not even making eye contact with the camera.

Generally, you do not get much time when shooting celebrities and other famous people. So you have to spend your ammo wisely. You want to get a photo that connects with the viewer, but you don't have to hold the button down and dupe that look continuously for the whole three minutes you have them captive in front of you. Do you really need that 37th version of a canned smile with eye contact?

Instead, when you are shooting a headshot, spend a little time grabbing the smile (that's what they'll be expecting to do anyway) and get it out of the way. Then spend the rest of your time exploring different expressions -- quieter expressions, no-eye-contact looks, etc. It is a little more difficult, because you have to create the conversation that evokes the various looks.

But it is worth the effort. Neutral expressions are far more versatile in what they connote. A smile say only a couple of different things (maybe a couple more, if you have a dirty mind) but the quieter expressions can make much more powerful photos.

I would go so far as to say that this photo probably was not the final edit from the original shoot. It is very appropriate in the context of Spitzer's sudden collapse in the wake of a prostitution scandal. But it hardly would fit for a photograph of the "Sheriff of Wall Street" even a few weeks ago.

The fact that Platon had the presence of mind to both evoke and then capture the contemplative moment of Spitzer yielded a stunning photo which may turn out to be the iconic image of an imploded politician. Kudos, too, to the picture editors and designer at Time Magazine for spending the square inches to give it the weight it deserves.

Nuts and bolts takeaway: Not everyone you shoot is going to get caught at the Mayflower hotel with their pants down. But if you are going to go to the trouble to light someone, make sure you take the time to work some different looks into your session.
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Related Links:

:: Platon's Website ::
:: Original Article: Time Magazine ::

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De l'or dans les champs

Durant l'été, les semences ont lentement poussées pour se transformer, l'automne venue, en un magnifique champs doré.

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Ruins

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Ciel nuageux

De gros nuages menaçants ont défilés tout au long de la journée. Quand finira donc ce mauvais temps?

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Penchés

Chacun des deux bâtiments a son penchant naturel... l'un à droite, l'autre à gauche.

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Plantation

Une série d'arbres plantés dans un ancien champs qui deviendront dans quelques années une forêt.

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Plantation

Une série d'arbres plantés dans un ancien champs qui deviendront dans quelques années une forêt.

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1 Shot 4 Ways
ORIGINAL BRIGHTENED BLACK & WHITE FILTERED BLACK & WHITE I love Picasa. With minimal effort and with a few clicks of the mouse, you can do all kinds of photo editing and make a big difference to your pictures. Here is one shot, four different ways. [...]

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Tree
I was eating a slice of pizza at a picnic table in Sierra Madre yesterday. I looked up from my cheesy goodness and saw this tree. With a slice in one hand and my camera in the other, I took these shots. The tree is all gnarled and is split up [...]

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Épuisée

Le bâtiment a été délaissé depuis longtemps. Durant longtemps, il fut entouré de vastes espaces dégagés. Aujourd'hui, la forêt a repris sa place. Bientôt, le poids des années fera sa marque et il s'effondrera. Sa vie utile sera terminée...

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Playing Pool

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Glacé

Les occupants des maisons situées sur le bord de la cette plage n'entendent plus le bruit des vagues qui viennnent caresser la côte. Tout est recouvert de glace. Heureusement, le printemps est proche et un bon matin, les glaces auront complètement disparu.

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Lehigh Valley Pipe Band - Jim Thorpe, Pennsylvania

Posted on March 14, 2008

Lehigh Valley Pipe Band - Jim Thorpe, Pennsylvania
(Too small? Click here for a larger version.)

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Marche sur la plage

Les couleurs de ce magnifique coucher de soleil accompagnent les pas de ces promeneurs sur une plage comme tant d'autres.

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Le chien

Le chien réussit à rester calme durant quelques secondes pour la photo avant de repartir son exploration dans les champs. Il s'agit ici d'un border-collie mélangé avec un collie.