Archive for the ‘News’ Category
In News, Seminars & Workshops, Upcoming Events at 5:07am
Doing a few teaching stints this summer in far flung places. In late June, head for the first time to So. Africa, and do seminars in Capetown and Johannesburg. Really excited. I have been to Africa numerous times, but never to the south, and I’ve alway been told amazing things about the beauty that abounds down there. Here’s a link discussing the trip, and the events. Hats off to Nikon South Africa for doing all the logistics and staging for the events! Read the rest of this entry »
Hey Gang, Drew here…..
A couple of really cool announcements to make, that have been several months in the making…
First off, our blog is now fully responsive, meaning that it’s been optimized for any size and orientation of computer screen, tablet, or mobile device. This is a huge step in making the blog that much more easily accessible for all you mobile blog readers out there.
If you’re looking at this blog on your computer, just drag in the corner of your browser, and you’ll see the blog adapt as it gets smaller…pretty cool stuff. A huge thanks to Josh and Andy at Few Loose Screws for helping educate us in this department, and getting it all up to speed.
We’re also about to launch a brand new, responsive version of our “What’s in the Bag” page, with tons of product descriptions, photos, etc.
Here’s two examples of what the blog looks like on an iPad and iPhone, when held vertically (turn it on it’s side, and it’ll adapt as well)…
More big news: The Language of Light DVD is now officially available as an Instant Download, and it’s in HD! We know that getting the DVD on an international scale hasn’t always been easy, due to import taxes, shipping, etc., so we’re very happy to now be able to offer this to you.
Further, we’ve included several new options as part of the DVD download..
- Each download includes two versions to choose from: 720p and full 1080p HD.
- The entire DVD download is now available for $129.99 (the hard copy is $159.99)
- You can even download individual DVD chapters, if this is of more interest to you.
Looking forward to hearing your thoughts.
(Many thanks to Drew who, in between road time, has been laboring on this design update and the download option for a long while now….) More tk….
Just finished shooting another Epson ad for their “Finish Strong” campaign. This one was inspired by the portrait work of Corinne Alavekios, a wonderful shooter, based near Seattle, who embraces the continuous cloud cover and soft light of the Pacific Northwest as a motif for her beautiful, luminous pictures of young women and brides.
The conundrum, or essential difficulty of shooting these is you have to get used to a change up in your thinking. The hopefully dynamic, wonderful shot you create for an ad campaign runs quite small, while the production, BTS shot, or, as it’s referred to on the set, “the shot of the shot,” dominates the real estate of the ad. I shot both ends of this last year for Epson, and got to work with the incredible Anti-Gravity performers, who are a group I’ve had a relationship with for about 20 years now.
But then, having knocked out that relatively complex shot, which ran small, we had to shoot a production shot of doing the shot, which ran huge. This was handled by our own, intrepid Drew Gurian. We shot the ad pic, and then re-staged and blocked out an arrangement for the production image. It being an ad, all the pieces had to fit, puzzle-like, into the art director’s layout, sized and designed for a spread, and a vertical presentation.
For this one, we had responsibility only for the production picture, and left the “shot” up to the magic of Corinne and her team. She writes about our day in the river here, in her blog.
Of course, as always, there were things to solve about this shot as well. As you can see, it was a “fluid” situation. The eye of the exposure needle I had to thread was to light the foreground just a touch, to pull in the details of the sky, but not make that foreground area look too “flashed.” Not a job for small flash! This was big flash all the way, using an Elinchrom Ranger, triggered with Pocket Wizards. The light source was a 74″ Octa Indirect soft box, hoisted on a high roller stand and stabilized with waterproof sandbags. The bigness, and soft quality of the Octa gave me a prayer of matching the overall soft quality of the cloudy day.
And of course, the usual production details abounded. Corinne chose the location, and handled the talent, the hair, makeup and wardrobe, all configured to match her ongoing style of portrait work. (Corinne chose the young ladies well! They were out there in that river in frilly gowns for hours on end. I swear they were direct descendants of Lewis and Clark. Tough Pacific Northwest girls!) On our end, Lynn in our studio had to figure out how to get a dock built. Harder than it sounds. It had to accommodate three people, obviously not sink, be relatively stable in the current, but at the same time be mobile enough rotate into various directions of light and background. It also had to be suitably worn and weathered to look like it had been around since the days of the sailing ships.
Lynn worked her magic and of course found Perfect Docks, in Lake Stevens, Washington. Frank Sovich did an amazing job creating an artistically terrific 600lb. dock for the young ladies to step onto and for us to push around in the muck of the river. And of course there were myriad other details, such as food, RV, travel, permits and insurance. I’m a big fan of guerilla style, just go do it film making, but when you have a crew of 15 people, and a dock and an RV and an Octa on a highboy in the river, you ain’t exactly low profile. This type of thing has to be done by the book.
It was also fun once again working for Epson and the folks from M&C Saatchi. Stephen Reidmiller was terrific as the art director, maintaining a sense of the ad and the placement of the elements even though he was looking at comps in what occasionally was almost chest deep water. And of course we had the redoubtable Mike Grippi out there with us. He hauled the lights, pushed the dock and, at the end of the day, hoisted Corinne for a celebratory shot. He was Flashbus crew, out of Ridgefield, Ct. but now has re-located to Portland, Oregon. Glad he’s out there, as he just jumped in a car and headed up to help us out.
Then of course there were the waders. We all spent a good four or five hours on a cool, cloudy day in a river that at times felt like it was being directly fed by a glacier. Dano Steinhardt of Epson, as usual, was the maestro of events, keeping all of us moving forward and holding steady to idea of the ad, even as the dock was drifting, and the light was changing, and the rain was threatening and everything from our toes to our, well, uh, the, uh, rest of us had gone numb in the river water. The waders really saved us, and of course, everybody took a pair home at the end of the day. Dano, well, he maybe should have left his on location. See below.
We’ve all been lifted up lately by the shows of daring, stamina, sportsmanship, and excellence in London. In the midst of all of them, a tiny Olympian with a huge smile and an embracing manner defined the term “grace under pressure” and spun, whirled and smiled her way to the all around gymnastics title. Little Gabby Douglas, aka “the flying squirrel” lifted the whole room (the whole room in this instance being the world) with her performance and heart warming demeanor.
That smile harked me back to my very first assignment for LIFE magazine, in 1984, when they sent me out after the LA Olympiad to capture another pixie who had leaped, double spun and vaulted into our hearts…Mary Lou Retton. As bubbly in person, off stage, as she was in the public arena, we spent just a few hours together after the Games were over. My mission, obviously, was to capture the smile and the personality….and the medals.
Mary Lou won the overall gold and several others of different shades to bring her medal haul to five. At that point, as I recall, she had yet to be photographed with all of them. So, in the brief period we had together, we conjured a hat in honor of her training home in Texas and figured out a way to rig the medals on it. (This was quick, direct magazine photography at that point. No stylists, makeup, smoke machines or art directors out there with us.)
Made the frame, and the one below, on Kodachrome, just flying blind with the light and moving fast. Needed a twofer, and the effervescent Mary Lou had a blast with the stuffed bear. It was the picture above, though, that got the most notice.
One of the reasons the pic with the hat and medals was important was the fact that she had not been shot with all five of them prior to this. We made some frames, and Mary Lou was as easygoing and gracious as could be. But then, the reporter I was with fielded a phone call from her agent, who demanded that I surrender the film and leave it behind. Evidently there was a big deal going down with a sponsor, behind the scenes, and the exclusivity of a pic of Mary Lou with all her medals was a talking point. Needless to say, the few rolls I shot came with me, back to LIFE. (Mary Lou couldn’t have cared a whit, by the way, about all the backstage shenanigans. She was as fun to photograph as the pictures indicate.) But it does get interesting when the agents get involved. (And by the way, I’m totally with the Olympians in terms of sponsorships, support, you name it. They labor, intensely, largely in obscurity, for a sliver of a chance at success that comes along once every four years. If they do well, I say go for it!)
The pictures never ran in LIFE. When I got back to NY, I found that the assignment had taken a different direction, and it was pulled from me, and my pictures were killed. Another shooter was assigned, who went on to photograph Carl Lewis as Hamlet and other more elaborate constructions. I thought, well, that was a brief, but interesting career at LIFE that I just had. One job and done.
But….and here’s the vagaries of the path you walk as a shooter, the very next month. I got a phoner from the mag and assigned to a far bigger job, on the art scene on the lower East Side of NYC. Similar in a way, as I was once again photographing something gold.
Poppo, from Poppo and the Go Go Boys. Painted gold, on a roof at sunrise. As I always say, stuff like this happens down on the Lower East Side all the time:-)
There is now a website, The Photo Society, which has gathered working National Geographic photographers together under one roof on the internet. Now, getting any group of photographers together to do anything, in unison, is difficult. Getting this particular bunch of disparate personalities, egos, interests and formidable skill sets on the same page to act collectively and all show up at the same time requires something roughly akin to an act of congress, or perhaps even a forcibly worded subpoena. This is a collection of passionately individualistic people, who, in the field, spend a lot of time alone, working things out for themselves. They rely on instinct, not press releases, resolutely avoid the pack, and seek out the path less traveled, all in hope of an angle or perspective on a story that has not been seen before. They bridle at uniformity, being utterly, confidently convinced that their vision is the truth of the matter, and that vision is pursued relentlessly, often at great risk. Our rare gatherings are lively indeed, and vaguely reminiscent of the wild Celtic street celebration seen above, shot by the endlessly talented Jim Richardson.
As youths, in school, we were most likely deemed unruly, headstrong, and destined to engage in a lifetime of problematic, irritating behavior. Or perhaps become photographers. (Is that redundant?)
The price of admission to this website is actually being assigned and doing a National Geographic story for what is routinely called around the shop, “the yellow magazine.” Because of the degree of difficulty associated with doing this type of work, the photojournalists presented here constitute an exclusive club indeed. By my count, 86 all told. This group has done the core visual work for what is routinely referred to as the best picture magazine in the world for the last 30 years. What the Photo Society is doing here is drawing back the curtain a bit. What most folks understandably respond to are the pictures in the magazine– at turns stunning, daring, pictorially mesmerizing, thoughtful, searing, emotionally wrenching and always story driven. What they don’t see is the risk, physical and otherwise, the emotional involvement, the intensity of commitment, the first steps and ball games missed back home, the marriages set adrift, the financial brinksmanship routinely engaged in, the utter solitude of the decision making process in the field and the fevered, interior second guessing that induces in even the most confident of individuals. It is not, in short, for the faint of heart.
The site has been created and maintained by the hard and generous work of a gifted few, such as Randy Olson, George Steinmetz and Stephen Alvarez, who have done a great deal of the heavy lifting. They continue to develop it as an ongoing gallery, a repository of essential work. If one is aspiring to be a storyteller with a camera, it is a necessary resource, and should be a frequent stop on your internet travels.
There are flat out geniuses on the site, photographers whose work has informed and changed the way generations of shooters have looked at the world and approached doing stories. For instance, Bill Allard, whose stubborn, gruff independence as a visual communicator has inspired readers for 40 years.
And David Doubilet, an utterly indispensable underwater photographer, whose risk taking and visual daring defined the craft for generations.
And Lynn Johnson, whose quiet sympathy for people has created an archive of nuanced, subtle observation about the human condition.
There are also photogs who have literally created their own niche, driven by a singular passion for a place or people. George Steinmetz, who routinely straps the equivalent of a lawn mower engine and a ceiling fan to his backside and runs off cliffs to get airborne, has done aerial views of most if not all of the world’s deserts.
And Gerd Ludwig, who has specialized in Russia, the Eastern version of the wild west, and has risked greatly to define the ongoing tragedy of pollution and radiation contamination in the former Soviet Union.
What I love about the site is an area called “vignettes,” where the Nat Geo photographers share pithy, brief descriptions of their time in the field. If you peruse it even casually, you’ll notice it runs vividly counter to the imaginings that perhaps abound out there about the life of a National Geographic photographer. Contrary to myth, lore and legend, it is not a lifetime of abundance, first class air tickets, and luscious sunsets in exotic locations. Take a look below. It doesn’t read like a travel brochure.
Make a visit, if you would. It’s a rare and rich grouping of images, and a look at the ornery, gifted folks who created them. More tk…