Archive for September, 2014
Firefighters. They share, along with cowboys, an innate ability to simply step in front of a camera and become a photograph. Henry, of the Soufriere Fire Department in St. Lucia, has a look, a presence, if you will, that speaks to the camera.
To do this portrait, I made some camera moves before I even put it to my eye. When doing what one might call a “formal” portrait, I’ve always enjoyed a more blocky type of aspect ratio. Don’t know exactly why. It might hark back to film days when I shot a lot of 6×7 and square medium format stuff. In the D4S there is a menu checkoff where you can alter your frame from the standard DSLR view to 5×4, which is what I did here. I also shifted into Monochrome. I still have color in the raw file, but when I shoot B&W, I like to see in B&W. It makes a difference. I rarely shoot in color and then convert it to monochrome later. I try my best to think and see in the palette I am shooting, at the moment of exposure.
One subject? One light, at least to start. (Best to keep it simple and move fast when working with firefighters, as they’re likely to disappear at any moment.)
Here’s where light placement, hence a C-stand, comes in, well, not just handy, but pretty damn essential. Depending on your taste, of course. You can light from the side, or elsewhere. You can light from anyplace you want to try. But, my instincts said, light from overhead, symmetrically, and for this, you gotta extend, or boom the light source.
Which is, in this particular equation, a 24” white interior Lastolite hotshoe soft box. Handy, simple, all purpose light source. It’s pretty soft and forgiving, but also directional, hence the shadows. It gives Henry a look, for sure. It’s moody, and has attitude. But, pitched from up above, that’s all it gives. You don’t see the eyes.
Want the eyes? That calls for another light, given the attitude of the first light, which I didn’t want to change. I washed a Group B TTL light off the silver reflective sleeve of a Lastolite trip-grip diffuser, placed on the floor, about 8’ in front of the subject. Voila! Eyes.
But, this is a wash of light, it flows upwards towards Henry, and lights not just his eyes, but it puts details into his overall frame and what he is sitting on, which happens to be some sort of air filter we found in the firehouse. It’s nice enough, but not really specific. If you want a light just dedicated to his eyes, best to use something like a gridded or snooted source, something that produces a small, concentrated splash of light that really locates the eyes and not much else.
For the above, there are a couple things you could use. Lastolite makes a gridded, magnetized snoot that is collapsible and cool. It travels well, and the whole kit, with the grids, frame and snoot give you lots of options. The big blow of light behind Henry is the same contraption I had just used to fill the front of him. It’s a speed light bounced into a silver tri-grip. Give a little, get a little, is the rule of location. Other rules abound. Solve one problem, create two more. Murphy’s law. The frequency of the bread falling butter side down is in direct relationship to how expensive the carpeting is. Etc. Location is problem solving, often times. Eliminating the frontal, general fill and going with a very specific source meant I lost a touch of detail in the background. So, I pulled the floor fill rig around to the back of Henry, to light up the rack of bunker gear hanging back there. True to the general pattern of TTL, the camera’s brain rightly perceived that area to be dark and pumped out too much light, as you can see above.
Plugged in minus 2 EV (also tried minus 3) and dialed up the background to a decent, moody level.
We ended up here, with three lights. Group A, overhead, boomed Lastolite 24″ hot shoe soft box. Group B, fill snoot for his face and eyes, running low power, about minus 3 ev. And the background, Group C, a bounce off of a silver reflective surface (the speed light is just laying on it) running in similar toned down fashion, minus 2 or 3.
Here’s the final camera specs. D4S, 1/20th, f5.6, 79-200mm f2.8 zoom, set at 170mm. I have minus three programmed into the camera, but the D4S ignores that command because it is set in manual mode. I did my scout in aperture priority, getting the rough exposure for the scene dialed in, and then flipped the camera into manual to proceed through the making of the shot. I could say I did this because I was showing the class the various modes of the camera and how they interrelate. Or I could just say I made a mistake and forgot to drain out that exposure command. You choose.
Very happy to report I’ll be going back to an amazing city, Shanghai, this fall, and working once again with peerless wedding shooter Louis Pang. The two of us have always taught well together, taking different paths to a picture, and using skill sets that complement each other well. Louis of course is the master of the wedding, orchestrating and posing people in wonderful fashion. Me? Well, I’ll be engaging once again in a bit of hopefully creative mayhem with speed lights.
I’ve always loved shooting in Shanghai, which is one of the most vibrant places on earth. Louis and I will be teaching there from November 19th through the 23rd. Here’s the schedule and links to the workshops and seminars offered..
Here’s just a few shots I’ve done in Shanghai over the years, and I’m excited to head back to teach!
After PhotoShop World, I stayed in Vegas, which is home base for amazing athletes and performers, such as Manu, above. I did more experimentation with the Profoto B1 units, and made some more strides with the Nikon TTL version of the air remote. I’ll post more material in the next couple of weeks, but the B1 itself has been a wonderful light to play with. I know they are principally designed for location, but we took them into the studio and experimented in a very controlled way. Really enjoying the control of these lights, and the design. Battery life is excellent, and the air remotes are bang on dependable. Lots of room to move with these.
Have a great weekend everyone! More tk….
In the aftermath, a long time ago now, at the Giant Polaroid studio on the Lower East Side, Harry Davis, a firefighter with Squad 18, got up on the podium, closed his eyes and cradled his axe like it was a newborn.
It remains a favorite photo, from a difficult time. Today, all over the city and elsewhere, there will be pause. I will stop by Ladder 9/Engine 33, as I always do, and stand to the side as they ring the bells. I remain honored to have met these amazing people, and to have made a few pictures. Because pictures help us remember.
The week of PhotoPlus Expo, which just happens to fall during Halloween this year, promises to be busy. I’m collaborating with long time colleagues at Adorama to stage two straight days of studio lighting workshops, immediately prior to the PPE blowout at the Javits Center.
Here’s the link. We’ll amass a lot of resources, showing off Profoto studio and location systems, as well as speed lights. We’ll have models, manufacturers, demos, and hands on experience shooting for all participants. Gonna be a hoot, and a very rich, busy couple of days investigating lighting strategies and techniques. Any questions you might have you can email firstname.lastname@example.org, or email@example.com.
We’ve rented the gorgeous spaces of Tribeca Skyline Studios–the whole joint is ours to play with. There will be multiple setups, with expert staff at each one to guide participants through the thicket of both the technical aspects of the lights and shapers, but also the staging and working of a shot.
So again, here’s the link. It just got announced on the Adorama site last week and half the spaces are already gone, so if you are interested in this, best to make the call sooner rather than later. Can’t wait…lighting in my home town.