Archive for the ‘Seminars & Workshops’ Category
When my friend D calls me up and says things like, “Hey, I just shaved my head, you wanna shoot me?” I just generally say yes. She had a part as a POW in an indie film, so during a recent stint in Santa Fe, I shot her at, well, I guess you’d have to say, my favorite penitentiary, in New Mexico. (It’s such a weird life, being a photog.)
But, I’ve never had a chance to visit Alcatraz. So, at the behest of Nikon West Coast, I’m heading there next week to do a lighting workshop. Nikon’s Jeff Mitchell, out in California, proposed it a while back, and I jumped at the idea. We’ll be out there at night, which is very cool.
That’s on Tuesday, Sept. 27th. On Wednesday, I linger in San Francisco, and give a couple informal lectures and demos in a small, 40 person studio setting. Call (650) 327-8996 for details….more tk….
It’s been a hectic week, with preparations for the show, late night shoots at firehouses in the Bronx, and trip prep. Jade Mountain popped up on CNN as the hotel with the number one view in the world. And it’s where we head next week to shoot a book project, and to teach a workshop. Info about the advanced lighting techniques workshop here.
All of a sudden, dealing with the week seems easier….:-) More tk….
Another week or so, going to St. Lucia. First project, very happily, is shooting a book for my friends at the Jade Mountain/Anse Chastenet Hotels. I’ve been going down there for fifteen or more years, and it remains an oasis of calm and beauty for me. For now, a book project in a beautiful place, and an amazing workshop with a couple of slots left. Hit this link, and it brings you to this page for all the info…
Given the coming 911 Tenth Anniversary observances, and the maelstrom that has been my studio of late, a little calm is welcome. More on that next week. Let me just say, trying to mount an exhibit in a major space in NYC as a lone, freelance shooter is not for the faint of heart. Thankfully, I’ve got Nikon helping in a major way with $ and logistics, and wonderfully, we’ve had the original K-Man himself, advocate on our behalf out at his place of employ, J&J. Thankfully, they are pitching in as well. The Faces of Ground Zero show goes up on Aug. 24th at the Time Warner Center at Columbus Circle. It will be comprised of the original Giant Polaroids, and updated photos and video interviews, ten years later.
We got started by being asked to update the LIFE’s One Nation book of ten years ago. That book contained a section of portraits from FGZ. So, we went back to a number of the folks who made the trek to the Giant Polaroid on 2nd St. in the Bowery during that intense, emotional month immediately after the attacks. An example is Jason Cascone, who at the time of 911 was a probationary firefighter and is now one of the youngest lieutenants in the history of FDNY. This original is not small flash, by the way.
However, this is. Just one small flash, through a 30″ Ezybox soft box, camera right. 70-200mm lens, D3X, Bronx, NY.
Bring you more up to speed on that next week.
Rattling around the country, and this week, washed up in Orlando for one of my favorite events of the photo calendar–PSW. It’s so loaded with great classes, it’s like a candy store of photo instruction. On Tuesday, I teach a pre-conference class called Photo Safari with my bud Moose Peterson. Fair enough to call it a safari, ’cause what we do is go and hunt for pictures. From what I gather, our game this time around will be airplanes, as we’ll trek to the Fantasy of Flight.
Like any shooter who’s been doing this for awhile, Moose is experimenting, seeking new subject matter, and in short, re-inventing himself. A long time landscape and wildlife guy, he is of late entranced with flying machines, so much so he’s instituted a series of workshops called Air2Air.
It’ll be fun being around the smell of jet fuel again, and once again point my lenses at some cool, sleek planes. I’m not an aviation photog, not by any stretch. Always been a generalist. Give me an assignment, I’ll go get a picture for you. Curious about lots of stuff, so my photo portfolio, should such a thing exist, is a bit like a cluttered general store out in the country somewhere. You know, one of those places you can go into and score milk, butter, eggs, fishing line, bait, DVDs, romance novels, firearms of various caliber and types, and certain lawn tools. To complete the analogy, it’s tended by an aging, somewhat curmudgeonly proprietor who is increasingly forgetful as to where things are. Uh, that would be me.
But I have flown all manner of craft, have hundreds of hours in helicopters, and once, did a major story on aviation. It was a biggie, the first ever all digital coverage in the venerable history of the National Geographic.
Did some fancy flying as well.
Man, I thought I was styling back then, with my D1X and Lexar one gig cards, sitting backseat in an FA-18 with the Blue Angels. Rode the slot position with them twice, and had pretty good luck. (The Blues will routinely dole out “media rides” on certain occasions, which are fun, to be sure. Hop in a fast mover and go flying. But being allowed to ride in formation is a rare treat.)
Those one giggers (about $750!), if I recall properly, held 119 NEFS (Nikon Electronic Files) per card. Cool! Went up with one card in the camera and one in my flight suit. What a blessing. First time I ever rode a tactical aircraft, it was with the Air Force T-birds, and, in the midst of getting violently ill, I switched out 10 rolls of Kodachrome. Dropped one, which is a no no in one of those birds. Any object like that is classified as FOD, or, foreign object debris, and you have to land immediately. But Bert, the pilot, a great guy I’m still in touch with, just turned the plane upside down and the offending roll spilled out onto my canopy. I grabbed it, and we kept flying.
Amazing how far we’ve come in the digital world, which of course is what Photoshop World is a celebration of. Those one giggerlys have been replaced now by Lexar 32 gig screamin’ fast storage lockers you can stash literally thousands of pictures on. Given the fact I now shoot D3S and X type cameras with two card slots, well, changing cards isn’t a major concern anymore. Shoot all day, never have to change.
I’ve quite literally had my ups and downs in flight, and spent a fair bit of time on carriers, working aboard both the Truman and the Lincoln.
Managed to set up a small flash studio in the hangar bay of the Truman, grabbed a swatch of seamless from the carrier photo department, and did some portraits. A carrier is a floating city of 5,000 people, complete with a newspaper and a photo staff.
During the ’93 war, I transited Bahrain, and jumped onto the carrier Lincoln, operating out in the Gulf. Being catapulted off and trapped on a carrier has it’s moments, I tell ya. Members of the press get dumped onto a plane called a COD (cargo onboard delivery), which is a lumbering beast compared to a fighter jet. When I got shot off the Lincoln, the pilot, perhaps because it was an operational area, or perhaps because he was just getting his ya-ya’s out, did some dipsey doodle, evasive type maneuvers. As a passenger, you’re squeezed into rows, tighter than a regular commercial airliner, shoulder to shoulder, facing backwards. As soon as we hit the skies the journalist next to me taps me on the shoulder, and asked me to get the attention of one of the crewmen, who was a couple seats away. I reached over and tapped him on the shoulder. The crew guy was a big dude, most likely from the deep south, judging by his accent, and probably had been shot off aircraft carriers a few hundred times. He had a bunch of air bags stuck in his belt, and the scribe next to me was getting ready for his own version of a catapult. Got him the bag just in time. When he launched, the guy immediately to my right, navy personnel, signals the for a bag as well, and, as they occasionally say, engages in a technicolor yawn.
Now I’ve got stereophonic barfing going on, and I grit my teeth. The crew dude looks at me, looks at them, rolls his eyes, reaches into his kit, rips open a giant bag of cheetohs, and chows down, all the while eyeballing the gastrointestinal acrobatics being performed. He shrugs, and sits. The cabin filled with a wonderful mix of aromas, and other stomachs started giving it up, and all the while, he sat there, contentedly munching cheetohs. Those flyboys.
That aviation coverage was a labor, indeed. But worth it. A point of pride for the studio is that after it was published, it was acquired by the Library of Congress, who felt that in addition to being the first digital coverage for the yellow magazine, it was also an important piece of a visual continuum they maintain from the Wright Brothers forward. Sorta means that 100 years from now, when my hard drives are toast, and most of my pictures are properly and blessedly forgotten, these will linger, and maybe a researcher will find them useful, or even a great great grandchild might take a look, prompted by fuzzy tales of a lunatic in their blood line.
It’ll be fun to take a look again at some planes. Might even light a few up. Photoshop world, here we go again! More tk….
I really gotta hand it to the gang from Tampa, Scott Kelby’s NAPP organization. They really knock it back when it comes to educational stuff, offering information and putting out useful content on a regular basis. It’s pretty cool. When they came knocking a while back and asked me to do a lighting seminar, I was like, “Sure!” Then I was like–Gulp!
Okay, remember, if something scares you, go shoot it. So I said yes, and I’m super glad I did, ’cause I’ve met a ton of great folks, and just had a ball doing these big lighting classes. And now I’ve got a whole category of pix I kinda call, “Pictures Done Fast.” (Drew has another name for it. He calls it, “Wish you had worked that harder!”) It’s cool. When I’m up teaching, my job is not to push across portfolio material, it’s really to tackle as many things as I can, as quickly as I can.
In Atlanta, we had great models, one of whom, Tyrell, was just an amazing presence. He could be a recording star, an athlete, an executive, or a detective on a cop show on TV, he had so many looks. Last part of the day, we got this look in just a few frames.
The above is an Elinchrom Deep Octa, camera left, with a Quadra flash popping through it. Added a kicker light off an SB900 firing on SU-4 mode into a silvery Tri-grip reflector. Interesting the color shift in the flash temperatures, huh? The big diffuser for the Quadra imparts a certain warmth, whereas the 900 into the neutral silver comes off as decidedly on the cool side.
Here’s the very first shot of this setup, with just a Deep Octa to camera left:
…and a black and white rendition of the same…Which do you guys like more?
We stayed on and had a fun evening at Zack Arias‘ studio. Zack and his crew just threw their doors open, and once again, as I always feel, we became part of the photo community, which is a powerful and supportive group.
We drank, and talked, and drank some more. Had a great time. Then the assistant crew, Dan Depew, Erik Dixon, and Drew, gang of three that they are, went out and drank some more, evidently….at a legendary local establishment:-)
Many thanks to NAPP, Zack, and the Atlanta photo gang….more tk…..