One Grumpy Cat

July 21, 2015

Ilford Delta

In photography, the smallest thing can be a great subject. The little, human detail can become a Leitmotiv. —Henri Cartier-Bresson

[one_half padding=”4px 10px 0 4px”]Remember that warning about not working with animals or children? This cat is a good example of why animal photography is difficult. The shot was taken in March, 2007, long before that whole grumpy cat meme took over the Internet, but he easily could have served as the inspiration. The model, whom we had shot before, was on her way home from college for Spring Break and was, naturally enough, taking her cat with her. She stopped by just long enough for a few shots and, given that she had a hat whose coloring matched that of the feline, she wanted pictures with her dear feline. Sounds reasonable enough, doesn’t it?

The cat wasn’t nearly as enthused as was it’s human. Actually, dear cat hated being stuck in a carrier and absolutely loathed riding in the car. By the time they had made the hour trip to us, dear cat was nothing short of royally pissed. He expressed his displeasure by yowling and hissing from inside the carrier as she brought him in. Thinking it might help him settle down a bit, the model decided to let the cat out so he could roam and get acquainted with his surroundings. The problem with that thought? We were shooting from Nick Tucker’s place on the South side of Indianapolis. Nick had a dog. A very large, friendly, and slobbery Saint Bernard.

You can probably guess what happened next. Even though the poor dog was sequestered to a separate room, the cat took one whiff of dog and ran for cover. Finding and retrieving him took so long that we had to drop one of the sets planned. By the time we actually got the extremely miffed cat in the pictures, the model was exhausted, which shows. The cat scowled the entire time, I think. It can be difficult to tell with cats like this; they have a resting grumpy face that never really changes.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Our challenge in choosing a processing method for this shot lies in the fact that everything from the wall to the chair to the cat is pretty much within the same general tonal range, with the exception of the model’s jeans. Nick did a great job with the lighting, but there was still a danger of losing detail. So, I chose a method duplicating what was typically my second-favorite film: Ilford Delta 100. Ilford is an old British film company that has been around since the 1870s, started in the basement of Alfred Harman’s house in Northeast London.

What makes Ilford Delta the best choice for this image is its sharpness and such fine grain that it is nearly grain-free, even under the most severe of conditions. Given the tonal range of our image, even Kodak professional films would have difficulty matching what Ilford Delta could do with this shot. The challenge, of course, is finding a digital conversion that meets that standard. This one took a while, but what we finally came up with is this: reds- 34, yellows- 76, greens- 40, cyans- 66, blues- 25, magentas- 61. That back-and-forth approach hits just the perfect tonal balance for pulling out detail without introducing unnecessary noise. Once we had that conversion setting, we made only the slightest adjustments to contrast before closing the file.

Shots like this are difficult to convert to a good digital black and white. It’s too easy to go too low on the contrast, which leaves the photo looking flat. Take the contrast just a tweak too far, and the highlights are lost. I’ve used this conversion method on several different challenging images, though, and it has yet to fail. It even manages to make a grumpy cat look almost friendly. Don’t be fooled, though. He wasn’t. [/one_half_last]

Behind The Scenes / Photography / PotD

Surprise!

July 20, 2015

Fomapan

The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh. —Edward Weston

[one_half padding=”4px 10px 0 4px”]Surprise in photography is rarely a good thing. One of the most significant differences between shooting film and shooting digital is ease of traveling. When traveling with film, one has to take great pains going through security to make sure the film canisters are removed and not exposed to any x-ray or other devices that might damage the product. Sometimes security personnel were cooperative and understanding, sometimes they weren’t, especially in countries with a history of rebellious violence. Digital cameras sail through security much more easily, though it still makes me quite nervous.

Imagine being in a former Soviet-bloc country, such as the Czech Republic, and your film not surviving the airport. Suddenly, and frustratingly, the success of a high-budget project depends on finding a replacement film with high enough quality to do the job. After asking around, you find a local photographer who hands you a roll of a locally-made film he promises is professional quality. At least, you think that’s what he’s saying; the interpreter was having problems with the vocabulary. You drop the film in the camera and pray, hard. To make matters more challenging, lighting conditions for the shoot are far from perfect and you keep having to adjust exposure by a stop or two. Warning the art director that you can’t guarantee results seems like a good idea.

Next, you bring the film home and hand it off at a lab to be processed. After a couple of hours, the phone rings and you get the strange message that the film has turned both the developer and the negatives a bright blue! After sharing some strong words with the lab manager, he agrees to go ahead and finish processing the first roll. You wait patiently for the results and when they arrive you are pleasantly surprised to discover some of the sharpest photographs you’ve seen. Even when the exposure had to be adjusted, the film compensated more than adequately. Much to everyone’s delight, the project has been saved. Surprise![/one_half]

[one_half_last padding=”4px 4px 0 10px”]As the former Soviet Union crumbled and both nation states and businesses struggled to retain some identity in this new existence, we discovered a host of smaller film companies who, to great surprise, created products that excelled in different ways. The Czech company now known as FOMA Bohemia is one of those companies. Founded in the early 1920s, the film products were rarely seen outside Eastern Europe until the mid-90s, after the Czech Republic was formed. They had the bad luck of hitting the global market just before the whole digital craze took hold and never had much of a chance to prove what they could do. The film is still available in limited quantities, but more for hobbyist than professional use.

Fomapan is an interesting film that likes to surprise photographers with slightly different results on every roll. These are good results, mind you, but how the film is scanned and any variation in how long they’re left in developer, which will still turn bright blue, shift the tonal base even for black and white film. This makes the film quite fun from an artistic perspective and totally frustrating when one needs consistency. Recreating the look digitally is easy enough, and one has plenty of latitude. For today’s photo, we used the following black and white adjustment settings: reds- 31, yellows- 89, greens- 105, cyans- 77, blues- 46, magentas- 44. Where the fun, and surprise, comes in is applying various color filters on top of the black and white layer. We used an orange filter to bring out the model’s freckles, but blue and red filters can be very dramatic.

Fomapan does play a little dark on blues and reds, so one has to be careful with shadows and shading. For added effect, mix this setting with a Holga filter if you have one. Fomapan in a Holga is truly a work of art, but is better for landscapes than portraits. Fomapan is a black and white with a lot of tonal flexibility. Try it and share the surprise.[/one_half_last]

Art / Photography / PotD

Varying Emotions

July 13, 2015

An Artful Card

It’s much easier on the emotions when one sees life as an experiment rather than a struggle for popularity.― Criss Jami, Killosophy

[one_half padding=”4px 10px 0 4px”]How we feel when we look at a picture, that very first split-second glance, says a lot about how we will ultimately respond to the whole image. If one perceives a picture as flirty, sexy, or possibly even obscene, we are not likely to take seriously any message it may want to convey. If that immediate reaction causes us to feel happy, curious, humorous we are more likely to investigate further and pay attention to any communication forthcoming. Our first response to a photograph is based on emotion and to the extent we can manipulate an image to vary that emotion we change who finds an image appealing.

Dealing with other people’s emotions is tricky, of course, and there’s no guarantee that people will respond how we expect. The advertising world is full of examples, almost daily, of ads where the imagery is so totally off-point that one wonders how they made it out the door. Yet, we can be sure that an entire room full of well-educated and experienced people had looked at that picture and thought it conveyed the exact emotion they wanted. We can also be sure they are surprised to find out they were wrong. Playing with other people’s emotions is necessary, but can backfire in a huge way if not well-tested.

One of the biggest mistakes I made when starting out on my own was creating a two-sided business card that was too sexy on one side. One side was a fairly standard head shot; neat, clean, and well-balanced, nothing surprising or potentially offensive. The other side, however, was a picture of a very busty young woman wearing a white fishnet dress on a white background. She was crouched so that nothing too personal was showing, but there was no question that nothing was beneath the fishnet.

Watching how people responded to that card was an important lesson. If I handed them the card with the headshot side up, their response was generally positive until they saw the second side, at which point many cards were returned to me. Not only did they not like the picture, people didn’t want the card in their possession. If I handed them the card with the sexy side up, something I was careful about doing, more people actually kept the card but were still careful about letting others see it.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Perhaps the most telling response came the night I happen to come across a very popular professional baseball player. Social aspects of the gathering put us in conversation together and eventually, after exhausting how wonderful a season he had just finished, he asked what I did for a living. I handed him my card, headshot side up, and he started to put it in his jacket pocket without looking at the other side. However, his wife caught a glimpse of the other side from across the room and immediately came rushing over to investigate.

Upon looking at the card she apologized for her reaction. “I’m sorry, I thought you were giving him tickets to a strip club,” she explained.

There were dozens of variations I could have applied to that card that would have changed the immediate emotion while still keeping the basic aspect of the image in tact but I went with what appealed to me rather than what experience told me would work. Not paying attention to the emotional content of an image as small as a business card caused a lot more trouble than I had anticipated.

Changes to today’s image weren’t many and didn’t take long, but totally change the emotional impact of the picture. The original (below) is flat, the colors dull, contrast is too soft, and the gradient between highlights and shadows is too flat. One’s first impression of that picture is likely to be somewhere in the range of dismissive. A few changes make the colors more intense, the highlights and shadows more extreme, and looks more artistic rather than borderline pornographic. Toss in the name of a salon, and the image becomes appealing to the salon’s primary audience. Emotional content has changed.

Varying emotions are easy to manipulate in a photograph. Getting it correct, however, isn’t always quite so simple. My best advice is to proceed with caution and never rely solely upon your own opinion. Test, re-test, and then test some more. Even then, be ready for surprises.[/one_half_last]

A Private Moment (2012)

Art / Behind The Scenes / Photography / PotD

Variations On A Theme

July 12, 2015

Low Contrast Colorization

It can be a trap of the photographer to think that his or her best pictures were the ones that were hardest to get. – Timothy Allen

[one_half padding=”4px 10px 0 4px”]If one wants to start an argument among photographers, bring up the topic of Photoshop®™ and what amount of post-processing is appropriate. We don’t agree. We never have agreed. Even before the desktop computer put a professional tool in the hands of amateurs, we didn’t agree. Debates about processing and photo manipulation methods are as old as photography itself and at no point has there been a consensus as to what is best or when one has gone too far. As a result, one can, and often does, see pictures in magazines and other publications that don’t appeal to their aesthetic taste. When we do, we often complain.

I want to spend this week looking at variations in photo manipulation. We are starting today with a very simple low contrast colorization. By the end of the week, however, we will totally transform the images into something completely different. With each one, I will place the original, untouched photo at the end of the post for comparison. This will, hopefully, give one a sense of just how dramatic a simple change can be and how extreme we can manipulate an image when necessary. Half of these variations were possible with film though they were perhaps a bit more difficult. Others, though, are only possible with digital tools and a great deal of patience.

Anytime we embark upon a project like this we get challenges and questions regarding our methods and motives. Let me go ahead and address those now so that we can keep the answers in mind the rest of the week.

Always the first question is why we manipulate images at all. The full answer is a couple of hours long, but the short answer is this: because we want to do more than what the camera can capture. Cameras themselves, even the fanciest modern boxes, are mere tools and as such they have limits. The extent of manipulation is a different issue.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]”I like the original better,” is a comment we often hear, usually from people who are not photographers or otherwise employed in a creative capacity. I understand the sentiment, though, because variations that merely attempt to cover up bad photography rarely succeed. We want to start with a strong, well-photographed image or else the end result is probably going to suck.

Why we choose a specific form of manipulation to go with a specific photograph generally falls into two categories: to change the emotional tone of the image, or to fit a specific artistic vision. Commercial and editorial images more often require changes in emotional tone to go along with a specific message. A photo may be too bright for a serious message or not quite enough for a lighter concept. Those are usually more simple edits (though not always). Matching a specific artistic vision is where variations tend to get tricky and complicated, especially if the concept didn’t originate with the photographer or person doing the manipulation. Endless possibilities often mean an endless debate over minute details.

Yes, there are enough variations to make anything possible. That does not mean the end result will be believable or appropriate and in matters of parody it is sometimes best to not make the end result too believable. Not everyone has the ability to distinguish real from fake and a narwhal horn too carefully attached to a horse could have some folks out looking for a unicorn.

I look at photo manipulation the same way I look at musical variations on a theme: start with a strong melody or image, even one that’s familiar, and explore. See what can be done, plum the depths of different emotional ranges, and test your own skill. There’s no “higher purpose” in what we’re presenting this week. Let’s indulge in the pleasure of variations.[/one_half_last]

A Lovely Necklace (2011)

Fashion / PotD

Beauty Is

July 10, 2015

Dangerous Fruit (2010)

Be pretty if you can, be witty if you must, but be gracious if it kills you. –Else DeWolfe

[one_half padding=”4px 10px 0 4px”]There once was a generation of women for whom beauty was an everyday fact of life. There was no “Casual Friday,” or lazy Saturdays where they skipped putting on makeup or just wore whatever they picked up off the floor. For women of this generation, beauty was not a social requirement as much as it was something they expected of themselves, even when others didn’t. What they wore, how they looked, how they spoke, and how they interacted was a matter of personal pride and nothing short of pure graciousness and perfection would do. They wouldn’t have gone downstairs in their pajamas, much less to the store.

I most distinctly remember a woman from this generation named Rose. Rose was already past standard retirement age by the time I met her. She and her husband had raised three boys and ran a small business in a small town in Oklahoma that wouldn’t have cared all that much had Rose taken her appearance a little less seriously. Stuck in the Northeastern corner of the state in a town that was perpetually dusty, Rose’s beauty stood out. Certainly, by the time I met her, she had more than earned the right to take a few days off from her routine on occasion, but to my knowledge she never did. She didn’t want to. Her appearance was important to her and that’s what mattered.

On one occasion, the purpose of which I don’t remember, I spent the night with Rose and her husband, a jovial man everyone referred to as Bus. They lived above their business in a house that was large and old and creaky. I was 12 years old and very apprehensive as to whether this old house might be haunted, so sleep wasn’t something that readily availed itself. Quite early in the morning, well before any reasonable person should be awake, I heard a noise down the hall. Slipping out of bed, I tiptoed down the broad corridor fully expecting to encounter something frightening. Instead, what I saw was Rose in her dressing room.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Being 12, there was much of what I saw that I didn’t understand at the time. Only much later did I realize what I had seen. Rose was already wearing a foundation that included a very large bra, an underbust corset, very high waisted briefs to which garter straps were attached, and stockings. To the side sat a full-length slip and the dress she would wear for the day. Her hair was in curlers and on the table in front of her was a collection of makeup and beauty products larger than I had ever seen outside a department store. I watched for several minutes, awestruck, as she went through her routine. Only when she moved to put on her slip and dress did I ease back to my room.

As an adult, I can appreciate everything Rose went through in an attempt to defy aging, and there’s no question her efforts paid off. There hung in her hallway pictures of her and Bus when they were younger. By today’s standards, Rose should have been a model; she was tall, shapely, and extremely attractive. Had she lived somewhere other than Oklahoma, she might have been a movie star. Instead, both she and Bus served during World War II and both were highly decorated. Where she was, the circumstances under which they lived and worked, didn’t matter. Rose made the same effort, went through the same routine, every day.

It is rare today to find anyone who takes beauty as seriously as did Rose. When I do encounter someone wearing an underbust and garters, it tends to be more as a costume than for function. I don’t think women today feel they have the time or the energy to devote to such a regimen, yet no one worked any harder than Rose did. Such beauty and graciousness is a choice.

Rose died when I was 19. She was 84. She never looked a day over 50 and she was never without a smile and a kind word. Beauty is worth the effort. [/one_half_last]

Uncategorized

Independence, Done Well

July 3, 2015

For My Birthday (2012)

“I do as I please, Monsieur Beauchamp, and believe me, what I do is always well done.” ― Alexandre Dumas

[one_half padding=”4px 10px 0 4px”]As you are reading this, chances are I am on my way to Chattanooga to see the boys. Well, at least one of them, maybe. The oldest is happy to be working the holiday weekend. Pvt. Letbetter is taking a short leave with friends in L.A. So, the youngest is, by default, stuck with Dad. This is what happens when children are raised to be independent; they grow up and go do their own thing with their own friends. Maybe they’ll send pictures, if they happen to think about it, but chances are we’ll have to prod them just to make sure they’re still safe. While I’ll miss having the other two around, this is ultimately a good thing. They are exercising their independence and it would be inappropriate to attempt to prevent that.

I never have understood this whole trend toward helicopter parenting; hovering over one’s offspring as though the umbilical cord was still attached. Loving one’s children does not require smothering them with so much of your attention that they become unable to sufficiently function without you. As much as we love our children, we need a break from them and I’m quite sure they welcome not seeing our faces for a few minutes. We want to be accessible when they have a legitimate need for assistance, such as kissing a boo-boo after they’ve face-planted the sidewalk (just as soon as we stop giggling about how funny it looked). We don’t want to shadow them to the point they lose their identity in our desires.

One of the larger playgrounds we frequent with Kat’s little ones is the perfect place for them to run and play without us needing to eyeball them the entire time. They run, they play, they make new friends, and when they’re sufficiently exhausted they come find us. We then tell them to go and play thirty minutes more because we don’t want them getting a second wind on the ride home. This is not just an exercise in independence, this is an exercise in wearing the children out so they’ll fall asleep without two hours of argument. We love going there.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]However, I am always amused by the parents of their peers who never sit down and take advantage of the intelligent way the playground is arranged. They stay right there within arms reach, not letting their child take even the slightest risk, manipulating their peer relationships, and managing their playtime. I’ve noticed these parents don’t stay at the park as long and I can only assume that it’s because they exhaust themselves more than they do their children. Some parents just have an emotional need to be close to their children; I get that. Their children, on the other hand, would probably do much better if mom and dad would back off just an itsy bit every once in a while.

Independence is something into which a child should grow, not something to which they flee out of desperation. Yes, they are going to make mistakes. Yes, they are going to fall, or get lost, or have heart breaks. How else does one learn how to manage the challenges of life if one’s parents are there rapidly applying salve to every little scrape and preventing them from experiencing the natural consequences of their actions? We’ve seen the adults those children become and it’s not attractive.

Many of the models with whom we work now are close in age to my own children and I often find myself making comparisons. Were they to be like the model in today’s picture I would be happy; she’s independent, ambitious, knows what she wants and is in control of her future (to the extent anyone can be). Not many people we meet are so impressive. She’s had more than her share of challenges and has weathered them well. She loves her mom, but she’s unquestionably her own person.

Maybe we’ll only see one son this trip. That’s quite alright because we love all three enough to let go and let them become who they need to be. Laws of nature demand baby birds leave the nest and fly. We just hope they’ll send pictures. That’s independence done well. [/one_half_last]

PotD / Social Commentary

And The Living Is Easy

June 27, 2015

A Quiet Moment (2012). Model: Sarah Harris

“All in all, it was a never-to-be-forgotten summer — one of those summers which come seldom into any life, but leave a rich heritage of beautiful memories in their going — one of those summers which, in a fortunate combination of delightful weather, delightful friends and delightful doing, come as near to perfection as anything can come in this world.” ― L.M. Montgomery, Anne’s House of Dreams

[one_half padding=”4px 10px 0 4px”]So much has happened this week. Global media and the Internet hardly know where to turn because the amount of excitement, and in some cases concern, is overwhelming. We do well to focus on one thing at a time and this week has seen the country grapple with issues of race and symbolism, healthcare, affordable housing (hope that one didn’t sneak past you) and marriage equality. We’ve been so very busy with what’s going on in our own country that we’ve largely ignored anything happening elsewhere. Greece appears to be going into default. The self-proclaimed Islamic State killed dozens in France, Tunisia, and Kuwait. China has been selling 40-year-old meat. The Vatican officially recognized the Palestinian State. This has not been the quiet summer week I had anticipated when we started on Sunday.

In fact, if this is how the summer is going to start, I’m rather fearful of where we might go next. Both of the really big Supreme Court rulings have been handled now. There’s no more good news left to immediately anticipate. Should we be setting ourselves up to deal with disaster, death, and destruction? Certainly, there are some who are calling for such in the wake of this week’s rulings, but we tend to look upon those as extreme views, and, like almost everything Americans say, we don’t actually expect anyone to follow through on those threats.

Summer is that time we want to just live in the moment, not worry about what happened yesterday or might happen tomorrow, but throw caution to the wind and enjoy what is happening right now. Certainly, we need those moments. We need a lot of those moments. Our minds do not respond well to this constant overflow of information and we desperately need and long for days where the valve is shut off for a few minutes and we can just soak up the sun and give our minds time to process. If we keep going at full tilt, then we put our health and perhaps even our lives in danger. Stress kills and has a large arsenal of weapons at its disposal. [/one_half]

[one_half_last padding=”4px 4px 0 10px”]At some point in the future, maybe ten or even twenty years from now, we might look back on this summer and remember something, but what will it be? Will this week’s SCOTUS decisions be the highlight? For those directly affected by the outcome, perhaps so. I have friends from high school who were quite anxious about applying for a marriage license yesterday. For the rest of us, though, there remain several weeks of summer where we might still find even more monumental events. If so, I do hope they are happy ones.

Not everyone gets happy summer memories. Another friend’s father died today, rather unexpectedly. I don’t have to wonder how he’ll remember this summer. The obituary page is never empty and for every name listed there is someone whose summer has been devastated. So it is with every summer. Some win. Some lose. Some are fortunate if they come out even. Kat’s little ones might remember this as the summer of their first garden. Some will remember this as the summer of the great floods, while others remember the severe droughts, dramatic water rationing, and life-threatening heat. Everyone’s experience is different and everyone’s memory unique, even when it’s faulty.

So, perhaps it best that we end this week of summertime joys with a moment of reflection, looking back on all that has happened this week and pondering what might yet come down the road. If you are lucky, perhaps you can do that pondering while sitting on the end of a springboard, dangling your feet in a pool. Maybe you can have the moment of reflection while sitting in the shade of a great tree or snuggling with a pet. Whatever your situation, take a moment to turn off the intake valve and rest. There’s still a whole lot of summer left to enjoy.[/one_half_last]

PotD

Like A Loaded Gun

June 25, 2015

Bikini Boating (2005). Model: Jade Lynn

“A girl in a bikini is like having a loaded gun on your coffee table- There’s nothing wrong with them, but it’s hard to stop thinking about.” ― Garrison Keillor

[one_half padding=”4px 10px 0 4px”]My late parents were amazing. Considering where I grew up, rural Kansas and Oklahoma, and when I grew up, through the 60s and 70s, they did a remarkably wonderful job of making sure we were exposed to important issues such as civil rights, conservation, and the importance of getting a good education. On those issues, they were surprisingly liberal.

On other issues, however, they could be conservative to the point of leaving my brother and I extremely naive. Of course, baby brother had the advantage of coming after me and usually knowing where I kept my stash of adult magazines. Still, there were many areas, especially in regard to sexuality, that were never considered ripe for any level of conversation beyond, “If you think about it, don’t do it; better yet, just don’t think about it.”

Not everything they did was intentional. Mother was almost deathly afraid of water and didn’t learn to swim until she was in her 40s. So, there were no afternoon trips to the pool when we were little. When I took swimming lessons, the instructors were, of course, dressed in conservative one-piece suits and when one is six one isn’t necessarily concerned about the physical qualities of the person promising to catch you if you jump into the pool. On rare occasion, Poppa might take us to a public pool, but when he did he dominated our attention. He was our life raft, our pool toy, our swim instructor, and favorite playmate all rolled into one. We barely noticed anyone else at the pool.

Then, there was the summer I was 14. Being 14 may be the most painfully awkward age for a boy to be, especially in the summer. There was always someone in the group who was more mature looking and talking about “making it” with girls. The rest of us tried to match his banter, but a quick look in the swim trunks revealed we weren’t remotely ready for anything much more intimate than, “hi.” Even if a girl had kissed us, none of us would have had a clue what to do next. I’m pretty sure a couple of the guys might have fainted. Fortunately, no girl ever put us in the position of finding out.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Being 14 meant our parents weren’t afraid of just dropping us off at the city pool and picking us up later. As long as we stayed in the shallow end of the pool, everything stayed nice and appropriately within our parents’ values.

Everything changed the day some kid dared us to jump off the high dive. Two of the guys in our group immediately chickened out because they didn’t know how to swim that well. Randy and I could, though, and Randy wasn’t about to chicken out on a dare … and he made sure I didn’t chicken out either. My heart was pounding as we climbed that twelve-foot ladder that felt every bit like it reached half-way to God. Randy went first and made it look so easy. I stood at the end of the board, thought, “If the fall doesn’t kill me, Mother will,” and jumped.

I hit the water, hands folded just as I’d been taught, and was pleased to feel no pain. I came to the surface, checked to make sure nothing was bleeding and swam for the side. I grabbed hold of the ladder on the side of the pool, looked up, and there she was. Her tan legs were long with water beading deliciously on her skin. Her teenage bottom was covered by her swimsuit and then my brain screamed inside my head, “OH MY GOD I CAN SEE HER BELLY BUTTON!” I looked up a little further and my head screamed again, “OH MY GOD, ARE THOSE REALLY BOOBS?” I was afraid to keep looking. Had she looked back my head just might have exploded.

Feeling something stirring in my swim trunks, I opted to just swim back down to the shallow end. I had, for the first time in my life, just witnessed a girl in a bikini, and it was glorious. Since then, I’ve probably seen tens of thousands of girls in bikinis (or less) and nearly all of them have been absolutely wonderful young women. None, however, was able to induce that same feeling of euphoria mixed with astonishment and sheer fear the way that first girl did more than 40 summers ago. One thing is certain, though: since discovering girls in bikinis, my summers have never been the same.[/one_half_last]

PotD

Skinny Dipping

June 23, 2015

A Morning Dip (2005)

“If it could only be like this always – always summer, always alone, the fruit always ripe and Aloysius in a good temper…” ― Evelyn Waugh, Brideshead Revisited

[one_half padding=”4px 10px 0 4px”]One of the joys of growing up in the country was slipping off on our bicycles in the middle of a summer afternoon to the low-water bridge about a mile from our house and going skinny dipping. Not that we ever actually admitted that we were skinny dipping. I’d get my shorts wet anyway so that Mother wouldn’t be suspect. Still, the joy wasn’t just in being in the shallow pool of cool water that flowed over that crumbling slab of concrete; the delight was being naked, au naturale in nature as though, just maybe, the gods had intended for us to be that way all along.

According to Poppa’s sermon, technically, that philosophy was right. While I didn’t have any direct proof that Adam and Eve ever went skinny dipping, if they didn’t have any clothes then they wouldn’t have had much choice, did they? The only other option was that they didn’t bathe at all and that would have just been gross, even if they were, in all likelihood, totally fictional. Even fictional characters should be clean, shouldn’t they? And little boys need to be clean, as mothers are so often fond of reminding them. Going skinny dipping always seemed like the perfect solution, especially if we had spent the earlier part of the day getting absolutely filthy.

Skinny dipping in that tiny little pool made our summers right up to the point when, mid-way through the summer we were 16, someone saw a water moccasin in our pool. I didn’t see it, but the scream of “SNAKE!” was all I needed. We were all out of the water and pulling on our shorts as quickly as possible while simultaneously, every one of us, trying to hold our hands over our family jewels. If there was one place on our body we absolutely could not stand to be snake bit, it was our penises. They had only just recently grown to a point of not being totally embarrassing. We didn’t want to lose them to a damn snake.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]That was the last summer in that little watering hole. We moved the next year and I was far too upset at the lack of attractive girls my age to be terribly interested in skinny dipping. There was that place way back on Turkey Creek that was suitable, but driving all the way out there was a pain and if it had rained in the past couple of days one was likely to get stuck crossing the pasture. I did sneak off a couple of times with that blonde I met at church camp. I’ve often wondered whatever happened to her… if only I could remember her name.

Skinny dipping is a bonus that comes with living in the country in the summer. City dwellers are much more uptight about being naked in their public pools. The model’s boyfriend let us into the pool at their apartment complex before the sun was fully up for us to catch today’s photo. We were early enough we didn’t think anyone would notice. Someone did, of course, and he damn near lost his job over it. City people really get stressed and worked up about these matters. Perhaps, just maybe, if they spent a little more time skinny dipping they might be better able to relax and enjoy their summer. If one can’t kick back and relax a bit when the weather is this lovely, when is it ever possible?

I’ve not been skinny dipping in over 30 years now, I’m sorry to say. It’s not as easy to slip off, not as easy to find a place suitably secluded, and as an adult if one gets caught it tends to result in the police getting called. That’s almost as bad as a snake bite; no one really needs either one. Still, I have some wonderful memories of those carefree days from my youth and even an old man can still fantasize a bit. Who knows, maybe one day I’ll stumble across the perfect little pool of water while no one’s looking. Who’s down to join me?[/one_half_last]

Advertising / Photography / PotD

Wide Open Spaces

June 12, 2015

Before Leaving (2012)

“The irony of rule followers is they often quote a lot of people that do not follow as many rules as they do.” ― Shannon L. Alder

[one_half padding=”4px 10px 0 4px”]Creative people have never liked feeling they were limited in any way. Adventurous people are much the same. Chances are, if you’re a friend of mine, you’re not a fan of limitations, either. Breaking rules? Hell yeah!

There is a song sounding like it’s from the old west that says:

Oh, give me land, lots of land under starry skies above
Don’t fence me in
Let me ride through the wide open country that I love
Don’t fence me in

Let me be by myself in the evenin’ breeze
And listen to the murmur of the cottonwood trees
Send me off forever but I ask you please
Don’t fence me in

Cole Porter, who wrote the song based on a poem by Robert Fletcher, was nowhere near the “old west,” though. He wrote the song for a movie that was never produced. Go figure. Some ten years later, the song was given to Roy Rogers who made it a hit because, you know, horses and cowboys and those legendary wide open space were a big hit in post-war America. Interestingly enough, Porter never really liked the song all that much.

A lot of people feign amusement with the concept of wide open spaces, including space itself. Yet, when we find it, not too many of us are actually comfortable. Where space is truly plentiful, where there is an absence of things, there is also an absence of people, anyone with whom one might have a decent conversation, and from there matters quickly get boring. And lonely. And suddenly those wide open spaces aren’t looking quite as good as they did when one first arrived.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]When it comes to space, I live in a world of sometimes uncomfortable juxtaposition. A very basic rule of photography is to fill the frame; make the whole picture interesting, give the eye plenty to see, but make sure it’s all cohesive. At the same time, though, advertising needs space, white space, sometimes a great deal of space, for all the copy that goes into an ad. Some are simple, with little more than a product logo and copyright/trademark notices. Others, especially those having anything to do with medicine, can be quite extensive with a requirement for a full list of possible side effects. For those ads, there’s no such thing as too much space.

Today’s picture breaks the fill the frame rule. Maybe it’s still the ad person left in me, but I like the space. I like that there’s room for copy, a lot of copy, but no copy exists. In my mind, the space gives the mind room to create its own story, its own copy, to go along with the picture. We titled the image, “Before Leaving,” because the way in which her body is slightly turned gives one the impression that perhaps she is on her way out the door. Why? That’s for you to decide. Maybe she’s looking for pants. Maybe she’s about to take a shower. Maybe she’s changed her mind and doesn’t like you as much as you thought. Maybe she’s not a fan of the space.

Giving an image space, sometimes a lot of space, leaves a story open to almost endless possibilities. I like that mystery, myself. I’m not looking for a world all neatly bundled together and fitting nicely into a frame. I enjoy concepts that require thinking for myself. For me, space is a friend and I frequently break this rule, especially for portraits. Let this moment be endless, not boxed and framed and predictable.

Just don’t fence me in. Please. Whatever you do. [/one_half_last]

Photography / PotD

Right Smack In The Middle

June 10, 2015

Pin This (2012)

“More than ambition, more than ability, it is rules that limit contribution; rules are the lowest common denominator of human behavior. They are a substitute for rational thought.” ― Hyman G. Rickover

[one_half padding=”4px 10px 0 4px”]Stop and think for a moment what you might do if there was no one to tell you no. Ever. You want ice cream for breakfast? Go for it. Wear a yellow jumpsuit to a funeral? Sure, why not? Build an elevator into space? Others have talked about it, let’s see how you do. One of the biggest stumbling blocks to innovation and progress is the fear that someone will object to what you do. There are too many people who are afraid of upsetting the status quo and that keeps them from ever venturing into an area of imagination and experimentation that could quite possibly lead to fantastic inventions and dramatically wonderful changes in society. But first, one has to be willing to break the rules.

Breaking the rules in photography is actually rather easy. First, there are too many damn rules and most of those are under-supported and fail to take into account all the possible variations one might encounter when shooting. Second, those rules are generally not explained too terribly well, even in photography courses, and some of them are so confusing as to make it difficult to know whether the rule is actually being broken or not. Breaking photography rules is about as easy, and pretty much as earth shattering, as rolling out of bed in the morning.

Breaking the rules of society, not just society in general, but the very specific society of which you are immediately and constantly a part, is more difficult, though. Why? Because you have to live there. If you venture out and make a mistake, the people around you know about it, and might possibly remind you. Constantly. Cruelly. Taking risks to do something as different as changing the brand of coffee used in the office means taking on the possibility that others, especially the boss, might disagree. Breaking rules in life, no matter how small they are, can have some very large consequence and that risk is enough to keep the majority of people quiet and toeing the line.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Today’s image is sneaky and breaks a visual framing rule that may not be noticeable to anyone who is not a photographer or works with visual layout on a regular basis. This is one of those violations of good imagery that rather sneaks past the rule checkers without immediately setting off any red flags. The model is attractive. The set looks good. There are strong leading lines. Makeup, hair, accessories, styling, are all pretty much on point. This is such a quiet little bit of rule breaking that some might not even think that it is worth mentioning at all.

What’s wrong is that the model is positioned right smack in the middle of the frame, which is actually a fairly strong framing no-no. We would much rather have positioned her slightly to the right just a bit. Making the rule violation even worse is that the positioning puts the dead center of the image right at the model’s crotch. Awkward. And now that I’ve mentioned it, you won’t be able to not notice. We went ahead and broke this rule for two reasons. 1. The leading lines created by the car put our eyes there whether we like that or not. 2. Size restrictions of the frame made it impossible to move left or right without creating additional visual problems. Sometimes we have to decide which rule to keep and which to ignore.

Earth shattering? Not hardly. You’ll go on about your day and quite possibly won’t give it a second thought, unless you spending time looking at a lot of pictures. The picture won’t cause the overthrow of any dictatorial government or change the economic policies of the Midwest. But our whole purpose this week is to reinforce the idea that breaking rules is not something we should be afraid to do. Should we give thought to the consequences? Yes. But if more of us were willing to break rules, even the simple one such as this, we might be surprised at how wonderful the changes would be.[/one_half_last]

Photography / PotD

Shooting For Exposure

June 9, 2015

Through Different Lenses (2011)

“If you follow the rules, it’s your own fault.” ― Marty Rubin

[one_half padding=”4px 10px 0 4px”]Life is busy for everyone and it is quite nice that we have at our disposal now a variety of tools and applications to help ease just a little bit of the strain here and there so we can better focus on the truly important aspects of whatever it is we’re doing. One of the applications I have installed assists me with catching common grammar errors. More than just spell checking, it looks for proper subject/verb agreement, makes sure the verb conjugation is correct, and that I’m putting the most appropriate punctuation in place. When I’m typing quickly, and especially early in the morning when I’m still on my first cup of coffee, the tool saves me a lot of time going back and proofreading, especially since I’m really lousy at proofreading.

There’s a problem with this application, though: it doesn’t like the Oxford Comma. Personally, I quite like the Oxford Comma and find that the meaning of some word lists changes significantly depending on whether the comma is used. If I have a sentence, or thought, or fragment, or phrase such as this one then I am going to use the extra comma every time. Unfortunately, the application marks it wrong every time and attempts to correct the matter. I end up having to take extra steps, and time, to keep the comma in place and assure that the list is going to infer exactly what I intend.

Image processing software is no different. Applications such as Lightroom and Photoshop are full of little guides and measuring devices to provide photographers and graphic artists with multiple checks and balances so as to, hopefully, prevent errors that might result in bad print. However, none of those tools is accurate 100% of the time and relying on them too heavily can sometimes result in even larger errors than if they hadn’t been used at all. Certainly, the tools are helpful and are included with the best of intentions, but in the end there’s no substitution for pulling a hard print and going with what your eyes tell you is best.

Today’s image is a perfect example of the tools not always being the best judge. This is also an example of just how much the appearance of an image can change from one computer monitor to another. [/one_half]

[one_half_last padding=”4px 4px 0 10px”]When I shot this image in 2011, I processed it using the most current version of Photoshop, but on a Frankenstein computer I had been carefully rubber-banding together since 2005 using a monitor that dated even older than that. While the monitor was calibrated to the best of its ability, I knew from experience that what I saw on the screen was not a true match when pulling a print. So, I tried making adjustments as best I could and most of the time I was at least within the ballpark.

The primary challenge of this image is one of exposure. The model’s hair is jet black, to the point that one has to dramatically open the shutter to even begin picking up any highlights. Without a high level of exposure, her hair would appear to be nothing more than a black mass sitting on her head. In a studio, that problem is easily resolved by putting a light specifically on her hair. We’re not in a studio, though. We’re using natural light and even with a reflector there wasn’t enough natural illumination to pull out the highlights in her hair without risking over-exposing the entire left side of the image. I made specific choices and was pleased with the result.

Then, a couple of years ago, I got a new computer and monitor and loaded newer software. Going through the archives to see what needed to be revised, I brought up this image and it instantly showed a warning that the left side was over exposed. I tried correcting the image to what the software said was appropriate, but doing so left the photo flat and dull. Finally, I had no choice but to pull a print and, wouldn’t you know it, the over-exposure was still within gamut (barely), and the image looked fine.

Exposure can be a very tricky thing at times and while generally running highlights out of gamut is a no-no, there are times, arguably including this one, where the risk is worth the effect. Are we going to make mistakes? Yes. Is everyone going to agree with our choices? No. But again, what matters is whether the image generates the emotion the photographer intended. At the end of the day, perhaps a little too much light is better than not enough.[/one_half_last]

Photography / PotD

Guessing At The Rule Of Thirds

June 8, 2015

A Moment of Sun (2012)

“I am free, no matter what rules surround me. If I find them tolerable, I tolerate them; if I find them too obnoxious, I break them. I am free because I know that I alone am morally responsible for everything I do.” ― Robert A. Heinlein

[one_half padding=”4px 10px 0 4px”]In a strange, almost psychotic social twist, “breaking the rules” has possibly become more admirable than following them. For every person out there yelling and screaming about something not following one rule or another, there are two applauding that the rule has been broken. Breaking rules, regardless of where they’re found or to what they apply, is seen as a measure of one’s independence; a willingness to stand out from the crowd and break away from the status quo. Those who create new technologies or build huge businesses from scratch are often said to have “broken the rules,” either of business or technology, in achieving their goals. Adventurist billionaires such as Sir Richard Branson or Elon Musk are widely considered to have gotten where they are by breaking all the rules.

So, do rules exist only for the purpose of being broken? What good is it to have a set of guidelines if no one is going to follow them? I know one of my most frequent non-photography pet peeves is matters of grammar and improper spelling on social media; not those committed so much through acts of “fat-fingering” or victims of auto correct, but those intentional misdeeds such as substituting U for you and R for are, along with other idiosyncracies of what is commonly referred to now as text speech. While such abbreviations appear to me as a lack of attention and most likely diminished intelligence, more than a few linguist have decided that such rule breaking is part of the natural, continual, evolution of language. If breaking the rules is actually just evolving the rules, then why is anyone worried about rules in the first place?

Sociologists tell us, as do those of severe moral convictions, that without rules society decays into chaos. We must have a system of laws, rules, and guidelines that set the standard for acceptable social participation for society to have any meaningful cohesion. Do not kill. Do not steal. Do not try passing off a Bruce Springsteen tune as your own. Where we have rules, we typically have people assigned to enforce them: policemen, teachers, court systems, and government agencies come to mind. Photography, and creative media in general, doesn’t have any official authority reprimanding or punishing those who break rules of art. Does that mean we’re doomed to chaos?[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Today’s image, for example, breaks the rule of thirds. The rule of thirds, for those not familiar, relates to how an image is framed. An image is theoretically divided into thirds both horizontally and vertically and the four intersection points are considered the strongest areas of the image. If there is a horizon, for example, it should occur on either the top or bottom line. Whatever the primary focal point is, it should be positioned on one of those imaginary lines with other content placed as to guide the flow of vision from one intersection to the other. The rule of thirds is so basic and fundamental, that software tools such as Photoshop offer guides to help position an image along the correct lines.

But this image just won’t fit. The young woman in the picture should be positioned along the left vertical line; her bust and her hips, ideally, would fall along the horizontal lines. If this were a painting, those issues would be easily resolved. This isn’t a painting, though, and we are limited by a couple of issues that are immutable. First, this image is part of a series that, for the sake of visual continuity, all have a canvas of the same size (reduced to 1200 x 900 pixels for use here). Cropping the image differently just to make it fit the rule of thirds would have made it awkward and interrupt the visual flow of the whole set. Second, there was just behind the model an open and rather unattractive space that would have altered the aesthetic had it been included. So, expanding the frame to fit the rule of thirds is not a solution either.

What ultimately matters is whether the image works and, to a large degree, this one does. While I might not submit the image for adjudication, I still find it quite lovely and would have no problem with it bring part of a gallery presentation. Breaking the rule, in this case, isn’t so much a matter of innovation as it is necessity because of the constraints. Are we plummeting into chaos? No, not at all.

We must be our own guides. Not every rule should be broken. Not every image should try breaking them. What every photograph should do is make us feel, and if we’ve done that we have found success.[/one_half_last]

Photography / PotD

Life’s A Blur

June 7, 2015

Watch Me Hoop! (2011)

You don’t learn to walk by following rules. You learn by doing, and by falling over. -Richard Branson

[one_half padding=”4px 10px 0 4px”]Photography has enough rules to choke a mule. There are rules about exposure. There are rules about depth of field. There are rules about framing and composition. There are rules about color, rules about black and white, and rules about mixing the two. Rules here, rules there, and there will always be that social media troll who wants to argue that you didn’t follow this rule or that, therefore your image is flawed. I have even seen student photographers carry around and religiously consult notebooks full of rules, making sure with each shot that they weren’t breaking any of the important ones. I don’t think any of those students ever actually made it as photographers.

While rules are certainly there for a reason, and the greater majority of the time actually do make sense, photography is not about rules. It can’t be. When photographers set out to only play by the rules, they get photos that may be technically correct but are emotionally lacking in anything resembling passion. Photographs without emotion are pointless. Why capture something that doesn’t make us feel, that doesn’t stir something inside us, that isn’t worth remembering? We take enough flak already from those who say photography is too automated, too reliant on technology, to be an art. If all we are doing is following the rules then we prove our critics right: the results are not art.

So we are devoting a full week of #POTD to breaking all the rules. Well, okay, we won’t have time to break all the rules. After all, there are only seven days in a week and just about any photographer can come up with at least ten rules that govern their specific style of shooting. So, I’ve chosen rules that I, personally, am likely to break most often; the ones where, for me, passion and creativity are more likely to outweigh the need to observe the rules. Young photographers, please note: when I break a rule, I almost always do so intentionally and with a specific purpose in mind. This isn’t arbitrary, except when it is. Totally.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]The obvious error in today’s image is the amount of blur, not just in the hoop, but the little girl as well. We talked about motion blur just a couple of days ago, so click the link and read that piece first if necessary. I won’t repeat much of it here. One can easily argue that the motion blur of the hoop is like the effect of water in a stream: the picture just wouldn’t look right without it. That part isn’t really breaking the rules. The question comes in whether I should have used a slightly faster shutter speed to stop the motion of the little girl. My answer, obviously, is no.

Children are, themselves, a constant blur of motion, especially when they are between the ages of two and three. I love being at the playground with Kat’s little ones and seeing all the motion, and with it an equal dose of emotion, coming from all these tiny creatures who are having the time of their lives. If children are so naturally given to motion, shouldn’t their photos reflect that reality? Sure, we can make them sit still momentarily for a portrait, but when one is trying so very hard to show me, with incredible amounts of pride, just how well she can hoop, just like momma, to not include the motion of her little body would have been absolutely criminal! She was gyrating so fervently as to involve every muscle she has.

So, we break the rules about motion and blur. We still managed to capture that look of determination on her face and all the colorful richness of that early summer morning. She’s framed well and the background isn’t overwhelming. We still have a very good picture. What’s most important, though, is we have a picture her mother cherishes. This little girl just finished kindergarten and is growing, as children tend to do, with more speed than a parent wants. She’s beautiful. She has a little sister now and I’m guessing by this time next year she’ll be trying to teach her how to hoop as well. Capturing the joy of these moments is more important than following a set of rules. [/one_half_last]

Photography / PotD

Of Highlights and Shadows

June 6, 2015

The Other Side (2010)

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography. – George Eastman

[one_half padding=”4px 10px 0 4px”]I chose today’s quote quite carefully and with deliberate intention. I’m not sure anyone has ever understood light in relationship to photography quite as thoroughly as did George Eastman. When a friend suggested he make a photographic record of a trip he was about to take, Eastman found the wet plate camera and equipment so bulky and difficult that he ended up never taking the trip! Born from that frustration, though, were innovations such as fixed-lens cameras, rolled film, and a chemical development process that was significantly less likely to kill the photographer. Eastman saw what photography could become and then took the steps to make sure it got there. The bulk of his contributions to our profession are unparalleled and quite likely will never be surpassed by any one person.

Eastman knew, among many other things, that photography needed to be accessible, that people needed to be able to capture all the moments of their lives, not just those for which people had time to sit and impatiently wait. When he introduced the Brownie camera in 1900, it sold for a mere one dollar and while a dollar was still of significant value at that time, Eastman’s invention put cameras in the hands of more people, and made it possible to capture more images, than anything or anyone had done prior. In his opinion, Eastman felt that there was absolutely nothing, no single aspect of the human existence, that was not worth photographing.

One of the challenges Eastman faced, though, was the fact that many of the people buying these new cameras of his had absolutely no concept of what photography was, how it worked, or how to take a good picture. Those early Brownie users had no idea that a subject sitting fully in the sun was likely to be over-exposed, while those sitting in the shade were going to be quite in the dark. A very high number of unrecognizable pictures could have very easily caused the new inventions to fail in the market. One of the most under-recognized aspects of Eastman Kodak amateur film was its ability to balance out some of those lights and shadows so that errors of ignorance would be less severe.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Over time, we’ve come to understand more about highlights and shadows and how to manipulate the two so as to achieve different styles and tones and ranges of depth in our photographs. We are able to meter with relative position the best camera settings for images such as today’s photo. Our highlights are high enough to be bright, but not out of gamut. Our shadows have nice, measured gradients that gently define curves and muscles. Eastman would have unquestionably been amazed by the ability of contemporary cameras to translate and manipulate highlights and shadows to such accurate levels.

Highlights and shadows are not only part of photography, though. They are part of business and they are part of life. Eastman Kodak has struggled to adapt and find its way in a digital world. The company that once defined photography for a large number of people around the world is now but an afterthought and many younger photographers don’t even recognize. George Eastman had his own shadows as well. Faced with increasing pain from a spinal disease that made it difficult to walk, on March 24, 1932, Eastman penned a short note:

Dear friends —

My work is done.
Why wait?
GE

He then shot himself through the heart, ending an era of some of the greatest innovation photography has ever seen.

Natural light is an amazing tool and certainly the more we understand light better able we are to create stunning photographs. We do well, though, to mind the highlights and shadows, to use them effectively and be careful to keep them in balance, both on camera and off.[/one_half_last]

Photography / PotD

Riding The Wave of (e)Motion

June 5, 2015

Removing the Afternoon (2010)

I always thought of photography as a naughty thing to do — that was one of my favorite things about it, and when I first did it, I felt very perverse. – Diane Arbus, On Photography by Susan Sontag

[one_half padding=”4px 10px 0 4px”]When I first started taking pictures, holding so tightly onto a Canon F1 to the point it couldn’t help but shake, motion blur was my most common menace. Figuring out how to work the combination of f-stop and shutter speed with whatever ASA film I was using (usually 400) so that I wouldn’t get blur was a severe obstacle for me to overcome. I don’t even want to think about how many potentially great pictures were lost, or how many rolls of film I wasted, simply because I could not, for the life of me, keep the damn camera still. The bad news: I still can’t, even though it’s for much different reasons now. There are days when having a tripod, even for simple shots, is a lifesaver.

What has changed over the years, though, is our attitude toward motion blur. While there has always been some acceptance of the error under very limited circumstances, such as pictures of flowing streams of water, it is generally considered a mistake. The most common one I caught then, and still often have problems eliminating, is that the subject will move, just a hand or maybe shift a foot, right as I’m clicking the shutter. I hate having to count aloud before taking each shot, but there are some people who cannot stand still for more than a split second, and some toddlers who can’t stand still at all. For them, warning exactly when the shutter is about to click is the only way to get a clean shot in environments where one can’t work with a super-high shutter speed. Otherwise, you’re throwing away the frame.

Today, we’re more forgiving of certain kinds of motion blur, such as in today’s photo. We are more likely to understand that the motion is necessary to communicate the story of the photo effectively. Capturing just the right amount of blur confirms for us that the subject isn’t just posing for a picture, but that something is actually happening; that we’ve captured an event as it was taking place, something that will never happen exactly the same way ever again.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Natural light indoors makes motion blur practically inevitable. Shooting natural light indoors always requires a higher ISO (we used 800 for this shot) to capture the light, and a slower shutter speed/f-stop combination (we were at f/2.8, 1/125 for the series from which this shot is taken). If we put the camera on a tripod, which is generally what I would suggest, then those settings are probably workable for most portrait situations. But if you’re not shooting portraits, if there is actually something happening in front of you, then blur is inevitable. That puts the photographer in the position of asking themselves, “Is it worth the blur?”

Honestly, when I took these shots, I fully expected that it was the fringe on her top that was going to give me the most problem, and there’s not a shot in the set where every strand is staying still. Could I have fixed that on camera? Sure, but doing so would have left us with a much less emotional image. With the motion, we have a greater sense of what is going on. We are closer to understanding the story (or creating our own) and connecting to the energy of the image. Without the blur, especially in her hair, this picture comes off bland and a bit boring.

This is an example of natural light sometimes giving us what we don’t know we want. Experimenting, being willing to risk some mistakes, knowing from the start that nothing you’re about to shoot may be usable, is one of the things that makes photography exciting, and that excitement becomes part of the fabric of the resulting image. Motion blur still isn’t something we want to see too often, and the majority of images do better without it but, don’t be afraid of the emotion that comes with a little bit of blur; it may just make the whole picture worthwhile.[/one_half_last]

Art / Photography / PotD

Best Thing Next To Being There

June 4, 2015

Morning Dance (2010)

Any photographer who says he’s not a voyeur is either stupid or a liar. -Helmut Newton

[one_half padding=”4px 10px 0 4px”]We, photographers, like to talk and behave in public as though we’re all about the art. We’ll extol the virtues of natural light as though it is the holy grail of photography. We’ll compare our work to that of truly great artistic masters as though anyone will actually give a damn about our work once we’re dead. We try to take an academic approach to what we do and find some philosophical justification for every shot we take whether it actually exists or not. To talk to some photographers, one might think that it is possible for a photograph, the right photograph, to solve all the world’s societal problems.

What really makes me laugh is when a young photographer who never had a chance to actually meet him attempts to invoke the name of Helmut Newton as though they were good buddies. It almost always happens during a conversation about natural light, and how they’ve “studied” his work and apply his “philosophy.” I value the time I had with Helmut, whether working or just having lunch, like no other. He certainly had much to teach and opinions about everything. But, you know what? Helmut was every bit as real as you and I and the exact same struggles and challenges we face were those he had to tackle. Want to know what Helmut was really like? Try this on for size:

I say to a person, I want to see you naked, and in my head I say, Well I would like to fuck her but the reason I don’t is because I’m scared to gets AIDS or something…

Helmut really struggled with finding the line between what was socially acceptable and what wasn’t. He tended to blame his German upbringing. Even though he contributed to Playboy for some twenty-odd years, he had a tendency to sometimes go too far, to be too provocative for even a men’s magazine. He claimed (magazine publisher) Hugh Hefner once told him to shoot something nice, not that “kinky stuff you do for French Vogue.” Helmut also despised anyone calling photography art and one might want to duck if they even uttered the words “good taste.” Those were two things that would get his temper up in a hurry.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Want to know the real power of natural light photography? It gives the viewer the feeling that they’re actually present. Art nudes may be popular with the intellectual crowd because of the studies in form and light, juxtaposing muscle and tissue with highlights and shadows. Let’s not pretend, though, that there isn’t a salacious element to what we shoot, especially when we do it in color and especially when we do it with natural light. While I may want to proclaim the artistic value of today’s photo, and I do believe it has more than a little of that, don’t think for one moment that I’m not aware of the base appeal found in the fact that it is ultimately a picture of two people who, as far as we can tell, are fucking.

Stop and think critically for a moment. When digital photography started putting “real” cameras into the hands of more people, why was it so much popular among young men than it was women? There have been many women, such as Eve Arnold and Annie Leibovitz and Diane Ackerman and Diane Arbus, who could shoot circles around any male photographer. Why didn’t more women jump at the chance to pick up a camera as quickly as did young men? Easy: young men were less interested in the art and more interested in the possibility that a camera might be an easy way into a young woman’s pants. The same answer explains why more men give up on chasing a photography career after two or three years. A camera is not an aphrodisiac.

After 30 years of this mess, I still love photography and still prefer natural light but don’t think for one moment I don’t consider how “sexy” a photo is before I post it. I watch the statics for these pages carefully and you can be sure I’ve noticed how much more attention is paid to a nude photograph versus a non-nude. Tuesday’s photo, as lovely as it is, received less attention than any image the past 30 days. I’ve all but stopped posting landscapes because they’re often ignored altogether. What makes natural light photographs popular? Because they’re the best thing next to being there.[/one_half_last]

Photography / PotD

A Casual Intimacy

June 3, 2015

All Wet (2012)

It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me… if they were willing to give, I was willing to photograph. – Eve Arnold

[one_half padding=”4px 10px 0 4px”]Good photography isn’t about things. It’s not the cameras, the studio, the auxiliary equipment, the makeup, or the wardrobe. While all those fun things are nice to have, they do not make the picture. What’s more important are the relationships. Inviting someone to come and shoot with us is an unexplainable cross between having someone over for tea or coffee and a therapy session. Please, have a seat. I hope you’re comfortable. Now, tell me about yourself, your past and your present, your hopes and dreams, difficulties and disappointments, achievements and failures, challenges and success. Oh, and did I mention that I want you to do that without verbally speaking? Let your face, your posture, and maybe your wardrobe, or lack thereof, be the means for communicating.

One of the great aspects of working with natural light is that it is not pretentious. One does not have to create an environment for the photograph that is daunting, fearful, or incites anxiety. Many people get quite nervous enough the moment I pull my camera from its bag. For those people, there’s almost always an instance in their past where someone has criticized how they looked in a picture. The comment, at the time, may well have been innocuous, but the emotional effect was lasting. Other people, though, see the camera and come alive in ways we might not have expected. That seemingly shy, quiet person steps in front of a camera and has suddenly found a voice no one knew they had.

Working with natural light enhances communication by allowing one to feel more comfortable about expressing themselves. Studios too often have a sterile, business-like feeling to them and that is certainly appropriate for some situations. But when one is looking for a photograph that communicates, that implies a story, that tells us something about the subject, the best setting is that which is most natural to the subject: a barn, a living room, a kitchen, a field, or any other number of places that are not a studio.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Photographers cannot make great photographs of people who are unable, or unwilling, to communicate. Expression is key. Consider today’s picture. Fresh out of the shower, still dripping wet, the series of which this image is a part runs a gamut of emotion from fear to questioning to relaxing. But to deliver those poses, to say those things in a strictly visual context, was up to the model, not the photographer. I could have suggested things (but didn’t need to), and even given precise direction had I wanted. I rarely do either, though, because I prefer to see what is natural versus what is forced.

I firmly believe that taking pictures, especially portraits, in natural light gives people more freedom to open up and express themselves, but how the photographer responds is just as critical. People begin communicating with their bodies the moment they walk through the door and it’s the photographer’s job to watch and interpret that non-verbal message. If a person is excited then plug into their anticipation and run with it. Where we see anxiety requires a more careful, less hurried, and cautious approach. It is up to the photographer to introduce the subject to the light, to let them become acquainted and comfortable with how it feels. Take your time. Find this is a safe place with no judgment outside your own. Now, talk.

By the end of a productive session, the photographer and their subject have created a sort of casual intimacy; certainly not as deep as lovers, but at least slightly more than passing friends. We have shared a moment of expression, perhaps one that the person we’re photographing has not expressed before, and may never do so again. The photographs capture a special moment that do more than present an image, but preserve a story. Natural light helps those moments feel real and fresh every time we look at the pictures. Nothing fancy required. Just light.[/one_half_last]

Photography / PotD

But Soft! What Light …

June 2, 2015

Comfortable With Here & Now (2010)

When I say I want to photograph someone, what it really means is that I’d like to know them. Anyone I know I photograph. – Annie Leibovitz

[one_half padding=”4px 10px 0 4px”]Shakespeare may not have been a photographer, but he certainly understood the emotional impact of a subject bathed in soft, natural light. Juliet, caught in the rays of a full moon, quickened the heart of the smitten Romeo to the point of tragedy. Dinner is most romantic when a couple has only the softness of candlelight illuminating their meal. Sitting on the porch in the soft light of a fading sunset may be the perfect end to a summer’s day. Light can take many forms, but when it is at its softest is when it makes us look the most beautiful.

Painters have known for centuries the benefits of a soft, natural light and how to achieve such without needing special equipment. While not appropriate for action shots perhaps, portraits benefit from the softest light we can give them. Photoshop hasn’t been around forever you know, but natural light at its softest works a magic that makeup and software could never achieve so accurately. Look at today’s photo, for example, and notice how soft the complexion is. Did we airbrush her skin in any way? No. First, her skin was quite healthy from the outset. But then, the gentleness of natural light diffused through lead glass at just the right time of day worked a magic that makes any thought of post-process manipulation preposterous.

Good photographers often struggle with finding just the right light for portraits. One needs shadows to help define features, so a light that is too bright or all-encompassing doesn’t work. Yet, too much shadow, or shadow from the wrong direction, can distort features, make a face look harsh and more angled than it naturally is. Light coming in at too high an angle can have the appearance of re-shaping features and is especially tough on noses or anyone with bags under their eyes. Good, soft light rarely just falls onto a photographer’s set. Even chasing that mythical “golden hour” is no promise of good light.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Soft light, such as in today’s image, is a diffused light. Light is diffused, or spread out, when it passes through some material that is at least partially opaque. In this case, it was an old window of lead glass. Despite how it appears, leaded glass has a graduated opacity in that over time the lead in the glass pulls the material toward the bottom of the frame, making it thicker at the bottom than at the top. When working with a window composed of sixteen smaller frames (four rows of four frames), the shifting lead lets more light in from the top of the frame than the bottom imprecisely so there is variation within each small frame. This effectively diffuses the light when the subject is at least two feet from the window.

Many different materials diffuse lights at different rates, giving one a lot of choices to get just the right light for just the right portrait. My personal preference is for white cotton, but that doesn’t work as well if the sunlight is not directly positioned at the material. I’ve also gotten wonderful results inside an old taupe canvas army tent, surprisingly enough, and almost always carry a commercial diffuser as part of my reflector kit. Of course, clouds are a natural diffuser and at times can be the perfect answer to a challenging portrait, but they also tend to reduce or eliminate shadows as well as muting color. Other natural diffusers, such as tree leaves, might work depending on the type of leaf, but can also give a green tint to the warm light.

Ultimately, we want a soft light on our subject, though, because it makes them appear approachable, friendly, even kind. Portraits captured in softest light can have that same effect as moonlight did when Romeo saw Juliet, bringing out the natural beauty in a subject. A portrait has done its best when it causes one to feel that someone we don’t know, somehow, has become our best friend. Even Shakespeare couldn’t do better.[/one_half_last]

Photography / PotD

In Defense of Color

June 1, 2015

A Splash Of Yellow (2010)

And if a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible. – Richard Avedon – 1970

[one_half padding=”4px 10px 0 4px”]Color has been the Rodney Dangerfield of photography, struggling for respect from the moment the folks at Eastman Kodak labs tried selling it to the general public. Before then, it was considered highly experimental, one of those things that couldn’t be trusted, was hardly useful in a practical manner, and hardly worth the time it took to make it a reality. Black and white was where it was at, especially if one wanted a crisp, clear photograph. Anything else was just wasting your time.

I should probably clarify that when we talk about color photography now, more often than not what we are referencing is color process photography similar to what is achieved using negative film processing during the 1940s. Prior to that, there were plenty of experiments going all the way back to 1861 when physicist James Clerk Maxwell achieved a form of color reproduction by shooting three black and white frames using a different color filter, red, green, and blue, for each one and then superimposing them together. Through World War II, that stacking method dramatically improved but still lacked accuracy and refinement necessary to be effective on a large commercial scale.

When color negative film was first developed, the critical issue was the relationship between the negative and the dark room solution known as fixer. It was up to the fixer to accurately translate the negative and produce the correct color onto the specially coated paper. Results varied dramatically from one fixer to the next and even from one person to the next. Color labs began popping up with their reputations lying on their ability to accurately reproduce color negatives. Color reversal film, or slide film, finally came along in the 50s with dramatically more accurate results, but to achieve a print they still had to be translated back to negatives where the process was still less than accurate.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Given all the problems surrounding color film, it really is no wonder that the people who made their living in photography wanted little to do with the mess and uncertainty. Even museums and galleries refused to show color photography any respect for the longest time. The first gallery showing of color photography didn’t occur until 1976! When the Museum of Modern Art in New York showed William Egleston’s Guide response was still based more in curiosity with the medium than acknowledging it as a medium that had finally come into its own. For the best photo possible, photographers still turned to black and white film.

Digital photography has actually helped change color’s reputation. Unlike film, digital cameras capture a color image right from the start, even if the camera has a black and white setting. Digital imagery removes some of the guess-work, so images are more likely to come out looking closer to what our minds remember our eyes saw. Digital imagery using natural light may be the most accurate translation of color achieved on a regular basis to date. While everything can be manipulated and corrected during post processing, natural light and color photography are the best buddies that have been looking for years to find each other.

Yes, there are still plenty of challenges, not the least of which is the fact that most computer monitors are not accurately balanced to produce true colors. Yet, can you imagine how incredibly boring today’s picture would be if it were in black and white? Color conveys emotion, warmth, and contrast. We look at the picture and can wonder why in the world I would put powdered cheese dust over half the model’s body, and be intrigued by the effect it has on our eyes. In natural light, color photography finally begins earning the respect it deserves.[/one_half_last]

PotD / Social Commentary

8 Things REALLY Smart People Know

May 28, 2015

The Boss (2010)

“This photographic thing has changed the entire vision of the world. It will go through every activity of humanity — science, medicine, space, ESP, for peace, against peace, entertainment, television, movies, all of them — you will not find one without photography.” -Lisette Model

[one_half padding=”4px 10px 0 4px”]Clickbait lists are especially good at spreading pseudo-science and fear mongering. Lists such as “10 Foods You Shouldn’t Eat” and “5 Big Companies You Can’t Trust” do more harm than good, destroying any trust we have in our fellow man. Personally, I tend to defer a number of issues to those smarter than me; a lot smarter than me. I’m not talking about the “four out of five” ratio, but more like 99 of 100, and only the really intelligent thinkers among those. They tend to be unanimous on a number of issues the rest of us still waste time arguing about. Here are a few such examples.

Humans Cause Climate Change

For the smartest people in the world, this is a no-brainer. They stopped arguing about it 40 years ago and have been focusing their attention where it belongs: finding a solution. Is this a convenient fact? No. Does a solution likely involve a dramatic shift in the way some industries do business? Yes. Is there any reason is should be limited by political belly-aching? No. The argument has been over a long time. Move forward.

You’re Only As Good As The People Around You

Smart people surround themselves with smart people and make every effort to bring those people up to their level. Very little is achieved working alone and doing great things that change the world requires everyone on the team be at the top of their game. Really smart people know that and manage their teams by teaching them and encouraging to learn more and develop their skills. Is there any reason we all shouldn’t take that approach? No, there isn’t.

No6 Don’t Just Focus On One Thing

Just as you were likely taught to not put all your eggs in one basket, focusing on only one thing at a time is rarely a good idea, either. Really smart people know that our brains are designed to multi-task and need stimulus from a number of different directions in order to operate most efficiently. Science and music work remarkably well, for example, as do business and sports. Even within a general industry, focusing on multiple projects, having more than one ball in the air, keeps our minds more alert and creative.

Evolution Happens

The smartest people in the world just assume the rest of us know this and laugh and scoff when encountering someone who’s not on board. They understand the amount of evidence accumulated at this point is too high for there to be any alternative. They’ve known this for well over a hundred years now. That anyone is still arguing the point is rather like saying one would rather believe in magic than science. Governments that promote magic rather than real education are ultimately enslaving their people.[/one_half]

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No4 Artificial Intelligence Is Scary

Really smart people do have fears and the one that bothers the smartest, from Elon Musk to Stephen Hawking, is Artificial Intelligence (AI). We’re talking about something much more advanced than your smart phone, though. What bothers them is giving a device the ability to make changes and adjustments based upon its input without direct human interference. While it’s nice to have devices doing the thinking for us, eventually they figure out they don’t need us. We need to proceed carefully.

Vaccinations Are Important

Want to entice a really smart person to smack you? Tell them you don’t believe in vaccinations. Really smart people know that vaccinations save lives. How many lives we can’t know because the people who were vaccinated never became ill in the first place! What we do know is that in parts of the world where vaccinations don’t happen disease is far more rampant and much more difficult to control. The whole anti-vaccination movement is based on something proven to be a lie. Get your immunizations now.

Most GMOs Are Safe … And Necessary

Again, pseudo-science and outright lies spread across the Internet have done a great disservice is causing us to distrust our food sources. Don’t like Genetically Modified Organisms? Put down that strawberry; they wouldn’t exist without genetic modification. Stop eating asparagus; its current form is almost unrecognizable from the little annoying weed it once was. Same is true for a number of foods one now laughably sees marketed as organic. Really smart people know that to feed the seven billion plus people in the world, we need food that can adapt to being grown in a variety of climates and soils. Without GMOs, we’re all going to starve.

Just Because It Hasn’t Been Proven Doesn’t Mean It Isn’t True

Really smart people understand there are some things we will never know (because we can’t go back in time) and some things we don’t yet have the ability to know. They’re okay with that because the preponderance of evidence points to a single solution. Really smart people are also okay with Truth not being an absolute. Truth once said that the universe revolved around the Earth. As our ability to understand and observe the universe changed, so did Truth. This is why they use the word theory; it is the Truth as we are able to understand it at this moment.

Really smart people agree on a lot of things. Maybe we should listen.[/one_half_last]

Photography / pop culture / PotD

5 Reasons You Can’t Take A Good Picture

May 24, 2015

Untitled (2009)

“Which of my photographs is my favorite? The one I’m going to take tomorrow.” -Imogene Cunningham

[one_half padding=”4px 8px 0 4px”]Anyone who has a social media account of most any kind understands the clickbait list trap. They pull you in with an enticing title such as “Warner Bros. Cartoon Characters: Where Are They Now,” and you click the link thinking that this might actually be interesting information, especially since Speedy Gonzalez just disappeared suddenly without a trace. Oh, but when you get there, you have to click and click and click and click! The average ten-entry list requires you to click at least 30 times to see all the information, and even then it’s usually not as awesome as you’d like. Then, there are auto-play videos and other articles and ads all over the place. Mis-click just once and you’re down a rabbit hole from which there is no return.

So, this week we’re turning the tables a bit with a set of lists that sound as though they might be something that would appear on a clickbait site, but we promise you won’t have to keep clicking in order to see all the information. In fact, depending on how you view our page, we’ll even try to keep scrolling to a minimum. Some of our list, such as this one, are silly. Others, such as tomorrow’s, are quite serious. Either way, we hope you are informed and/or entertained without all the hassle of clickbait.

Now, for today’s topic: there are a lot of people running around out there trying to take pictures. Unfortunately, there are a lot of people running around taking lousy pictures. We have five reasons why that might be happening.

You can’t take your camera off auto

Your camera arrives from the factory with an auto setting. This is a lot like the little Instamatic film cameras of the 1960s and 70s. It’s acceptable for snapshots under well-lit conditions, but vary away from those conditions and the quality of the pictures degrades quickly. The solution: take the damn camera off auto and set the ISO, aperture, and lens speed manually! What, you’re camera doesn’t have a manual mode? That’s the manufacturer’s way of calling you stupid. They don’t think you’re smart enough to figure out how to work your own camera. You should suit them for defamation of character.

Your camera is really a phone

I already know I’m going to catch some shit for this one because there are a bunch of people running around who think that taking pictures with a cell phone and then manipulating them in Photoshop or some other program is a form of art. Bullshit. You’re still just taking a snapshot with your damn phone and I don’t care how many filters you apply it’s not going to make up for the fact it’s still a shitty picture. I mean, you can’t even hold it still enough to take a selfie without 37 tries! Come on! That’s not a camera! It’s more like a digital crayon. Get a real camera already!

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You don’t have a clue what aperture or ISO do

This is the reason your camera’s manufacturer didn’t give you a manual mode. They make image capturing devices for people like you who look at the ISO setting on a camera and think it’s pronounced EE-soh. No, it’s not. I. S. O. Think International Standards Organization. It’s a globally agreed-upon standard for how digital media responds to light. Aperture is how large the hole is in the lens that lets in light. Those are pretty fundamental settings for any camera and are critical to taking a good picture. If you don’t know those then there are probably a host of other things you probably don’t know. Consider taking a class or better yet find a professional willing to mentor you.

You think a frame is what goes on the wall

Ever notice how you keep cutting off people’s heads in your photos? Or that people look much smaller and further away in the picture than they did in person? There’s a reason for that: bad framing. Or maybe not framing at all. Framing is the ability to accurately get the things in the picture that you want in the picture at the size and in the position you want them. Framing takes practice, to be sure, but more than anything it requires actually looking through the viewfinder, not that preview screen on the back. The preview screen is an estimate and does not give you the framing accuracy that comes from looking through the viewfinder. Beyond that, practice, practice, practice!

You’re blind

Sight is fundamental, people. If you want to take good pictures, it really helps that you’re able to actually see what it is you’re photographing, unless you’re just really into for the abstract value, which you’re still not going to appreciate if you can’t see the finished photo, either. Vision is perhaps the most critical element of taking a picture!

I realize that seeing may seem inherent, but I can’t begin to tell you the number of people I’ve seen hold a camera up to their face and then close their eyes before snapping the shutter! Over and over, no matter how much I might try to help, they would close their eyes every damn time! I’m sorry, but if you’re not going to look at your subject then you shouldn’t be surprised or disappointed if the photo comes out looking differently than anticipated.

Of course, if you’re blind, you wouldn’t know either way, would you? So maybe it’s not such a big deal after all.

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Photography / PotD

Experience The Night

April 15, 2015

In The Garden (2010). Model: Samantha. Body art: Jennifer Baxter

Cities become very different places at night, some good, some bad. A quiet shopping area suddenly becomes alive with club activity. A busy business district takes on a ghostly creepiness. Shooting in the urban outdoors can be dangerous but rewarding.

[one_half padding=”4px 8px 0 2px”]We knew we were taking some risks the night we shot today’s photo. The location was a very popular club area, which meant it would be heavily populated with a lot of lights and activity in the background. All that traffic would give us a certain amount of anonymity for a little while, but not long. Once bystanders, most of whom had already consumed a fair share of alcohol, figured out we essentially had a topless girl standing on the sidewalk, we wouldn’t have long before the scene might potentially grow out of control.

Working in the urban outdoors at night is an experience unlike any other. One never is quite sure whether they are alone, who might be watching or what might be hiding in the shadows. At the same time, the colors and lighting of the urban landscape at night are wholly unique, dramatically different from the long exposure shots taken in more rural areas. Here, there is a beauty and an intrigue that is very different from other forms of photography, but there is also an element of danger.

Over the years, we’ve often taken to the streets at night with tripod in hand, ready to see what the camera might capture that the naked eye didn’t see. Some nights we might only get interesting light flares. Other nights we’ve had rocks thrown at us from unseen sources, frightened those in the act of committing a crime, stumbled across hidden lovers, and possibly crossed paths with a ghost or two if one believes in such things. We’ve attracted the attention of police, but, fortunately, have never needed their services. Armed escorts are a necessary precaution, but we’ve never needed them to draw their weapon.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]This particular night we relied on sheer numbers and our ability to dissolve into a darkened neighborhood as our security method. While the model and I quickly snapped the handful of frames necessary to ensure we’d gotten a good shot, three others, including the body artist, stood nearby looking casual but on alert. By the time someone shouted across the street, “Hey, is that girl naked?” we were done and slipped quietly away from any potential danger.

For shots such as this one, planning and knowledge of the area are critical. We knew we wouldn’t have much time, so we carefully chose our location and discussed posing before we arrived. I also made a solo trip to the area on a previous night so that I wouldn’t need to waste time getting light meter readings. I was very familiar with the street and had a sense of what to expect. None of that quelled my excitement or anxiety as we walked through the shadows of an adjoining neighborhood on our way to the location. We dropped ten frames and were done.

Long exposure night photography is interesting and fun no matter where it is done, but shooting at night in the urban outdoors can be an experience in excitement unlike any other and results in some of the most unique images one is likely to take. While the inherent dangers are not something to be dismissed, a little planning and caution delivers results one can’t achieve anywhere else. Go ahead, experience the night; a whole different world of imagery awaits.[/one_half_last]

Nature / Photography / PotD

Not All Outdoors Is Equal

April 10, 2015

On The Rocks (2012)

Finding that perfect place to shoot outdoors can be difficult and when we do find a place that works we tend to want to keep it to ourselves. Great outdoor locations are almost as valuable, and rare, as gold. Non-photographers think we’re crazy, but experienced photographers know that not all of nature is created equal.

[one_half padding=”4px 8px 0 2px”]Mud. Muck. Gnats. Hills. Rocks. Rough terrain. If one is going to shoot with me outdoors, those are some of the conditions that one is likely to encounter. I’m not one of those people who just hop out of the car and say, “Hey, this would make a good place to shoot!” Instead, I study a location for a while, watch it in different conditions, walk it multiple times if I can, and consider exactly what I can and cannot do there photographically.

Even with all the planning I’m sometimes surprised. More water. Less water. A visiting herd of cows. For all the challenges to shooting outdoors, finding the best location may be the most challenging. Certainly, it requires the most energy.

I couldn’t get to the location where today’s photo was taken if I wanted. With all the rain we’ve had this week I rather doubt there’s a natural tributary in the state that isn’t at or overflowing its capacity. That’s the one draw-back to an otherwise almost idyllic shooting location; one I’ve used several times over the years and almost always with impressive results. Even though the location is public property, it is secluded enough I tend to consider it mine and would probably be a bit jealous if I saw pictures from another photographer taken there.

Perhaps the biggest challenge to shooting outdoors is finding just the right location that works for the time at which you want to shoot. To the uninitiated, it seems that any bright, sunny location ought to work for taking pictures. After all, if we have plenty of light and maybe some flowers and trees in the background, what more do we need? Experienced photographers understand, though, that finding just the right location, one that can be used repeatedly while still generating unique looks, is almost as difficult as mining for gold in the Midwest. There aren’t as many locations running around as one might expect.

Finding a good location is not unlike going on a treasure hunt. One can drive, and hike, for hours, through all manner of conditions, before finding that perfect spot. We don’t want it to be recognizable, because then everyone else will want to use it. We want our pictures to be unique and that means having locations different from where everyone else shoots.

Understand, there are thousands of locations where one can take a good photograph. The challenge is that for most of those locations one good, usable image is all one is going to get. No one needs a portfolio where all the photos look the same. Things such as notable landmarks, unique trees, and recognizable gardens are fantastic for that one shot, but don’t provide the long-term use for which we ultimately look.[/one_half]

[one_half_last padding=”4px 2px 0 8px”]Everyone has their own opinions, of course, but here is what I look for in a good outdoor location:

Flexibility. Can I get more than one look out of a location? If I shoot from different directions and different times of day does it look like a different place? Does it work both morning and evening? How does it look during different seasons? The more I can get out of a location the more valuable it is.
Lighting. Sure, most any outdoor location gets light, but is it the right kind at the right time? Are there barriers between me and the sun? If so, do they make good filters? Is direct light the only option or is reflective light available as well?
Background pollution. Look toward the horizon and what do you see? If it is anything other than trees, clouds, and maybe a mountain, we have a problem. Power lines are the most frequent offenders, but randomly visible rooftops, or hints of urbanization in an otherwise forested setting reduce the visual impact.
Access. Is the location public property that can be accessed legally at any time or is it private property for which one has to obtain permission? Used to I would fudge this one, but as private property laws have changed in many states I no longer consider it worth the risk. I prefer public property whenever possible and will ask before shooting on private property.
Traffic. If I can get to a place, other people can as well. How well trafficked is the location? Do we need to watch for people in the background? Might people stand around gawking? I don’t exactly enjoy an audience.
Remoteness. How difficult is it to get to the location? The image above required a little over a mile’s hike, which is fine for a location where I don’t need additional equipment. Being remote means better privacy, but also means more difficulty getting help if something goes wrong.
Peacefulness. Very much a personal preference, is this a location I would enjoy even if not taking pictures? Would I just sit and read a book here? Is the place one I can enjoy just being? Such qualities inevitably transfer to the photos.

Every picture tells a story and we want every story to be different but having to find a new location for every outdoor concept is time-consuming and often frustrating. Finding one that offers multiple options all year long is like finding treasure.

And no, I’m not telling where mine are.[/one_half_last]

PotD / Social Commentary

Blurred Lives

March 14, 2015

Blurred Lives (2013)

How strongly are we influenced by what we hear, what we see, and what we experience without ever actually giving the matter direct thought? Is there such a thing as an original thought anymore or is everything merely a re-interpretation of what someone else created?

[one_half padding=”0 4px 0 2px”]One of the big news items this week was a jury’s decision to award the family of late singer Marvin Gaye $7.3 million for copyright infringement after determining that Robin Thicke and Pharrell Williams had used, or been strongly influenced by, portions of Gaye’s “Got To Give It Up” when writing their hit song, “Blurred Lines.” While the amount of the award is staggering, and some naysayers predict this is the end of original music, the fact is we’ve been here before (Michael Bolton vs. the Isley Brothers, 1994) and the music industry will continue to produce “new” material to meet demand.

The larger question, though, is to what degree we are all influenced by the more subtle aspects of our environment? We go through the day with music playing in our ears, but we aren’t consciously listening to the songs. We read various headlines and snippets of stories without paying particular attention to their source. We see ads and commercials almost everywhere we look, but can’t tell someone what product was being sold. How much of what we experience is sticking?

Memory is difficult to quantify and is an extremely large field of scientific study. Just about the time scientists and doctors think they have a complete picture of the situation, there is even more adding to the constantly increasing bulk of information regarding what we remember, why we remember, and how much we remember. Midst all this ongoing research, though, one thing is for certain: we are all affected by the experience of our environment.

Kat and I were recently re-conversing along a topic that is fun to consider: what would a person such as one of the country’s founding fathers think were they to suddenly be transported into modern America? While there would unquestionably be a high amount of astonishment, and perhaps even fear of outright sorcery, one thing almost for certain is that they would experience sensory overload. We have so very much going on around us that our brains are required to process external information almost 24/7. There is little time to relax, to absorb, or to ponder because of the near-constant barrage of new information coming at us.

So, how do we know what part of our consciousness is us, original, new, having never existed prior to this moment, and how much is simply a re-manufacturing of material recycled from all our experiences and the things that influence us? There doesn’t seem to be any consensus on the topic.

National Public Radio’s Ashish Ranpura writes:

Fundamentally, memory represents a change in who we are. Our habits, our ideologies, our hopes and fears are all influenced by what we remember of our past. At the most basic level, we remember because the connections between our brains’ neurons change; each experience primes the brain for the next experience, so that the physical stuff we’re made of reflects our history like mountains reflect geologic eras. Memory also represents a change in who we are because it is predictive of who we will become. We remember things more easily if we have been exposed to similar things before, so what we remember from the past has a lot to do with what we can learn in the future.

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[one_half_last padding=”0 2px 0 4px”]That first sentence is the kicker: what we remember changes who we are. What sticks now helps determine what sticks stronger, later. So, consider the maxim that a lie repeated enough times becomes Truth. The more we experience the same thing, whether it’s a statement, a song, or a photograph, the more likely we are to not only remember that one specific item, but items similar to it, even to the point our memories no longer distinguish between different but similar entities. Everything becomes a giant blur.

Consider the image above. At first glance, it appears to be a double-exposure, what happens when the shutter is opened more than once onto the same piece of film. This is a digital image, though, and what we are seeing is very similar to what our brains must at time experience: an over-abundance of information. Taken at ISO 100, the shutter was open a quarter of a second with a wide-open aperture of f/2.8. The image appears to be doubly exposed because it was left open to an excessive amount of information. As a result: everything is blurred.

So it is with our lives. Very little of our experience is clearly defined. We are so inundated with information that even our own memories can’t be trusted to be accurate. Our very lives are blurred to the point of not being sure who we really are. Are we individuals, or are we a conglomerate of our experiences?

Perhaps we need to step away more often. Psychologists have been telling us for several years now that having quiet time, alone, totally disconnected from all the unending madness of the world, is critical to our development, if not our sanity. Most people try to “get away” perhaps once or twice a year on something called a vacation, but too often even those attempts end up being little more than exchanging one set of overwhelming experiences for another. We rush to get in as much “vacation” as possible before having to go back to work and, as a result. our brains get no rest.

Here’s the kicker: we control, for the most part, how much we experience. We’re the ones who spend hours on social media, keep earbuds glued to our ears all day, watch endless hours of television or streaming media. Little is actually being forced upon us. The blurriness of our lives is of our own doing.

So perhaps, this weekend, we step away for a while. The weather should clear up a bit this afternoon, so step away. Go for a walk in the woods. Sit for an hour or so beside a babbling brook. Take a nap. Better yet, take two. Eliminate all the experiences manufactured by someone else and take some time to create your own; do something that is totally you.

We might be surprised at just how much more focus we have come Monday if we spend more of our weekends defining our own lives.[/one_half_last]

experience

In photography, the smallest thing can be a great subject. The little, human detail can become a Leitmotiv. —Henri Cartier-Bresson

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The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh. —Edward Weston

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It’s much easier on the emotions when one sees life as an experiment rather than a struggle for popularity.― Criss Jami, Killosophy

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It can be a trap of the photographer to think that his or her best pictures were the ones that were hardest to get. – Timothy Allen

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Be pretty if you can, be witty if you must, but be gracious if it kills you. –Else DeWolfe

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“I do as I please, Monsieur Beauchamp, and believe me, what I do is always well done.” ― Alexandre Dumas

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“A girl in a bikini is like having a loaded gun on your coffee table- There’s nothing wrong with them, but it’s hard to stop thinking about.” ― Garrison Keillor

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“If it could only be like this always – always summer, always alone, the fruit always ripe and Aloysius in a good temper…” ― Evelyn Waugh, Brideshead Revisited

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“The irony of rule followers is they often quote a lot of people that do not follow as many rules as they do.” ― Shannon L. Alder

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“More than ambition, more than ability, it is rules that limit contribution; rules are the lowest common denominator of human behavior. They are a substitute for rational thought.” ― Hyman G. Rickover

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“If you follow the rules, it’s your own fault.” ― Marty Rubin

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“I am free, no matter what rules surround me. If I find them tolerable, I tolerate them; if I find them too obnoxious, I break them. I am free because I know that I alone am morally responsible for everything I do.” ― Robert A. Heinlein

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You don’t learn to walk by following rules. You learn by doing, and by falling over. -Richard Branson

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Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography. – George Eastman

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I always thought of photography as a naughty thing to do — that was one of my favorite things about it, and when I first did it, I felt very perverse. – Diane Arbus, On Photography by Susan Sontag

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Any photographer who says he’s not a voyeur is either stupid or a liar. -Helmut Newton

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When I say I want to photograph someone, what it really means is that I’d like to know them. Anyone I know I photograph. – Annie Leibovitz

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And if a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible. – Richard Avedon – 1970

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“This photographic thing has changed the entire vision of the world. It will go through every activity of humanity — science, medicine, space, ESP, for peace, against peace, entertainment, television, movies, all of them — you will not find one without photography.” -Lisette Model

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“Which of my photographs is my favorite? The one I’m going to take tomorrow.” -Imogene Cunningham

You can’t take your camera off auto

Your camera is really a phone

You don’t have a clue what aperture or ISO do

You think a frame is what goes on the wall

You’re blind

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Cities become very different places at night, some good, some bad. A quiet shopping area suddenly becomes alive with club activity. A busy business district takes on a ghostly creepiness. Shooting in the urban outdoors can be dangerous but rewarding.

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