In the next few blogs, I’m going to detail some stuff I’ve done lately in classes and demos. It’s been a hectic couple of weeks, hence you might notice I am writing about, for instance, PPE, which happened two weeks ago. Once again, a day late and a dollar short. Story of my career. I could try to put a cool spin on it and tell you I was just tryin’ to pull an SI, you know, that old trick of selling you a magazine that describes ball games you saw a week ago and you already know who won. Hey, its worked for them for a long time.
So, here goes…..
MY LIGHTING CLASSES AT PPE! OR….GUESS I PICKED THE WRONG WEEK TO STOP SNIFFIN’ GLUE!
My big lighting seminar at PPE was fun. Had a bunch of great folks, and we rocked and rolled for 3 straight hours. I changed things up a bit this year, actually. Most of the time, when I do this stuff, I just pull somebody outta the crowd and we kind of simulate a shoot. This year, I asked my friend Vanessa, one of the loveliest ballerinas I have ever worked with, to come in and be a subject.
In a full blown studio, with an imported stage floor, Vanessa is capable of astonishing things.
She also makes for an amazing close-up photo.
On the stages at PPE, which are not set up for a photo shoot, we remained a tad less ambitious. I had to jury rig things a bit, drop a background, commandeer a section of the audience by moving a bunch of chairs, but after some pulling and hauling, we had something resembling what could have been a studio. That sounds like a complaint, but its not, considering I have set up studios in far less auspicious spaces….hmmmm….lessee
*An electrical closet in the basement of Sydney’s Olympic Stadium, to shoot Mo Greene for a cover of TIME that never ran. The lighting here was a lead pipe cinch. The hard part was getting him into the damn room. I was exhausted, and had fought my way from the finish pit into the guts of the stadium, dumped my gear, switched on the lights and crashed back into the interview area which required me shambling over a couple of metal barriers that were just at the absolute appropriate testicle crushing height and got in front of him and his entourage, which included his manager, a very large man who looked a bit like Ving Rhames and sounded a lot like James Earl Jones. He headed an agency called USW, or, Use Speed Wisely. He got in my face. “Can you guarantee Mo Greene the cover of TIME magazine if we go with you?”
I shot back. “No, but I can guarantee you he won’t be on the cover if you don’t come right now.” Sometimes I can’t believe what comes outta my mouth. (Anybody at any of my classes at PPE would agree.) Mo turned out to be quite a nice guy who laughed a lot, as anybody who had just been crowned fastest man in the world might be. He looked at me, shooting and blabbering like a magpie at the lens, and just said, “Man, you’ve had too much coffee…”
Cool. Cover never ran.
*In the men’s washroom of the Will Rogers Coliuseum in Ft. Worth, I shot a bunch of cowboys on a painted drop. Some of these actually saw the light of day in Sports Illustrated. Used a hot light on the background and hand held a Mamiya RZ Pro II camera with a motor and a 150, which was kind of like hand holding a cinder block with a lens on it. Hence the vibration of a little camera movement around the subject.
In the boiler room backstage at the Osaka, Japan Opera, I shot a series of SB lit portraits for the NYC opera company…..Tight quarters, but I thought hey, if I need a smoke effect, maybe I can turn one of these valves….heh, heh…..
Did the double exposure in camera with TTL flash, which will be the subject of an upcoming bloggaroodi.
Anyway, Vanessa was incredibly patient while I babbled my way through some setups. We stayed pretty conservative, and got a couple of good snaps, answered some questions, and worked the SB units really well. It was fun.
We got this if Vanessa doing Spiderwoman by taking 2 SB units and clamping the to the back of a chair in the audience with Justin Clamps and bouncing them down into the gold 6′x6′ reflector that comes with the 6′x6′ Lastolite Skylite Panel. Had to ask a couple of folks in the front row to hold it in front of them, sorta like it was a picnic blanket, and then we kind of wailed away.
This was done with a low and high fill, probably early on in the demo, umbrella up high, and low gradation from an SB on a floor stand in the background. Tough to miss with Vanessa. You could light her with a car headlight, and she’d look terrific.
Then I went upstairs and did a stint for Nikon in the booth, and basically, I exploded on stage. (“Our first drummer exploded on stage…..”)
Or rather, the flashes did. Sheesh. I was running fast, and came up from 3 straight hours of being tethered into my computer and jumped into it with a couple of drained flashes and a drained camera, which was now jacked into an HDMI cable the size of a water main. Lumbered onstage like I had the QE2 on a tow line.
Felt like Igor up there, throwing the wrong switch, and making the monster get angry. When batteries get low and weird, the system gets wonky. It’s kind of like the camera starts talking Serbo-Croation and the flashes are replying in Chinese. The only bright spots was seeing some buds in the audience. Jeff Snyder (firstname.lastname@example.org) of Adorama, the magic man, he who can produce gear no one else can find, was there, and David Hobby. At one point I appealed to David to come up on stage and work me out a manual flash solution. Wisely, he waived off.
I actually wondered for a second if I was working with SB900 units that had once been loaned to David. With a chuckle, he told me they were coming to me next, and he had gone into the electronics and randomized the circuitry. David knows this stuff so well, he’s capable of doing that. I can barely spell randumize.
Okay. Meltdown! Whaddaya do? Go to the happy place. As on assignment, when things implode, as they invariably do, I go there, breathe deeply, actually think on Annie for a few seconds, look back, smile outwardly, laugh in the face of danger, and figure the sumbitch out. Got a new camera, a couple new flashes, and went right back at it with a brand new bag. As I always say, when shooting, the likelihood of the bread falling buttered side down is in direct relationship to how expensive the carpeting is. The crowd was great, though, and laughed with me, at me, whatever.
Tried a bit an experiment this year, with another class, based on The Moment It Clicks. Encouraged by Lauren Wendle, who is the publisher of PDN, I did a two hour conversation, really, with a bunch of shooters in one of the classes. It was called “Tips for The Working Photographer,” or words to that effect. We discussed strategies in the field, relationships with clients, tough times, ups, downs, why’s and wherefore’s, editors who help you or sabotage you, in short, we took the deal anyplace we wanted to go, and just did some real, honest confrontations with the reality of being a shooter. I was very direct, and didn’t sugar coat anything. It could have easily evolved into kind of a religious drunk, if we had moved the venue to one of the watering holes on 34th St. A young shooter who had won a spot to the Eddie Adams Workshop, and here for a month from China, came up after and told me it was the most honest photographic discussion he had been party to and thus the most worthwhile 2 hours he had spent in this country.
Okay…cool with that. No sense blowin’ sunshine up anybody’s skirt at this point. This is damn hard to do, which is why its so much fun…more tk.