Copyright©2012byJoeyLawrence
Allrightsreserved.
PublishedintheUnitedStatesbyAmphotoBooks,animprintoftheCrownPublishingGroup,adivisionofRandomHouse,Inc.,NewYork.www.crownpublishing.comwww.amphotobooks.com
AMPHOTOBOOKSandtheAmphotoBookslogoaretrademarksofRandomHouse,Inc.
AforewordisincludedhereinbyDavidHobby.
LibraryofCongressCataloging-in-PublicationData
L.,Joey(Lawrence)PhotographingShadowandLight:insidethedramaticlightingtechniquesandcreativevisionofportraitphotographerjoeyl./JoeyL.withJeffKent.p.cm.Includesbibliographicalreferencesandindex.
1.Cinematography—Lighting.2.Portraitphotography—Lighting.I.Kent,Jeff,1974-II.Title.TR891.L162011777′.52—dc232011046721
eISBN:978-0-8174-0015-6
DesignbyKaraPlikaitisCoverdesignbyKaraPlikaitis
v3.1
Thisbookisdedicatedtomymomanddad,whoputupwithmycrapforyears.
CONTENTS
CoverTitlePageCopyrightDedicationFOREWORDINTRODUCTION
STYLETECHNIQUE
FINEARTPORTRAITSTHECRADLEOFMANKINDHALLOWEENINBROOKLYNTHEHOLYMENOFVARANASI
MUSICPORTRAITSPROTESTTHEHERODAVIDDRAIMANOFDISTURBEDERICNALLYOFFOXYSHAZAMG-UNITPANICATTHEDISCO
COMMERCIALPORTRAITSIRT:DEADLIESTROADSMUDCATSTHEJONASBROTHERSAMOUR.COMPENNZOIL
PAWNSTARSPROJECTRUNWAYALLSTARSHOUSEOFANUBIS
POSTPRODUCTIONWORKFLOW
ACKNOWLEDGMENTSINDEX
FOREWORDBYDAVIDHOBBY
WhenIbeganwritingtheforewordforthisbook,IdecidedtoavoidtheobviousfocusonJoeyLawrence’sage.Butasitturnsout,Iwaswrong.Wearegoingtotalkabouthisage.
NotintheMozart-wrote-a-symphony-at-age-fivesense,butmoreinthecontextofwhoJoeyisandhowthisbodyofworkwascreatedsoearlyinhiscareer.Forthosewhodon’tknow,Joeymadethephotosinthisbookbeforeorattheageoftwenty-one.Tome,themostinterestingpartofthisisnotthefactthathewastwenty-one,
butthefactofwhenhewastwenty-one.Joey’sdevelopmentasanartisthashappenedsincetheturnofthemillennium.HehasneverknownaworldwithoutcomputersorPhotoshop.Heisadigitalnative,andthathashadaprofoundeffectonhisphotographyandphotographicpath.Further,thecombinationofwhenhewasbornandhisearlysuccessplaceshimatthevanguardofanemerginggroupofGenerationZphotographers.MembersofGenerationZarethoughtofashavingbeenbornintheearlyto
mid-1990s.AlthoughJoeywasbornin1989,heunderstoodataveryyoungageexactlyhowthenewdigitalenvironmenthadchangedeverythingaboutphotography.Soinmanyways,Joeyisafewyearsaheadofhistime.And,inabroadersense,heiswhat’scoming.Thisbookisanexampleofhowtheworld’smostsuccessfulphotographerswillbethinkingfiveortenyearshence.Previousgenerationsofphotographersgrewupinanerawhenitwasassumed
thatyoucouldgetasteadyjobwithagreatcompanyandbesetforlife.Formanyphotographers,myselfincluded,thatmeantsomethinglikeworkingyourwayuptoagreatmetrodailynewspaper.Oncethere,noworries.Justdon’tscrewupandyou’llbefine.Clearly,thattimehaspassed.Forphotographersofmygeneration,ourdependablebusinessmodelhasbeen
crushedlikeabug.Foryoungerphotographers,thedigitaltransitionhasbeenaliberation.Infact,themostsuccessfulphotographersofthefuturewillhavemoreincommonwithaSiliconValleygaragestart-upthanwiththetrackoftheirphotographicforebears.Forward-thinkingphotographersarealready
becomingentrepreneurs,mostlyinthesensethattheycreatetheirownecosystems.Theydon’tneedprintingpresses,distribution,orthevalidationofalargecompanyofanykind.JoeywasbornaroundthesametimeastheInternetandhasgrownup
alongsideit.Heishighlymotivatedandexhaustivelyself-taught,learningatablisteringpacefarbeyondthatofthetypicalphotographyschool.Justasimportant,heisbothconfidentandcreativelyfearless—aresult,Ithink,ofhiseducationoutsideahierarchicalenvironment.Whenyougrowupreceivingthevalidationofyourteachers,youlearnto
dependonthatvalidation.Whenyougrowuponyourown,youlearntotrustyourinstincts.Joey’seducationhappenedwithacamerainonehandandanInternet-connectedcomputerintheother.HelearnedPhotoshopthesamewayhisthirteen-year-oldpeerswerelearningtobeatHalo:perfectlywillingtodieathousanddeathsenroutetohisgoal.PhotographersofJoey’sgenerationaredifferent.Theireducation,motivations,shootingstyles,businessmodels—alldifferent.IthelpsthatJoeywasborntoexceptionallysupportiveparents.Theynotonly
gavehimthefreedomtolearnandexplorephotography,butencouragedhimtotakecreativechancesandpursuemoreambitiousgigs.I’dliketothinkthatwhenmyownkidshitseventeeninafewyears,I’llbejustassupportive.Itwasrightaround2007whenIfirstmetJoey.Hewasinthemidstof
transitioningbetweenhisparentalandprofessionalenvironments.Fiveyearsdoesn’tsoundlikeverylongago,butindigitalnativeyearsitcanbealifetime.Joeywasalreadyshootingasteadystreamofprofessionaljobs.HehadanagentinNewYorkandanotherinLondon.Ontopofthat,hewasnearingcompletionofhisfirstdigitalcommercialproduct:atutorialexplainingprettymucheverythinghehadlearnedtodateaboutphotographyandpostproduction.Thinkaboutthatforamoment.Atseventeenyearsold,Joeyalready
understoodthatheneededneitherapublishernoradistributortobesuccessfulasaphotographer.Hejustneededtocreateadigitalproductandputitoutthere.Itwouldliveordieviaonlinewordofmouth.Digitalnativesthinkdifferently.Thedigitalproductswerejustanodeinhisecosystem,buttheygavehimthe
abilitytofundhisphotography.Thesymbiosisworked.Hehasdonetwomoredigitalproductssince.Createandship.Honeanditerate.Thinklikeadigitalstart-up.ItwasatthispointthatIstartedfollowingJoey’scareer,andwekeptintouch.
WordsoontrickledoutthathehadbeenhiredtoshootthepostersfortheupcomingTwilightmovie.AsthefirstadaptationofStephenieMeyer’sbookseries,themoviewasallbutguaranteedtobeablockbuster.Andtheywere
goingtoletaneighteen-year-oldphotographershoottheposter.Itwasunheardof.Ayearlater,inDecember2008,IsteppedoutofthesubwayinLondonand
sawhisphotosontheTwilightposters.Theywereeverywhere—double-deckerbuses,kiosks,billboards—everywhere.Irememberhavingdifficultyprocessingthatinmyhead.ItooksomeshotsandemailedthemtoJoeyalongwithmycongratulations.WhatIwouldfindoutlaterwasthathehadseriouslyconsideredturningdown
theTwilightjob.Hedidn’tfeelthatitfitthecompasspointofhiscareer.Ultimately,hismaindrawfordoingtheposterswasthatthepaycheckwouldfuelmoreambitiouspersonalprojects.ItwouldallowhimtotraveltoIndiatophotographholymenwithoutcommercialbacking.Andthephotosfromthatprojectwouldimpressfutureartdirectorsenoughtogarneryetmorehigh-endcommercialassignments.Lather,rinse,andrepeat.Stilltechnicallyinhighschool(hewastakingleavestoshootcommercialjobs
andpersonalprojects),Joeywasalreadylearningnotjusthowtocreatehisownecosystem,buthowtoscaleittothepointwhereitwascreatingitsownweather.Now,fouryearslater,atatimewhenmanypeoplehisageareholdingfreshly
mintedcollegediplomasandsearchingforjobs,Joeyislargelyincontrolofhispath.Heischoosyaboutwhatheshoots.Hecreatesjobsandprojectsoutofthinairbycraftingimaginativetreatmentsandproposals—andsupplementingthemwiththebodyofworktobackthemup.Ratherthantakeasubparjob,Joeywillsearchoutcreativepartnersfor
collaborativepersonalprojectsthatsuitthemboth.Thisisthekindofprivilegeformerlyaffordedonlytosuccessfulphotographerslaterintheircareers.ButJoeysawthisastheshortcuttocreativefreedom—andsuccess—beforehewasoldenoughtodrive.Irememberseeingtheimagesinthisbookasastreamoverthelastfiveyears
asJoeycreatedthem.Ihaveneverbeenonetocritiquephotos(or,truthbetold,toacceptthecritiquesofothers),butseeingalloftheseimagestogether,youstarttogetabettersenseofthephotographerwhomadethem.WhatIseeinthesepicturesgelsperfectlywiththepersonIhavecometo
know.Joeyhasadeepandpassionatecuriosityaboutpeople.Whetherhissubjectisaculturaliconwithaneight-figuresalaryorapennilessindigenousperson,thecuriosityisequallysincere.Hisinteractionwithpeopleisasgenuineasitisfearless.Andthatshowsinhisphotos.Joeyisascomfortableworkingwithcutting-edgedigitaltechnologyasheis
adaptingthelookofanOldMasterpainterfromthe1600s.Asheshoots,heaffectstheairofagoofycollegekid,evenasheisthinking,seeing,calculating,
andexecutinghisphotography.Outwardly,Joeyishappy-go-lucky.Ontheinside,he’sasintenseasanyoneIhaveevermet.Moreso,Ibelieve,thanhefeelsheisallowedtoshow.Butinreadingthebookyou’llquicklyseethathealwaysdoeshishomeworkandisgenerallythemostwell-researchedpersonintheroomwhenitcomestimetomakephotos.Speakingofreadingthebook,thedifferenceinvoicebetweenthewordsand
photoswillfeellikeaparadox.Thewordsarethoseofayoungadult—apassionate,well-researchedyoungadult,butayoungadultallthesame.Thephotos,however,arethoseofaconfident,motivatedprofessionalwithmoreexperiencethanmanyphotographerstwicehisage.JoeyLawrenceisyoung,technologicallyliterate,ambitious,andalready
playingthelonggame.Heisthefutureofphotography.Getusedtoit.Wearenowinaworldwheretalent,creativity,fearlessness,agility,andpersistenceallworktogethertotrumpseniority.Thisiswhat’snext,andit’sexciting.
DavidHobbyisthecreatorofStrobist.com.
INTRODUCTION
MyinterestinphotographyandcinematographybeganwhenIwasseven,backinmyhometownofLindsay,Ontario.IusedtomakelittlehomemovieswithaHi 8 camera, filming scenes ofmy friends running around the neighborhood,being chased by dinosaurs. I used toys as props, staged scenes, and editedeverythingtogetheronaVCRintominimovies.
Inmyearlyteens,Istartedphotographingpersonalprojects,includingself-portraitsandimagesofhomelesspeopleonthestreetsofToronto.ThenIbeganphotographinglocalrockbandsinmytown.Ibuiltmyownwebsiteandanonlineportfolio,whichledtosomeinterestoutsideofLindsay,includingfromanelectronicmusicianinAmsterdam,whocameacrossmyworkandthencontactedmeaboutphotographinghimforsomepromotionalmaterial.Slowlybutsurely,Istartedpickingupbiggerbandphotoshoots.BythetimeIwassixteen,myworkdrewtheattentionofsomebandmanagerswhohiredmetophotographtheirclientsandthenstartedactingasmyfirstphotoagents.Ibegantravelingwithafewdifferentbands,photographingthemonlocationalloverNorthAmerica;Iwasspendingmuchmoretimeshootingthangoingtoschool.Luckily,myparentswereextremelysupportivefromthestart.Ratherthantellingmetoputdownthecameraanddomyhomework,theyencouragedmetofollowmydream,inspiteofthegrowingdifficultyofkeepingupwithmyschoolwork.TheyknewthatIwasdoingwhatIwassupposedtodo.AllthistimeIhadagoal,whichwastomovebeyondmusicphotographyand
progressintomoresubstantialcommercialshooting.SoIstartedworkingtowardamorecommercial-friendlyportfoliobyphotographingthebandsinsituationsthatwouldappealtocommercialclients.Inadditiontothestandardalbumcoverposesandgroupshotsthatmyclientsneeded,I’dworkinindividualportraits,morecreativesetups,andsetsofimagesthatlookedlikeadcampaigns.Thebandswerehappytooblige—theygotmorecreativepicturesfortheirpresskits,andIgottoexpandmyportfolio.WhileshootingpromotionalimagesforthebandSilverstein,forexample,Iexperimentedbytreatingitmorelikeanadvertisinggigforacommercialclient.Theimageonthispagelooksmorelikeacommercialportrait,litwithfourdifferentlightsources.
Myearlyon-setphotographywasafarcryfromtheproductionsI’mmanagingnow.
Initially,theseimagesappealedtoseveraldifferententertainmentclients—televisionandfilmartdirectors,mostly—whoappreciatedthehybridstylethatmixedmusicindustryimagerywithcommercialportraiture.Istartedworkingwithaproperphotoagent,andbythetimeIwaseighteen,IwaslandingsubstantialcommercialandeditorialphotoassignmentswithclientsrangingfromForbestotheHistorychannel,totheproducersofthemovieTwilight.
Fromthere,mycareerhascontinuedtodevelopintolarger-scale,mainstreamadvertisingjobsformajorclientsthroughoutNorthAmerica,Europe,andtheMiddleEast.Runningaparalleltracktomycommercialphotographycareerhasbeenan
evolvingseriesoffineartprojectsondiverseculturesaroundtheworld.I’vemademultipletripstoremoteregionsofEthiopia,Indonesia,India,andotherdistantlandstoliveamongandphotographpeoplewhoseculturesandbeliefsystemsareacompletedeparturefromthemind-setsdrivingmycommercialimagery.Myfineartportraitprojectsaren’tdoneforcommercialgain;theyarepersonal,exploratory,andessentialtomydevelopmentasanartist.ManyofthetechniquesthatIuseduringthesescaled-down,highlyportablesessionsformthebasisformycommercialportraitlightingtechniques.Theseimagesareagreatwayformetofine-tunemyapproachtolightingandposinginwaysthatultimatelyinformeverythingIdoasaphotographer.Peoplealwaysaskaboutmy“bigbreak,”thatprojectorimagethatpropelled
mycareertoahigherlevel.Idon’tthinkthereisone.Idon’tbelievethatphotographersevergettoaplacewheretheyshootonegreatjobandthenaresetforever.Instead,thisfieldrequiresperpetualself-educationandpersonaldevelopment.That’showIlearnedphotographyandhowIwillcontinuetoevolveasanartist.I’vespentcountlesshoursreadingbooksontechnique,studyingoldtextsonclassicartisticmethods,visitingphotographyforums,andexaminingnotonlytheimagesofesteemedphotographersbutalsothepaintingsofreveredmasters,suchastheseventeenth-centuryDutchportraitists.You’llnoticethatIdon’tmentionputtinginclassroomtimeorgettinga
formaleducationinphotography.Ihavenone.I’venevergonetoschoolforphotography.I’veneverassistedawell-knownphotographer.I’veneverworkedforanadagencyorproductioncompanyorstudio.Thosearen’tboasts.Idon’tconsidermyselfsuperiortoanyoneelsebecauseI’mself-taught.AndI’mnotarebelwhocompletelyrejectsthevalueofaformaleducation.Thisissimplythepaththatworkedforme.Morerelevantforthereadersofthisbook,it’sapaththatledmetoborrow,discover,andcombineavarietyoftechniques,whichI’veblendedintoadistinctstylethathasbeenwellreceivedinthemarketplace.Istilllearnsomethingnewoneveryshoot.Thetrickistoneverstopeducatingyourself,whetherit’sinschool,inprofessionalseminars,oronyourown.
ThoughthiswasashoottocreatepromotionalmaterialsforthebandSilverstein,Itreateditmorelikeanadvertisinggigforabigcommercialclient.Tolightthisscene,Iappliedfourdifferentlightsources:Thedirectlightfromthesettingsunfloodedthecarfromthefrontwindshield,lightingthefrontofthesubject.MymainlightwasaSpeedotronflashheadinaChimerasoftbox,comingfromthefrontofthecaratasimilarangleasthesun.AnotherSpeedotronflashheadshiningfromthebackofthecaractedasabacklighttoseparatehisheadfromthebackground.And,finally,alittlesilverreflectorpositionedjustbelowtheframeandaimedupatthesideofthecarbouncedthemainlightbackontothefrontofthecartobringoutsomedetail.
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Now,I’mnotsuggestingthatyoucopymystyletofindsuccess—farfromit.Aphotographer’smostvaluableassetishisorherpersonalvision.WhatIamsuggestingisthatthepathtodevelopingone’spersonalvisionmaytaketwistsandturns,butexperimentationandself-discoveryareextremelyvaluable.BecauseIlearnedmanyofmymethodsindependently,Imayworkinawaythatdoesn’tmakesensetosomephotographers.Imayformulatemorecomplicatedlightingsetupsthanaretechnicallynecessaryforsomesituations.Theresult,though,isalookthatiscompletelymine,thatsetsmeapart.MyclientsandcustomersappreciatethatIhaveadistinctpointofview.Everyphotographershouldhaveadistinctpointofview.Therealtrickis
showingit,andhavingthecouragetoembraceit.Hopefullythisbookwillcontributetoyourownjourneytoestablishapersonalvision.Thelessonswithinaremeanttobeaguideline,notastep-by-stepinstructionmanual.Isuggestthatyouprocessmytipsandtechniquesandthendeterminehowtheybestapplytoyou.IfyouandIphotographthesamethingwiththesameequipmentandthesamebasicsettings,weshould,ideally,getdifferentresults,becauseweeachseetheworlddifferently.Weeachviewlightdifferentlyandarecaptivatedbydifferentelementsofacomposition.Thosedifferencesaregood,andthey’rewhyphotographyissuchafascinatingartform.
Thisportraitisapuresunsetshot,inwhichIsilhouettedthemembersofSilversteintocreateadark,moodyimage.Becausetheimagelooksdifferentfromthetypicalgroupbandshot,ithelpedtobroadenthereachofmyportfoliotoappealtomoremainstreamcommercialclients.
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WhenonlocationwiththeMentawai,inIndonesia,Iestablishedrelationshipswithmysubjectsandbuilttrustwithothersbyenlistingthemtohelpmewiththeportraitshoots.
Inmanyways,myseriesonMountYasurisabouttheinterplayoflifeanddeath.Thepeoplelivingaroundthevolcanoarevibrant,andthevolcanoitselfis“alive”asanactivegeologicalforce,buteverythingaroundthevolcanoisdead.Thegroundiscoveredinash,thelandscapeislitteredwithdeadplantsandunforgivingrocks,eventheairisladenwithdeadlysulfur.Myimagesofthepeopleascendingthevolcanoandlookingovertheedgearemeanttohaveanatmosphericfeel.Iwantedtoshowtheirtruefeelingsaboutthevolcano,whichincludeaweandterror.
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AfewdistinctclanslivingonTannaIsland,Vanuatu,believethattheworldwascreatedfromMountYasur,anactivevolcanoontheisland.Afterdeath,theybelievetheirsoulstravelbacktothevolcano.Thevolcanoisaveryspiritualplaceforthem,somyfineartportraitseriesrevolvedaroundtheirrelationshipwiththemountain.I’dseenpicturesofthesepeoplebefore,butnotuponthevolcano.Theseimagesbringinmorebackgroundelementsthanmanyofmyotherportraits,toemphasizetheconnectionbetweenpeopleandlandscape.
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STYLE
IDEFINEMYSTYLEAS“CINEMATICPORTRAITPHOTOGRAPHY.”MYWORK COMBINES classic influences, such as that of the Dutch masterpainters,withreferencestocontemporarythemesfromfilmandtelevision.ButIdidn’t come to this artistic identity overnight. It took a great deal of time andeffort to home in on my unique personal vision, and then to develop thetechniquestomakeitareality.Inmanyways,Ihadtorejectsomeofthecurrenttrends toward fast-click photography and slow myself down, examine theprocess,andconcentrateonthefundamentalsofwhatIwasdoing.Thishasbeenanongoingendeavor.Anartistic style is foreverevolvingand improvinguponitself. I often look back onwork I once thoughtwas great and now see it asterrible.ThatisahealthyprogressionbecauseI’mconstantlytryingtoimproveuponwhatI’vedoneinthepast.
Thethreeportraitsshownhere,here,andherearefromthreedifferentfineartportraitseriesinthreedifferentpartsoftheworld,butshowaconsistentapproachtolighting,posing,andcomposition.Theimagesdon’tneedtobeidentical,butacohesivethreadhelpsunifyabodyofworkandprovideadistinctidentityforthephotographer.
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Inthedigitalage,it’sveryeasytooverlookyourresponsibilityasa
photographer.Thetechnologyavailabletodayisincredible.Ithasbecomesoeasytotakepictures.Digitalcamerasareaffordable,ubiquitous,andeasytouse.Socialmediamakeitasnaptosharephotoswithpeopleallovertheworld.It’sanexcitingtimeforthoseinterestedinproducinganddisplayingimages.However,justbecauseit’seasytotakeandsharepicturesdoesn’tmeanyoualwaysshould.Realphotographyisacraft,anartformthatrequirescloseattentiontodetails.Intoday’sfast-pacedworld,whenitcomestomakingimageswithanychanceatlongevity,it’simportanttoslowitdownanddoitright.It’scriticaltounderstandphotographyprinciplesandhaveavisionforyourimagefirst,beforeyouthinkaboutphotographing.It’saboutworkingtowardagoal,aspiringtowardsomethingdifferent.It’snotaboutsnappingoffthousandsofphotosandhopingyougetluckywithoneofthem.Ultimately,thephotographicprocessshouldresultinanimagethatsays
somethingaboutthephotographeraswellasthesubject.Ibelievestronglyinthisconcept.Asaphotographer,youinfluenceeveryscenethatyouphotograph.Itdoesn’tmatterwhetheryou’redirectingamajorcommercialshootorcapturingaphotojournalisticimageofaspecialmoment;bybeingthereyouareaffectingthescene.Yourpresencehasanimpactandthatimageshouldreflectyourhandinsomeway.Whatdoesthismean,exactly?I’mtalkingaboutputtingyourpersonalstamp
onyourphotography.Asaphotographer,anyimageyoucreateneedstocomefromyou.Itneedstohavethatlittlesomethingextrathatmakesituniqueandpersonal.WhenIwasakid,ifwegot100percentonaprojectinschool,itwasjustanA.TheonlywaytogetanA+wastogoaboveandbeyond,toaddsomethingspecial.Ioftenthinkofwhatmyfatherusedtotellmybrothersandme:“Dothejobrightthefirsttimeordon’tdoitatall.”ThatistheapproachItakewithmyphotography.Ineversimplytakeapicture.Isetupmyshots.Ithinkaboutthem.AndthenIexecutewithasmuchcareandprecisionaspossible.Iaimtogettheimagerightincamera,andalwaysaddsomethingextra,somethingthatwillmaketheimagedistinctlymine.EverythingIcreateisaproductofmypersonalvision.Mysuccessinthisfieldhasbeenbuilt,inlargepart,onadedicationtothatvision,aswellasanongoingefforttobeconsistentwithmypersonalbrandinthefaceofallotherinfluences.
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ThemostsuccessfulphotographersI’veknownorstudiedhavehadadistinctpointofview.Asaresult,theirworkisrecognizable.Thatlevelofcohesivenessiswhatseparatesthegreatimagecreatorsfromtheleaguesofpeoplewhojusttakepictures.It’salsowhatmakesyouamarketableentityinthehighlycompetitiveprofessionalmarket.Idecidedearlyontofocusonaparticularstyle.IfoundoutwhatIloveandwhatI’mgoodat,andIworkedatitashardasIcould.Mystylehasevolved,butthereisaunifyingthread;whenyoulookthroughmyportfolio,itlookslikeitcamefromonehand.Thatcohesivenessput
meinanichemarket.I’mnotgoodateverything,butI’mgoodatwhatIdo.Ifocused.Ididn’tgoaftereverysingleclient;Iconcentratedontheonesthatreallymatteredtome,theonesthatmakesenseformybusinessandhelpmeadvancemycareer.
Oneofthehallmarksofmystyleispositioningtheshadedsideofthesubject’sfacetowardthecamera,asinthiscommissionedportraitof50Cent.
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ThiscommissionedportraitfortheHistorychannel’sIRT:DeadliestRoadsisanotherexampleofmytrademarkstyle,withtheshadedsideofthesubject’sfacepositionedtowardthecamera.
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MypersonalvisionisverymuchaproductoftheenvironmentinwhichIwasraised.Iwouldn’tmakethesametypeofimagesifIwasbornatanothertime,orinanotherplace.Mystyleisheavilyinfluencedbymovies,television,and
moderncinematography.Ilearnalotfromwatchingmovies,especiallyinrelationtolighting.WhenIseesomethinginteresting,Itrytofigureouthowitwasdone.Similartomovielighting,Ioftenbuildsetsformycommercialworkthatincludeasweetspotoflightforthesubjecttomovewithin.Thesetypesofsetupsallowthesubjectstomoveandinteractmorefreely,andIcanworkwiththemonsubtletweakstooptimizethelightingeffectswithoutneedingtoreconfigurelights.Whilemyworkhasbeenheavilyinfluencedbymodernfilmandtelevision—
particularlythedramaticlightingsetupsandfluid,contemporarycompositions—Ialsolooktoclassicinspirations,suchastheseventeenth-centuryportraitpaintingsoftheDutchmasters.Ilovetheircompositionsandlighting.Thewaytheyposedsubjectsandrepresentedlighthasdefinedportraitstylesforcenturies.OneofthemostfascinatingfeaturesoftheDutchmasters’lightingistheirtechniqueofturningtheshadowsideofthesubject’sfacetowardtheviewer.Thisproducesamoredramaticlookwithawidetonalrangeintheshadows.You’llnoticeasimilarapproachthroughoutmyportraiture,particularlymyfineartwork.Thisinterplayoflightandshadowiscentraltomyphotographicstyle.
Somewherebetweenfour-hundred-year-oldpaintingtechniquesandcutting-edgecinematiclighting,I’vecraftedastylethatemphasizesmoodandatmosphere,wheremytreatmentofshadowscanbedramaticorsubtle,dependingonmyobjectivesfortheimage.Iunderexposemybackgroundstocreateadarker,moodierlookwithasmoothed-out,painterlyeffect,placingtheemphasisonthesubject.Thecolors,thetones,andthemoodfromthebackgroundsfeedintothecolors,tones,andmoodonthefacesofmysubjects.Aboveall,thereisacarefullycraftedharmonybetweenalltheelementsintheimage,sothefinalcompositionlooksrealbutidealized.Thelightingandothertechniquesshouldn’tbesodramaticthattheytakeovertheimage.There’sdrama,butjustatouch;everythingisintegrated.Iliketothinkthatthere’scohesivenessacrossallofmywork,fromthefineart
portraitseriestothecommercialimages.However,withinthatcontext,thedifferentimagesobviouslyvaryquiteabit,dependingontheirpurpose.Mycommercialworkisverymuchaboutpopularculture,andsoitfollowsthesignsofthetimes.Myfineartportraitslookmodernbutaremorepersonalandhavedifferentuses.Theyarefocusedexaminationsofeachsubject.Doingcommercialandfineartphotographyislikeworkingintwoseparateworlds.It’slikebeingarace-cardriverbydayandacabdriverbynight—twocompletelydifferentspheres;theyjusthappentobothinvolvecars.Inthesameway,commercialandfineartphotographyareverydifferent;theyjusthappentoboth
involvecameras.Whenyouaremakinganadvertisement,youwanttoorientittowardwhat
peoplewantorwhattheyaspiretobe.Forexample,Levi’sjeanshasacustomerbasethatreacheswellintomiddleage,buttheiradvertisingprimarilyshowsyoungerpeoplebecausetheywanttoprojecttheimageofyouth,asifputtingontheirjeanswillmakeyoufeelyoungagain.Anadvertisementismadewithphotography,butit’smorethanaphotograph.There’salwaysanoverarchingmessagerelatedtoabrand.Sotheimageneedstoworkwiththatmessageandadvancetheobjectivesoftheclient.Mystyleisimportant—afterall,Igethiredbecausetheclientisseekingaparticularlook—butthestylemustservetheultimatepurposeoftheimage,whichistosellsomething.Withfineartportraits,thepurposeoftheimageisentirelydifferent.
Photographerswhocreatefineartimageryaren’ttryingtosellaproductorgetpeopletoaspiretoacertainlifestyle.Itisallaboutthephotograph.Fineartimagescometogetherinaseriestotellaunifyingstoryaswell,butultimatelyitallcomesbacktothephotograph.Imentionthedifferencesbetweenthesetwokindsofphotographybecauseit
issoimportantforphotographerstocreateforthemselvesaswellasfortheiroccupation.That’showyoudevelopastyle,bymixingon-demandcreativityforclientswiththecompleteartisticfreedomofyourpersonalphotography.Oneinformstheother,andideallyeachsphereofyourworkwillhelpyouimprovetheotherandgrowasatotalphotographer.Soyes,it’slikebeingarace-cardriverbydayandacabdriverbynight,buttherearedrivingskillsinvolvedindoingboth,andhopefullyyoucanlearntobeabetterdriverbyblendingthebestofbothworlds.
InthisimagefrommyseriesonthesadhusofVaranasi,India,Iworkedcarefullywiththeambientlightandsurroundingcolorstoproduceaportraitthatisasnaturallookingaspossible.Byreducingthepowerofmyflashtoaddjustapopoflight,Ienhancedthesubjectsubtly,withoutproducingadramaticimpactontherestofthecomposition.
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TECHNIQUE
TECHNIQUE IS IMPORTANT, AS IS A STRONG FOUNDATION OFPHOTOGRAPHIC AND artistic principles. But the technical elements aren’tnearlyasimportantasthedirectionofyourphoto.Whetheryouuseonelightoreight,yourfirstthoughtshouldbehowthepicturewilllook—themood,thefeel,andthecharacter.Keepthetechnicalitiesinthebackofyourmindsotheydon’tget in theway of your artistic vision, and then apply those technical items asneededtobringyourvisiontolife.
LIGHTING
Forthisportfoliopiece,shottoappealtopotentialpharmaceuticalclients,Istartedwiththesunasastrongambientlightsourcethatdefinedthelookofthescene.Withthesunbacklightingmysubjectandprovidingawarmglow,Ijustneededtoaddsomeflashtotheforegroundtobrightenthefrontofthesubject.Myassistant,Morgan,rowedaboatalongsidethesubject’sboat,holdingaflashheadinalargeElinchromRotaluxSoftboxOctabesideher,aboveandtotheright,justoffframe.Thislightaugmentsthenaturallightofthescene,providingamainlightonthesubjectwhilethesunsetprovidesastrongbacklight.Byrowingalongsidethesubject,myassistant,Morgan(seethisimage)wasabletoholdtheoctaboxattherightdistancetoprovideappealingflashlightintheforegroundwhilethelightfromthesettingsunflaredinthebackground.
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MYLIGHTINGTHEORYISBASEDONASTEP-BY-STEP,ADDITIVEPROCESS.OnceIhaveaninitialvisionofthedirectionofaphotoinmymind,Isetuponelightatatime.IstartwithablanksceneandmakeanexposurewithoutanyartificiallighttodeterminewhatIneedtoadd.Ialwaysdotestshotswithatestsubject.Then,usingmytestsubjectasthestandinmodel,Isetuponelight,checkthesceneagain,thenmaybeanother,thenmaybeanother,andsoon.Idon’taddabunchoflightsatoncebecauseitcangetconfusingandIcan’tdetermineasclearlywhateachlightisaccomplishingintheimage.Instead,IprefertotweakeachelementinthecompositionindividuallysothatIaddonlywhat’snecessarytoaugmentthescene,nothingmore.Thatwaythelightservestheartisticvisionfortheimage,insteadofbecomingthedominatingfeatureoftheimage.Inmyearlywork,mylightingtendedtodominatethephotographs.Theimagesweremoreaboutdramaticlightandlessaboutthe“performance”ordirectionofthesubject.Nowadays,Itrytofindahappybalancebetweengreatlightingandgreatexpressionfromthesubject.
Understandinglightingfundamentalsisessentialtothisprocessbecauseithelpsmeusetheexistinglightsourcesmoreeffectively.Theprocessbeginswithobservingthelightthatispresentinthesceneandthentreatingthatasthebaselineforaddinganyadditionalelements.Let’ssayI’minacityandthesettingsunisreflectingofftheglasswindowsoftheskyscrapers.Inthisscenario,Iprobablyhavetwolightsourcesalreadyinplace:(1)thereflectedlightbouncingoffthebuildingscanbemymainlight,illuminatingthefrontofmysubject;(2)thedirectlightfromthesettingsuncanbemybacklight,addingdefinitiontothesubjectbylightingitfromtherearandseparatingitfromthebackground.Withthisbaselineestablished,IjusthavetoevaluatewhatelseIneedtotweakthescene.Whenaddinglight,Ialwaysstartwiththemainlight,whichshouldcoverthe
subject’sfaceorbody,dependingonthecomposition.Iwantthislighttohitallofthesubject(s)andcreatemostoftheimpact.Usually,themainlightistheonlylightI’lltweakduringaphotoshoot.Onceallthesupplementallightshavebeenestablished,theystayput.TheyprovideanareaofidealizedlightthatIkeepmysubjectwithin.However,I’llmovethemainlightaround,basedonthepositionofmysubjectandtheeffectsIwanttocreate.Afterestablishingmymainlightanddoingsometestshots,Ideterminewhat
elsetheimageneeds.Doesitneedabacklightorrimlight?Backlightcanbeanykindoflightcomingfrombehindthesubject,whilerimlightshinesspecificallyalongtheedgesofthesubject,separatingitfromthebackground.Iftheimageneedsoneoftheselights,Iaddit,test,andreevaluate.Doestheimagealsoneedsomebackgroundlightstoadddefinitiontothebackground?Ifso,Iadd,test,andreevaluate.ItgoesonlikethisuntilI’msatisfiedthatI’vecreatedtheperfectlighting“scene.”Throughoutthisprocess,I’msimplyaddingonelightatatimetomakethe
imagelooklikethepictureI’veconceivedinmyhead.That’swhyit’simportanttohaveavision,soyouhaveaguideforyourwork.However,youdon’twanttobetoorestrictedbythatvision,toodeterminedtore-createyourmind’simageexactly.AsIaddlight,Iobservemyscenecarefullytoseehowthedifferentelementsreacttoeachnewlight.Imightdiscoversomethingbyaccident,orstumbleuponalookthatIhadn’timagined.SomeofmymostsuccessfulimagesweretheresultofhappyaccidentsthatoccurredwhileIwassettingupashot.Sobeflexible,becauseyouneverknowwhatbrilliantlookyoumightcreate.Ilikedark,moodyimages,soIoftenunderexposemybackgroundstoget
atmosphericshadowsandblended,creamyshapes.However,youcan’tjustunderexposeaphotographandexpecttocreateatmosphere.Whenyoushootshadowyimages,therehastobealightcreatingtheshadows.Itypicallyshinethelightonthesideofthesubject’sfacethat’sawayfromthecamera,creatinginterestingshadowsonthesideofthefaceclosesttothecamera.ThisapproachisreminiscentofthetechniqueusedbytheDutchmasterportraitpainters,whichIdescribedinthepreviouschapter.Whenyoulightstraighton,thelightcanbeveryflatandyoulosedimensioninyoursubject’sface.Bylightingthefarsideoftheface,yougetmoodyshadowsandcreatesomedrama—howmuchdramadependsontheexactangleandpowerofthelight,andtheposeofyoursubject.
HereisanimagefrommyseriesonthesadhusofVaranasi,India.Aswiththisphoto,mygoalwastoworkwiththeambientlightandsurroundingcolorstocreateanauthentic-lookingportrait.Supplementallightisusedwithalighttouchtosubtlyenhancethesubjectwithoutoverwhelmingthesubject’senvironment.
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Sometimeswhencreatingthesedark,moodyimages,Ilosethesparkleinmysubject’seyes.Theshadows,particularlyonthecamerasideofthefacethatisshieldedfromthemainlight,canswallowuptheeyes.Inthesecases,Iuseacatchlighttoaddjustapopoflighttobrightenuptheeyes.Isetthepowerlowsoitwon’taffecttherestoftheimage,butitputsalittletwinkleintheeyes.Whenmodifyingmylightsources,Ifavorproductsthatprovidesome
variabilityinthelight.Makersofsoftboxesandotherlightingmodifiersarealwaystryingtocreateproductsthatproduceperfectlyflat,evenlight.Idon’tlikethatkindoflight.Iprefermodifiersthathavehotspotsandfeatheredlightfallingawayfromthosehotspots.Whenworkingwithsoftboxes,Ioftenremovetheinnerbaffle,whichisjustanotherlayerofdiffusionmaterialinsidethe
softbox,intendedtofurtherspreadoutthelightandavoidahotspotinfrontofthebulb.Iwantthathotspot,andIusethebrighter,concentratedareaoflighttomyadvantage,eitherdirectingitstraightatmysubjectforahigh-contrast,dramaticallylitportraitoraimingitjustoffmysubjectforasofter,lesscontrast-yappearance.Inmanyofmyportraits,especiallytheenvironmentalportraitsformyfineartseries,thefocalpointofmymainlightactuallymissesmysubjects,sotheyareilluminatedbythefeatheredlightthatfallsofffromthatcentralhotspot.Workingthiswaymeansthattheeffectofthelightchangesremarkablywhen
youmovethesoftboxevenjustafewinches.Aimthesoftboxinonedirection,andthelight’shotspotmightfallmoredirectlyonthesubject,creatingastrongerlightingeffectandahigher-contrastportrait.Tiltitjustaninchortwoinanotherdirection,andthehotspotmightmissyoursubjectcompletelysoheorsheisilluminatedbyonlyedgelight,causinglesscontrastandmorevariableshadows.Thedifferenceisprofoundandoftenjustamatteroftwistingyourwristeversoslightlywhenpositioningthelight.
Forthisprofileportraitof50Cent,shotforaVibemagazinearticle,IusedaProfotoProflashheadmodifiedbyasilverbeautydishasmymainlight.Positionedabovethesubjectandaimeddownathimata45-degreeangle,thislightprovidesthemainilluminationofthesubject.Ifocusedthelightwitha20-degreegridtocreatemoredirectedlight.Beneath50Cent’sface,justbelowtheframe,Ihadanassistantholdanotherflashheadinastripsoftbox,turnedtolowpowerandaimeduptoprovideabitoffillandsomesparkleinhiseyes.
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EXPOSURE
ASI’VESAIDEARLIER,IUNDEREXPOSETHEBACKGROUNDTOEMPHASIZEthesubjectandprovidethedark,moodylookthathasbecomemysignature.Forcommercialshoots,I’lloftenunderexposethebackgroundbutkeepthesubjectinproperexposurebyilluminatinghimorherwithmultiple-lightsetups.Thebackgroundgoesdarkerwhilethesubjectisinperfectlight.Formyone-lightfineartportraits,Ioftenuseacombinationofunderexposing
thebackground,applyinganeutraldensityfiltertoacorrectlyexposedsubject,andaddingasinglelightonthesubject.Idiscussthistechniqueinmoredetailin“TheCradleofMankind”chapter,butthebasicsofthemethodinvolvemeteringmysubjectcorrectly,thenmeteringformylights,thenapplyinga2-stopneutraldensityfilteronmycameralens,andfinallyturningmylights2f-stopshighertocompensateforthefilter.Mysubjectremainsproperlyexposedbecauseofthehigher-powerartificiallight,whilethebackground,whichhasnoartificiallight,exposes2f-stopslower,givingadarker,moredramaticlook.Thetechniquealsoletsmeshootatawideraperture,likef/2.8orf/3.5,whichkeepsthebackgroundinsoftfocusforacreamy,painterlyappearance.
Whilemysubjectremainsinproperexposurebecauseofacombinationofpowered-upflashandaneutraldensityfilteronmycameralens,myintentionalunderexposureofthebackgroundturnsitdarkandmoody.
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COMPOSITION
IhadphotographedalltheseyoungEthiopianwomenoftheDaasanachtribeindividually,beforewesetupthisgroupshot,sotheyunderstoodthebasicprocesspriortothecreationofthismoreadvancedcomposition.Theyputthemselvesinaninterestingarrangement,andthenImovedthemalittletooptimizethecomposition.Theideawasnottomakeeverythingsymmetricalorregimented,buttocreateanaturalflowthattheviewer’seyecouldfollowacrosstheimage.Themaninthebottomrightcorner,intheboat,wasjustsittingtherewatchingthescene.Hehadnoideahewasalsointhepicture.
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ALOTOFPHOTOGRAPHERSLIKETOEMPHASIZECERTAINfacialfeaturesbycroppingtheirimagestoconcealpartoftheheadorface.Idon’tlikethisapproach,thoughIuseitnowandthenwhenthesituationisright.Iprefercompositionsusedbytheoldmasterportraitpainters,whichalmostalwayskepttheentireheadinview.Iarrangemysinglesubjectscentrallyortooneside,oftenusingthe“ruleofthirds”(composingtheimagewitha3×3grid),andI
balancethebackgroundelementstoavoiddistraction.Groupshotshaveamorecomplexcompositionsincethereneedstobea
balancebetweenthedifferentpeopleintheframe,aswellasthebackgroundelements.Thekeyistoconsiderallofthepiecesoftheimage—thepeople,thenaturalelementsintheframe,thelight,thesky,anythingthataffectshowtheviewer’seyemovesthroughthepicture.Alloftheseelementsneedtoworkinharmonysotheimagehasasmoothflow.Theydon’tneedtobelinedupevenly,orevenneatly.Therecanbesomevariabilityinthecomposition.Buttheviewer’seyeneedstoproceedfromoneelementtoanotherwithoutgettingstuckordistractedbypartsoftheimagethataren’ttheintendedfocus.
POSING
TheseMentawaimenstoodcandidlyinfrontofmycamera,eachofthemshiftinghisweighttothebackleginamannerthatIoftensuggesttomysubjects.Theposemakesthesubjectlookrelaxedandnatural.
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MYPOSINGUSUALLYBEGINSBYGIVINGMYSUBJECTSANAREAINWHICHtostandandthenseeingwhattheydointhatspace.Iwanttoseewhattheirnaturaltendenciesare.Imightoffersmalltips,suchas“Lookupmore,”or“Turnyourheadtotheside,”butItendtoenjoypeople’snaturalposesthemost.Forthisreason,Iloveworkingwith“real”people,especiallypeoplewho
haven’tbeeninundatedbyimagerytheirwholelife,suchasthetribalpeopleI
photographedinEthiopiaandIndonesia.Theyaren’tconditionedtocommercialimages,sotheydon’twalkinfrontofthelenswithanypreconceivednotionsofhowtheyshouldlook.Theytendtojuststandtherewithoutanyself-consciousness,andyoudon’thavetobreakthemofanybadposinghabitsbornfromwatchingtoomanymodelingshowsonTV—likepuckeringtheirlipsortryingtomaketheirjawmuscles“pop.”Whenworkingwithpeoplewhoaren’tusedtobeingphotographed
professionally,thefirststepistohelpthemfeelcomfortableandrelaxed.Ifyoucangetthesetypesofsubjectstolettheirguarddownabit,youcancreatesomeintriguing,genuineportraits.Ioftenstartbygivingmysubjectsamarkertomovearoundwithinmylightingsetup.Iwantthemtotrytobethemselves.Iftheyremainstiff,Imightsuggestthatwetakeabreak,andwhileI’mfiddlingwithmycameragearorattendingtosomethingelse,I’llkeepaneyeonthem.Iftheyrelaxandsettleintoanatural-lookingpose,I’lltellthemtoholdit,andI’llstartworkingagainfromthatstartingplace.Ifasubjectpersistsingivingmeastiffstanceandcan’tseemtosettleintoanaturalpose,Iaskhimorhertoputonefootbehindtheotherandthenshiftweighttothebackfoot.Thatmovechangesthedimensionofthebody,adjustingtheshouldersandposture.Withbiggroups,Iusesomeofthesametechniques,butobviouslyI’mfaced
withamajorchallengeifseveralmembersofthegroupareuncomfortable.Fortunately,groupshaveabuilt-inmechanismforrelievingtension,whichisthesocialconnectionofbeingonsettogether.Ibeginbyputtingeveryoneinmylightingsweetspot,thenIadddimensionbyarrangingsomepeopleinfrontandsomeinback,staggeringthemacrossthescenesothey’renotallstandinginastraightline.ThenIgiveitsometime.Idon’tstartphotographingimmediatelybecausemysubjectswillstillbestiff.Idosomethingelsethatlooksimportantforafewseconds.Asthegroupmembersrelaxandstarttalkingtoeachother,theyunconsciouslyadjustthemselvesintoposturesthatarenaturalforhumaninteraction.Theyreleasethetensionintheirshouldersandturntowardeachothertoeaseconversation.Whentheysettleintothosenaturalposes,I’lltellthemtofreeze.Imightmakesmalladjustments,liketurningtheshouldersofthesubjectsontheoutsideofthegrouptowardthemiddle,whichdrawstheviewer’seyetowardthecenterofthecomposition.WhenI’vemadethosetweaksandachievedthemostnaturalposesIthinkI’mgoingtoget,Istartphotographing.
FINEARTPORTRAITS
My biggest passion is traveling the world, meeting interesting people andmaking portraits of unique individuals from different cultures. My fine artportrait series have taken me from the sidewalks of my neighborhood to thetriballandsofEthiopiatothetopofavolcanoinVanuatu.
While each of these series bears subtle artistic distinctions, my photographicfundamentals are the same. I travelwith one light, a studio-quality flash headmodified by a large octagonal softbox. I power the light with a battery pack,whichmy assistant and I lugwith uswhereverwe shoot.My typical lightingapproachinvolvesholdingthelightaboveandtoonesideofthesubject,aimingitdownat about a45-degreeangle, andusing thedistinct light featuresof theoctabox to produce moody, dramatic portraits. I typically underexpose mybackgroundandshootwitha shallowdepthof field foramorepainterly look.These shootingmethods form the basis ofmy approach to all photography—personal and professional. However, exactly how I apply light, exposure,composition,andposedependsoneachsubject,eachsetting,andmyobjectivesforthatparticularimage.
THECRADLEOFMANKIND
INMANYWAYS,THEIMAGESFOR“THECRADLEOFMANKIND”—ANDTHEPROCESSusedtocreatethem—provideaglimpseintomyoverallthinkingasaportraitphotographer.ThiswasapersonalprojectthatIcarriedoutwithseveraltribesintheOmoRiverValley,aremoteregioninsouthernEthiopia.Thesephotographstellastoryoftrust,relationships,andrespect,andthepatientapproachrequiredtobuildthoseelementsintoacohesivecollectionofimagery.Theseportraitsareaboutuniquepeoplesandtheirrolesasparticipantsinthemodernworld.Theyarestories.Theyaremonographs.Theyarepiecesoftheseendangeredtribes’evolvinghistories.BeforevisitingthetribesoftheOmoValley,Ihadbeeninterestedintheway
thepeoplehadbeendepictedphotographically.Atthesametime,Iwasinspiredtotelltheirstoriesinadifferentway.Muchofthephotographycapturedinthispartofworldisphotojournalisticorreportage.Therearemanyimagesthatshowthesetribesasiftheywerepiecesofhistory.Isawalotofpicturesofpeopleholdingspearsanddressedastheywouldhaveonehundredyearsago.Yes,manyofthetribesoftheOmoValleyhadbeenlivinganancientlifestylethathadn’tchangedinasignificantwayforthousandsofyears,butmuchofthathaschangedinthelastfiftyyearsorso.Today,thesepeopleareaffectedbythemodernworldmorethaneverbefore.WhenIwenttothevalley,peoplewerecarryingautomaticweapons,wearingsomeWesternclothing,andwereintouchwiththeoutsideworld.Theyareundoubtedlypartoftoday’sworld,caughtbetweentheage-oldcustomsoftheirpastandtheprospectofanew,morehecticfuturethat’sincreasinglyintegratedwithcontemporarysociety.Withthatinmind,Iwantedtobringtheimagesintothemodernerabecause,althoughthesepeoplemightbewearinggoatskinsandsleepinginhuts,theyarelivinginthesameworldthatIam.Thismeantimbuingtheimageswithasenseofdignity.Theseindigenous
peoplehavebeenexploitedbygovernmentsandmoderncorporationsoverandoveragain.Theyareviewedasunsophisticatedoutcasts,andtreatedalmostthewayNativeAmericansweretreatedwhenAmericawascolonized—likebackward,primitivepeople.However,theyhaveaveryorganizedbeliefsystemandsociety;it’sjustdifferentfromours.SoIwantedtogivethemasenseofdignityintheportraits.
AnelderoftheHamertribe,Bonaisthehighlyrespectedchiefofhisvillage,Labaltoy.InHamerculture,Bonaisnotacommonnameforahuman;it’snormallygiventoanaggressiveanimal.Bonareceivedthisnameasayoungsteraftershowingsignsofaggressionandstrength.Hisscarificationisasymbolofthetribe’senemiesthathe’skilledinbattle.WhenIsawthescarsunderneathhisWesternclothing,Iwantedtophotographhimwithhischestandtorsoshowing,toillustratetheclashofculturesembodiedinthisoneperson.
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Thisseriesincludesalotofclassicalposingwithsubjectslookingoffcamera.Yetatthesametime,theimagesaremodernstylistically.Iwantedtobringinelementsoflightingandcolorthatweredifferentfromthetypicalapproach.
AnelderoftheKarotribe,Biwaisrespectedandwelladornedasawarrior,carryingrowsofscarificationrepresentingtheenemieshe’skilledinbattle.Posingwithhisautomaticweapon,BiwademonstratesthecontrastsevidentinthechangingworldoftheOmoValleyasmoderninfluencesbecomemoreand
moreprevalent.
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ThefeatheredheadpieceofthiselderoftheMursitribesymbolizesanoblewarriorwhohasearnedagreatdealofrespect.Iphotographedhimwiththesunbehindme,makingitdifficultforhimtolookinmydirection.Hehadseenotherslookingatthelens,sohekepttryingtodothesame,squintingashestaredintothesun.Isuggestedthatheturnhisheadtotheside,andwhenhedid,it
providedtheperfectlookforthisportrait.
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MAKINGITHAPPEN
ExecutingmyphotographicconceptintheOmoValleywasextremelydifficult.Theareahadbeenphotographedoverandoveragain,andthepeopletherehadgrowndisillusionedwithphotographerswho’dshowup,takesomephotographs,andthendisappear,nevertobeheardfromagain.
MYETHIOPIACAMERABAG
•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs(theformerforthefirsttwotrips;thelatterforthethird)
•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3(1f-stopofexposure),0.6(2f-stops),and0.9(3f-stops)increments
•Powersource:ProfotoPro-7bbatterypack
Myfirstobjectivewastogaintheirtrust.Duringmyfirstvisit,theinteractionswerealittleconfrontational.Ispentagreatdealoftimegettingtoknowmysubjectsandestablishingagoodfoundation.Beforeembarking,I’ddonemyresearch.I’dmadesurethatIcomprehended—asbestIcouldfromtheothersideoftheplanet—thetribes’culturesandbeliefsystems.WhenIarrivedintheirhomeland,IdemonstratedthatIunderstoodandrespectedtheirbeliefs.Thisimmediatelyseparatedmefrommanyotherphotographerswhohadvisitedthearea.Iknewtheprocesswasstartingtoworkwhenthepeoplestartedflippingmyquestionsonme—askingwhereIwasfrom,howourcultureworks,howwegetmarried,whatourhouseslooklike,howmanycowsIown,whatourcurrencyis,andsoon.Afterawhilespentgettingtoknowthepeople,learningtheirnames,andmakinganassofmyselftryingtodoastheydid,theystartedtotrustmealittle.That’sagoodtimetostarttakingpictures.Atthetimeofwritingthisbook,I’dmadethreetripstotheOmoValley,
totalingfourandahalfmonths.Duringmyfirsttrip,IestablishedrelationshipswiththepeopletherewhileIcreatedportraits.Digitalphotographyisfantasticforbuildingtrustwithskepticalsubjectsbecauseyoucanimmediatelyshowpeoplewhatyou’redoing,evenifit’sjustasmallimageonasmallLCDscreen.Ayearaftermyfirsttrip,Ireturnedtotheareawithlargeprintsoftheportraitsandgavethemtomysubjects.Thisnotonlyhelpedimproveourrelationships,
butalsogavethepeopleabetterconceptofwhatIdo.Forthethirdtrip,Icreatedaseriesofportraitswithblackbackdropsfashionedoutofacollapsibleblackreflector.Whileinteractingwithmysubjects,wetalkedaboutthewaywecommunicate
inourcultures.IexplainedthatWesternersareaccustomedtoamorevisualstyleofcommunication,asopposedtothestory-basedoralhistorypracticedthroughouttheOmoValley.Weshowthingsandtellourstorieswithimages.Thatwentalongwaytowardhelpingthemunderstandtheconceptofphotographyandtheultimatepurposeofmyimages.ThefirsttimeIwenttoEthiopia,Icarriedamobilegeneratortochargemy
ProfotoPro-7bbatterypack.ButIhatedusingitbecauseitwasloudandobnoxiousinthecontextoftheseremoteplaceswherepeoplehavenoelectricity.
MYRETURNTOETHIOPIAWITHLARGEPRINTSOFIMAGESFROMMYFIRSTTRIPWENTALONGWAYTOWARDESTABLISHINGTRUSTANDTAKINGMYRELATIONSHIPWITHTHEPEOPLETOAHIGHER
LEVEL.
ThisportraitofaMursiwomanillustratesmytechniqueformixingaproperlyexposedsubjectwithanunderexposedbackground,usinganeutraldensityfiltertoallowmetoshootwithanopenaperture.Theclaydiskinsertedintothewoman’slowerlipisaMursitradition.Thepiercingbeginsaroundpuberty,anditisstretchedlargerinsmallintervalsoverseveralyears.TheMursiwereoneofthemostdifficulttribestophotograph.Theyareveryfierce,whichyoucanseeinthiswoman’seyes.AsIwasposingherforaportrait,Ididn’tevenrealizeherbabywasunderhergoatskinclothing.Thenthebabyemergedandstarted
nursingrightasIcapturedthisimage.
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Forthesecondtrip,Iusedsolarpanelstochargeacarbattery.ThenIusedthebatterytopowermylightsduringtheday.Atnight,IusedthebatteryasaninverterandpluggedmyProfotoPro-7bintoit.IactuallyenjoyedthismethodmorebecauseitlimitedthenumberofflashesIcouldmakeinadaytoabouttwohundred.SoIhadtoreallythinkabouteverypictureItook.EverythinghadtobeasclosetoperfectaspossiblebeforeIwoulduseoneofmyflashes.Itremindedmeofshootingwithfilm,whenyouwouldn’twasteframesonpicturesthatwerejustgoingtoendupontheeditingroomfloor.Puttingyourselfinthattypeofsituationmakesyoumorecreative,becauseyou’reextremelyfocusedoneachimage.Ispentagreatdealoftimesettingupandconsideringeachportraitbeforethe
subjectevenarrived.Iwantedtoestablishaconsistentsetuptoprovidecohesionthroughouttheimages.Foralloftheindividualportraits,Iunderexposedthebackgroundalittletodropmoreemphasisontothesubjectandprovideanatmosphericlook.Toaccomplishthiseffect,Iusedacombinationofunderexposingthebackground,applyinganeutraldensityfiltertoacorrectlyexposedsubject,andaddingasinglelightonthesubject.Let’ssaymysubjectisamanstandinginfrontofariver,backlitbythesetting
sun.FirstImeterthesubjecttoestablishthecorrectexposure,aswellasthecorrectpowersettingformylight,whichwillshineonlyonthesubject.NextIputaneutraldensityfilteronthelens,whichessentiallydropstheexposuretwof-stops.It’slikeputtingsunglassesonyourlens.Thisallowsmetoshootatf/2.8foranice,shallowdepthoffieldandasoftbackground.Atthispointintheprocess,boththesubjectandthebackgroundareunderexposed,butthenIturnmylightstwof-stopshighertocompensatefortheneutraldensityfilter.Sothesubjectisproperlyexposedbecausehehaslightshiningonhim.Meanwhile,thebackgroundistwof-stopslower,andsodarkerwithoutanyartificiallightilluminatingit.ThisisthelookIwant—adark,moodybackgroundwithawell-lit,well-exposedsubject.Whynotjustturnthelighttwostopslowerandavoidbotheringwiththe
neutraldensityfilter?BecauseI’mshootingwithamedium-formatcamerawithasyncspeedof1/125sec.—thefastestshutterspeedyoucanusewithaflashwithoutlosingpartofyourcompositiontodarkness.Shootinganyfasterthanthat,aswouldbenecessarywithanopenaperture,you’dgetablackcurtaininyourpicturebecausethecamera’ssecondshutterwouldalreadybemoving
acrossthefocalplanetoclosewhiletheflashwasstillilluminated.You’dendupwithanunsightlyblackobstructionacrosspartoftheimage—notideal.Toworkaroundthisissue,Iusetheneutraldensityfilterwiththestrongerlightshiningonthesubject,andthebackgroundleftinpartialdarknessduetounderexposure.WeusedaProfotoProflashheadwithanElinchromRotaluxSoftboxOctafor
thisproject.Ialwayspositionedthelightinawaythatmademyassistant,RyanMcCarney,crazy.Ididn’tdothistobeannoying;mereinchesmakeahugedifferencewhenworkingwiththeRotaluxOcta.Thelightshinesoutfromthecenterandwrapsaroundtheedges,makingitflatandharshinthemiddlebutmorefeatheredandappealingaroundthesides.Itwilleitherlookreallygoodorreallyterrible,dependingonitspositioninrelationtothesubject.Myobjectivewastointentionallymissthesubjectalittlebitsoheorshewouldn’tbeblownoutbyharsh,directlight.Instead,thelightfallingonthesubjectwouldhaveasofter,featheredlook.UsuallyIplacethemainfocalpointofthelightalittleinfrontofthesubjectsothecentralfocusofthelightisonthegroundandnotashoulderorface,orsomewhereelsethatwouldbedistracting.Lightonlymeanssomethingwhenithitsthesubject,sothewayithitsthesubjectiscrucial.Thedifferencebetweensomethingreallyamateurandreallyprofessionalismereinches,sometimesless.Iinstructedmyvoice-activatedlightstand,Ryan,toholdthelighthigherthan
theeyelevelofmysubjects,angleddownatroughlya45-degreeangletoadddepth.Withthistechnique,IwastryingtoemulatethelightoftheoldDutchmasterpainters,givingmyportraitaradiantdepth.Inmostcases,Iusedthelate-daysunasabacklight.Withthesettingsun
positioneddirectlybehindmysubjects,Igetanicerimlight.(Iusethismethodinalotofmycommercialworkaswell.)TherewereonlyafewimagesinwhichIdidn’tbacklight.IntheseshotsIsetupmyflashtocomefromthesameangleasthesun,usuallytoonesideofthecameraatabouta45-degreeanglefromthesubject.Thistechniqueaugmentsthesunlightbymakingitalittlelessharsh.Themodifiedartificiallightissofterandhelpstakethebiteoutoftheharsh,directsunlightshininginthefaceofmysubject.
Duringmysecondvisit,whileonawalkatsunriseonemorning,IcameacrossthisKarowomanbyanoverlook.Unlikesomeoftheimagesfrommyfirstvisit,wherethereisanoticeabletensiononmysubjects’faces,thisportraitexhibitsamorerelaxeddemeanorfromthesubject,whobynowhasgottentoknowmealittle.Theportraitdemonstratesthenoticeablejumpinmysubjects’comfortlevelfromthefirsttothesecondtrip.Thiswoman’smotherly,confidentexpressionistheproductofayear’sworkwiththesetribes.
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AportraitofRufo,oftheArboretribe,backlitwithlate-daysunandilluminatedwithasinglelightsourcefromcameraright.Anopenapertureandunderexposureofthebackgroundhelpitfadeintoasoftblurtoemphasizethesubject.
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ThissetupshotcomesfrommythirdtriptotheOmoValley,whenIconcentratedonaseriesofportraitsinfrontofablackbackdrop.Youcanseetheheight,angle,andproximityofthelightsource,whichistypicalofmyworkinthisseriesandotherfineartportraitprojects.
BaloisagirlfromtheDaasanachtribe,shownhereposingbytheOmoRiver.Asinglelightsourcefromcameraleftilluminatesthesubjectwhileanopenapertureandunderexposureofthebackgroundhelpsfadeitintoasoft,darkpaletteofcoolcolors.ShootingbytheOmoRiverhasalotofsignificancebecausetheriveriscentraltothesetribes’entirelifecycle.Cropsarewateredbyanannualflood.Theyfishtheriver,huntgamebyitsbanks,anduseitforbathing.Adamprojectisintheworksthatwouldstopthiswayoflife,sopictureslikethisonemightbe
irreplaceableinadecade.
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ThepeopleoftheOmoValleywereusuallyquiteeasytoposebecausetheyhaven’tbeeninundatedbyimagerytheirwholelives.Theyareunconditionedtocommercialimages—television,billboards,magazines.Isimplysetupmylighting,positionedmysubjectinanareaofgoodlight,andthenaskedhimorhertostandtherenaturally.Theydidn’tposeormakefacestheythoughtwereattractiveormodel-like.Theyjustbehavednaturally.Thegroupcompositionstookmoretime.Forthoseimages,Ididmore
directingintermsoftellingpeoplewheretostandandarrangingtheindividualssotherewasanaturalflow.Usually,Iassignedeachpersonaspacetostandorsitin,andthenI’dseewhatthatpersondidinthespacenaturally.SometimesItoldthemtolookupordown,orawayfromthecamera,butmostofthefinalposingcamenaturallyfromthesubjects.Compositionally,thegroupshotshadmorecomplexity.Mygoalwastofinda
balancebasedonwhatwasintheframe—bothpeopleandnaturalelementsinthesurroundingscenery.Thisisaprocessthatrequiresanintuitivesenseofflow.Howdotheelementsintheframedrawyoureyefromonetoanother?Thecompositionalelementsdon’thavetobesymmetrical,butthereshouldbeasequencethatgrabsyourattentionandaddsinteresttotheoverallimage.
Whenyoudon’thavetwolights,youcanalwaysusethesunasasecondlight.ForthisportraitofRufo,thelate-daysunwaslowintheskyandattheperfectangletofitintheframe.Iusedherveiltodiffusethelight,providingagreenishhuetotheimageasthesunlightfilteredthroughthetranslucentfabric.
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DuringmythirdtriptotheOmoValley,Ifocusedmyworkonaseriesofportraitsconductedinfrontofaportableblackbackground.Mybasicphotographicfundamentalswerethesame,buttheblackbackgroundsallowedmetobringevenmoreattentiontomyuniqueandfascinatingsubjects.
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Onourwaytophotographanothertribe,weencounteredafuneralforawomanoftheBodiMe’entribe.TheBodiMe’enhavetraditionallybelievedthatthereisanevil,cannibalisticspiritamongthem,sowhentheyburysomeone,theyguardthebodyforacoupleofmonthstoprotectitfromtheevilspiritthatmaytrytostealthebody.Theyhavealsofearedbeingpossessedbythisspirit,sotheycometothefuneralarmedandpreparedtoprotecttheirdeadandthemselves.OvertimetheBodiMe’en’sfearshavefaded,andthishasbecomemoreofacustomarypractice,butthesuperstitionstillexistsamongsomeofthemoreremoteBodiMe’enclans.AsIwasphotographingthemanontherightwiththegun,otherpeoplecameovertoseewhatwasgoingon.Thiscompositionjuststartedtounfold,soItookafewstepsbackandcapturedtheentirescene.Thestormcloudsintheskyaretypicalofthistimeofyear.IintentionallytraveltoEthiopiainOctoberorNovember,atthetailendoftherainyseason.Thereisn’tasmuchrain,butyoustillgettheseatmosphericstormclouds,whichmakegreatbackdrops.Thecloudyskyalsooffersasofter,flatterlightthatworkswellwithmyunderexposuretechniqueforanalmostpainterlyappearance.
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HALLOWEENINBROOKLYN
IN2010,ITRIEDDESPERATELYTOGETTOTHEMAHASHIVRATRIFESTIVAL,ANannualHindufestivalcelebratingthegodShiva,inVaranasi,India.Duringthefestival,devoteesofferBaelleavestotheLordShiva,fastallday,andthenholdanall-nightvigil.HinduholymenparadearoundwithRudrakshaseedsaroundtheirneckastheymarchtowardtheGangesRivertotakeasacredswim.Unfortunately,adelayedadvertisingshootinDubaiforcedmetomissthefestival.IfIcouldn’tmakeittoIndiaforMahaShivratri,maybetherewasanevent
closertohomethatwouldprovesimilarlyinteresting.IstartedthinkingaboutfestivalsintheUnitedStatesandCanadathatmightappearstrangetoanoutsideobserver.Halloweencametomind.AlthoughIrecognizethatHalloweenandMahaShivratriarecompletelydifferent,theybothincludeelementsthatseempeculiartopeopleunfamiliarwiththecustoms.Asaphotographerinterestedinpeople,it’sausefulexercisetooccasionallystepoutsideofyournormalthoughtprocessandobservetheculturesandtraditionsaroundyoufromadifferentperspective.Whenyoustepbackandlookattheworldasanoutsider,youdiscovernewthingsthatwererightinfrontofyouallalong.Becomeanobserver.Youdon’thavetotravelhalfwayaroundtheworldtomakeengaging,atmosphericportraitsoffascinatingcharacters.Sometimesyouonlyhavetotravelaroundtheblock.IliveintheBushwickneighborhoodofBrooklyn,apredominatelyPuerto
RicanandDominicanareathatisfulloflife.Althoughit’soneofthemostimpoverishedneighborhoodsinNewYork,itboastsarichculturalflavor.OnHalloween,thekids’costumesarejustaselaborateandcreativeastheyareinanywealthysuburbanneighborhood.Parentswatchcarefullyovertheirchildrenastheywalkdoortodoorseekingthenexttreat.It’sHalloweeninBrooklyn,andithappensonlyonceayear.Mygoalwiththisserieswastocreatetimelessimagesofapopularcontemporarytraditionthatwouldmakeviewersfeelasiftheywerelookingatphotographsofastrangeforeignritual.
Thisimagesumsuptheseriesinmanyways.ThechildisincostumebutisalsowearingaBrooklynhat,placinghiminmysettingunmistakably.ThechocolateonhisfacespeakstothecandyfrenzythatoccursonHalloween.Heisfacingintothelight,withtheleftsideofhisfacefallingintodramaticshadow.Theshadowsideofhisfaceisstillorientedtowardthecamera,butthehead-onlightingilluminateshisfaceclearly,showingthechocolatesmudges.Ihadhimpositionthebrimofhishatawayfromthelight,soitwouldn’tproduceextrashadowsthatwouldhaveobscuredhisface.
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MAKINGITHAPPEN
Iwantedtophotographaseriesofportraitsfromtheperspectiveofaforeignerlookingin,asifIweremakinganethnographicstudyofallthecostumes.Ichosetophotographmostofmysubjectsonablackbackgroundtofocusonthepeopleandtheircostumes.Inmanycases,Ipurposelyincludedtheedgesofthebackdropintheframetoplayoffofthe“homemade”feelofthecostumes.Thebackdropseparatesthesubjectfromthebackground,butbyshowingtheedges,itsuggeststhattheywerephotographedonlocation,outside,onthestreet.Throughoutthisseries,IworkedinenvironmentalshotstoplacethesubjectsinBrooklyn,showingsomeofthesidewalkorthepathwayofMariaHernandezPark.
MYBROOKLYNCAMERABAG
•Camera:PhaseOne645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Light:ProfotoProflashhead•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:KataHikerbackpacktocarrythebatterypack;PhotoflexTelescopicLitediscHoldertoholdupthebackground
•Powersource:Pro-7b
IusedaportablelightingsetupsimilartomysystemfortheEthiopiaseries(ProfotoPro-7bbatterypack,ProfotoProflashhead,ElinchromRotaluxSoftboxOcta).Thissystemismobile,andnothingtouchestheground(myassistantsheldtheRotaluxOctaandbackgroundandwecarriedthebatterypackinabackpack),soIdidn’tneedapermit—notthatanyonewouldhavecaredinBushwickanyway.Theonlyrulewastobecourteousandmoveoutofpeople’swayastheypassedonthesidewalk.Ihadeverysubject,orthelegalguardianofeverysubject,signamodelrelease.Thiscoveredmeforfutureuseoftheimagesandprovidedacontactaddresstomailmysubjectsprintsoftheirportraits.
ThisimageshowstwotypicalkidsinBushwick.Onehasamaskandtheotherdoesn’t,sohishoodservesashisHalloweenoutfit.Ichosetocomposethisimagewiththeparkshowingoneithersideofthebackground.ByunderexposingthebackgroundwiththesametechniqueIusedintheEthiopiaseries,thesceneryinthebackgroundappearsdarkandominous,fittingforHalloween.
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Mybackgroundwasasimplepieceofblackfoamcore,purchasedfortwentydollarsfromapaintstore.IriggedaPhotoflexTelescopicLitediscHoldertothebackwithanabsurdamountofgaffer’stapesothatanassistantcouldholdit.Oneassistantwouldstandbehindthesubjectandholdthebackgrounduprightwhilekeepingherselfhiddenbehindit.Myotherassistantwouldholdthelightabovethesubjecttocamerarightorleft,aimeddownroughlyata45-degreeangle.Bothassistantshadtheirhandsfull,asOctober31wasextremelywindythatyear.ThereweremorethanafewoccasionswhenIthoughtoneofthemwouldflyaway!
Whilethisphotomayseemcurrentbecauseofthepopiconrepresentedbythechild’scostume,yearsfromnowitwillbecomeanostalgic,historicalimageasoursuperheroeschangeandpeople’scostumesevolve.That’swhyIdidtheseriesinblackandwhite;theseimagesarepiecesofachanginghistory.
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Myportablestudio,completewithmobilebackdropandvoice-activatedlightstand.
Itooktwophotographsofthischild.Inthefirst(notpictured),he’sjuststandingtherewithhishandsdown.WhenhesawtheflashgooffinthebigRotaluxOcta,hemusthaverealizedthatitwasalegitphotoshoot,sohedecidedtogetincharacterforthesecondshot.HeslowlyraisedhishandintheairlikeBatman,andIcapturedthisimage.
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Ilovethisimagebecausethedadisabig,toughguy,buthe’ssharingthistendermomentwithhisson.Thecontrastbetweenthetoughguyandlovingdadhelpsmakeitatouchingportrait.TheposingisreminiscentofportraitpaintingfromtheDutchGoldenAge,whentheoldmastersoftenposedsubjectssothatonepersonmakeseyecontactwiththeviewerwhiletheotherlooksaway,offframesomewhere.Whendoneinalandscapeorientation,thistypeofposecanbepowerful,givingbothaconnectiontotheviewerandasenseofrealismtothesubjectsinthescene.
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Thisguyisaneighborhoodclown.He’salwaysintoxicatedinonewayoranother.Thisoutfitishisnormalattire,withtheadditionofawigthathedonnedforHalloween.Thistriptychismeantasaninterestingcommentaryonthe“characters”thatliveamonguseveryday.
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Withmylightshiningfromhighandtocameraright,aimeddownatthislittlegirlatabouta45-degreeangle,Iproducedstrongshadowsonthefarsideofherface.Ipreferahigher-contrastlookinblack-and-whiteimages,hencethemorepronouncedshadowshere.Theeffectalsomatchesthedarkatmosphereoftheseriesasawhole.
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Thisserieswasmorerushedthanmanyofmyotherpersonalprojects,sinceIsetupandconductedalloftheportraitsinoneday.Fortunately,peopleinBrooklynareaccustomedtophotography,soIdidn’tneedtofamiliarizethemwiththeprocess.Ijustexplainedthepurposeoftheprojectandhowtheimageswouldbeused.Also,myneighborsareusedtoseeingmeworkingaroundtheneighborhood,andwhentheysawthelightsandbackdrop,manycameoverto
askhowmuchitwouldcosttogetaportrait.WhenItoldthemitwasfree,andIwouldmailthemaphotographlater,mostwereexcitedtoparticipate.
ToposethisBrooklynboyinhishomemadecostume,Iturnedhimtohisleftandaskedhimtofocusonapointofreferenceoffcamera.Mylightwasabovehimandheldtocameraright,soitilluminatedthefarsideandpartofthefrontofhisface.Asistypicalinmyportraitwork,theshadowsideofhisfaceisturnedtowardthecamera,displayingmoodyshadowsthatmatchthedarkcostume.
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THEHOLYMENOFVARANASI
Ifirstphotographedthissadhu,BabaVijayNund,whenIwassixteen.Atthetime,IthoughthisportraitwasthebestpictureI’devertaken.WhenIreturnedhome,Isenta4×6printoftheimagetohisashram.Duringmythirdtrip,Iwaswalkingdownthestreet,andweranintoeachother.Heaskedmetofollowhimtohistentbytheriver,wherehetookoutaziplockbagandpulledoutthephotoIhadsenthimyearsbefore.Hehadvirtuallynopossessions,buthehadmyphotocarefullypreservedinaplasticbag.Iwasextremelyflatteredthathe’dkeptthephoto,andabsolutelyhumbledbytherespectheexpressedtowardmywork.Also,hewasshowingmethathetrustedmeandrespectedwhatIwastryingtoaccomplishwithmyphotography.SoIstartedworkingwithhimonmoreinvolvedportraits,includingthisimageofhimrowingdowntheGangesRiver.Forthisportrait,VijaysatononesideoftherowboatandmyassistantandIsatontheother.WhilemyassistantheldtheElinchromRotaluxSoftboxOctaaloftandaimeditdownatVijay,Iphotographedwiththeatmosphericlightingofdawnilluminatingtheriverandcitybehindhim.Therisingsunlitalayeroffogthatwasblanketingtheriver,providingasofthazeinthebackground.
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FORTHEPASTFIVEYEARS,I’VEBEENWORKINGONASERIESOFportraitsofthesadhus,orHinduholymen,whoresideinVaranasi,India.Iwent
thereforthefirsttimewhenIwassixteen,aftersavingupsomecashfrommyfirstfewprofessionalphotoshootsofrockbands.TheVaranasiprojectofferedanopportunitytophotographthediversereligiousculturesofVaranasi,whichisaholysiteforHinduism,Buddhism,andJainism.BuiltonthebanksoftheGangesRivermorethanthreethousandyearsago,Varanasiisoneoftheoldestcontinuallyinhabitedcitiesintheworld.Thesadhusareatypeofascetic,wanderingmonkswhohaverenouncedearthlypossessionsintheirpursuitofmoksha,orspiritualliberation.Overthecourseofthreetrips,myimagesofsadhushaveevolvedstylistically.
Asmyrelationshipswiththesemenhavegrownmoresubstantial,I’vetriedtocreateincreasinglyinsightfulportraitsthatnotonlydemonstratethesadhus’deepspiritualitybutalsotheirindividualpersonalities.Theimagesinthischapterarefrommythirdvisit,inMarch2011.Afterward,IimportedtheimagesintoAdobePhotoshopandaddedablack-
and-whitelayer,whichIturneddowntolowopacitysothecolorsunderneathweredesaturatedbutstillvisible.ThenIranthemthroughthebluechannelintheChannelMixer.Thistechniqueissimilartothedaysoffilmwhenlabswouldputabluefilteroverthecameralenswhenshootingblack-and-whitefilm,pullingcertainqualitiesfromthelighttogetauniquecontrasteffect.Ipreferthistypeofcontrastandhightextureinmyblack-and-whiteimages,andthedigitalversionofthebluefiltertechniqueprovidedthislookperfectly.
MAKINGITHAPPEN
Photographically,IstartedwithmanyofthesamebasicsthatIdiscussin“TheCradleofMankind”chapter.Iworkedwithonelight,aProfotoProflashheadina69-inchElinchromRotaluxSoftboxOcta,andcarriedaportablepowersourcetorunmymobilestudiolightingsystem.Ipositionedthelightabovethesubject,toonesideofthecamera,andaimeditdownatabouta45-degreeangle,workingwiththefeatheredlighttocreateatmosphericlightingonthesubject.IalsousedneutraldensityfiltersandunderexposedthebackgroundinthesamebasicmannerthatIdescribehere.
MYVARANASICAMERABAG
•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3,0.6,and0.9increments
•Powersource:ProfotoPro-7bbatterypack
However,thewayIappliedlightandexposurewasmuchdifferentthanintheEthiopiaseries.WiththeseimagesIwantedasofterlook,somethingmoreblendedintothenaturallight,asopposedtotheintentionallydramaticlightingIappliedtotheEthiopiaportraits.HereIunderexposedlessandbroughtinmoreoftheambientlight.Withmorenaturallight,Ineededlessflashpowertoilluminatethescene.Themoreflashpoweryouuse,themoreyou’redependentontheartificiallightsourceasthedefininglightinyourimage.Iwantedtheambientlighttobemydefininglightandtheflashtojustcomplementthatnaturallight,notdominateit.BecauseIwasworkingsointimatelywiththenaturallight,Ihadtobemoreconsciousofthatlight—whereitwasshining,howitwasaffectingthesubject,thecolorsitproducedinthebackground.ThenIadjustedmyflashaccordingly.
Becausethesesadhusarehermitsandtendtokeeptothemselves,Ialmostalwaysphotographedthemalonetoportraythatsenseofintentional,spiritualisolation.Withthissadhu,whowasinhiseightiesandhadaboutfifteenfeetofdreadlockswoundupinhisturban,Iwantedanimagethatwasintimateandsecluded.ItookhimacrosstheGangestotheunpopulatedsideoftheriver.Varanasiisacityononesideandabigdesertontheother.Peopledon’tliveonthedesertsidebecauseofmonsoonfloods,soithasanopen,beachlikeatmosphere,particularlyearlyinthemorningwhenitisempty.Whilewewere
photographing,agroupofbirdslandednearbyandthenoisestartledmysubject.Asheturnedtolookatthemwiththiscuriousexpression,hewasstillperfectlyalignedinmylightingsetup,withtheRotaluxOctashiningfromaboveandtocameraleft,soIcapturedtheimage.Insomeofmyotherfineartseries,liketheEthiopiaproject,Iwouldhavecompletelyunderexposedthatsuntomakeitlookverydramatic.However,inthisimageIwantedamoresubtlefeel,soIdidn’tunderexposeasmuch,turningthejust-risensunintoasoftorangeflareratherthanadark,moodyorb.Theexposurealsobringsinmorenaturallightsoyoudon’tnoticeanobviousartificiallightfromtheflash.
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TheVaranasiseriesisallaboutthesadhus’connectiontothisspiritualplace.Overthecourseofseveralvisits,Igottoknowtheseholymen,buildasenseoftrust,andgainabetterappreciationfortheirbondwiththeholycity.Toillustratetheirbondtothisuniqueplace,Iwantedmysubjectstobepartoftheirenvironment,whichmeantthecolorsandlightofthebackgroundweremoreimportanttothecompositionsthaninsomeofmypreviousfineartportraits.Istartedeachportraitbyphotographingmysubjectwithnothingbutnaturallight.ThenIwouldreviewtheimageandthinkabouthowIcouldaddsomelightverysubtly,verynaturally,andunobtrusively—justalittlefill,alittleenhancementthatwouldshowanartistichandwithoutoverpoweringthecomposition.Ishotmostoftheseimageswiththeflashonreducedpowerandusedless
directanglesforthelight.WhenusingalightsourceliketheRotaluxOcta,whichproducesadappledpatternofhighlightandshadow,verysubtlechangesinangleandpowercanmakeatremendousdifferenceinthestyleofthelight.Aninchtoonesidemightbemoredramaticandfullofcontrast.Aninchtotheothersidemightbesofter,moreseamless,moreintegratedwiththeambientlight.WhenItalkaboutthedifferenceofmereinches,thisiswhatImean.Ofcourse,thetimeofdayhasaprofoundimpactonthequalityoflight.In
Ethiopia,Iwasanopportunisticshooter.Itriedtoworkprimarilyatsunriseandsunset,butIalwayshadmycamerawithme,andifIcameacrosssomethinginterestinginthemiddleoftheday,I’dphotographit.Shootingatmiddaynecessitatedastrongerflashtocounteracttheharshdaylight,whichmeantamoreovertlight.DuringmylasttriptoIndia,Ishotallofmyportraitsbefore8:00a.m.Irestrictedmyphotographytothecoupleofhoursatthebeginningoftheday,andthenIspenttheremainderofthedayplanningmynextshootandspendingtimewiththepeopleofthecity.Itwasamuchbetterwaytowork,and
thebenefitsofthesoftmorninglightareevidentintheimages.Iconsidertheseimagesabigstepforwardintermsofmyfineartportrait
style,anevolutionfrommorebold,noticeablelightingtoasubtlerapproachthatcooperatesmorewiththeambientlight.Thefundamentalsarethesame,tomaintainacriticalsenseofcohesivenessacrossmydifferentfineartprojects.However,theseimagesshowamoredelicatehandapplyingthelight,onethatjusttouchesuptheimagetoaugmentwhatnatureprovided,ratherthanoverpoweringit.Intheseimages,myaddedlightismyownlittletwistonthecomposition,justabitofstylizationtotakethephotographbeyondpurerealityandmakeitaworkofart.
ThissadhuisAghori—asectthatbelievesinaverystrongconnectionwiththedead.Theseholymenwillmeditateonthedeadandputhumanashontheirownbodiesbeforedoingrituals.Becauseofthis,theyviewtheworldasatypeofillusionanddonotfinddeathafearsomeconcept.Afterstayingupallnightandwatchingthissadhuconducthisreligiousritual,Iaskedhimtoliedownonthedirtinthepredawnlight.Theideawastoillustratehisconnectionwiththeafterlifebypositioninghimontheparched,cracked,dead-lookingearthina
posereminiscentofdeath.Thecolorsinthisimagearethetruehuesfromtheearlymorninglight,justbeforethesunrises,whenadeepblue-purpleskylightsthelandscape.TheonlythingIdidwiththeflashwaslighthimveryslightlyfromaboveandtocameraright,justtoaddalightwashandbringoutsomedetail.Theflashpowerwasnothighenoughtochangethecolorsorhaveaprofoundimpactontheimage.Thistypeofposecanlookstaged,butbecauseofthesubtlecombinationofnaturalandartificiallight,itworks.
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WITHTHESEIMAGESIWANTEDASOFTERLOOK,SOMETHINGMOREBLENDEDINTOTHENATURALLIGHT.
Thisimageisoneofthefewfromthisserieswithmultiplesubjects.Theseboysarenotsadhus;theyareBatukstudentsinareligiousschoolstudyingtobeBrahminpriests.Theyareinacommunityatthispointintheirlives,soImadetheirportraittogether.TheimageisactuallythreepanelsstitchedtogetherinPhotoshop.Hand-holdingthecameraandcarefullyadjustingitsorientation,Imadethreeexposures:oneofthekids,thenonetotheleft,andonetotheright.Icenteredmysubjectsinthefinalcomposition,whichbreakstheruleofthirds,buttheimageissolongonbothsidesthatitprovidesbalance,preventingitfrombeingoverwhelmedbythenearestsubject’sheadinthecenteroftheframe.MyassistantheldtheRotaluxOctahighandtocameraleft,aimingdownattheboysataroughly45-degreeangle.Asinmanyofmyportraits,theshadedsidesofthesubjects’facesareclosesttothecamera.
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Whiledeeplycommittedandseriousabouthisrituals,thissadhu,Magesh,isabrightandcheeryguy,veryhappy,soIwantedtocreateabrighterportraitthatfithispersonalitywithoutrelyingonacheesysmile.Icapturedthisimageaboutthirtyminutesaftersunrise,whentheblueandpurplehueshadbeenreplacedbythewhitesandyellowsofmorning.Iputthesunrightbehindhimsoitflaredoutabit.MyassistantheldtheRotaluxOctadirectlyabovethesubject’sheadsothathisentirefaceisinthelight.Theflashpowerislow,though,justapoptomatchthosewhitesandyellowsinthebackground.Thisdirectapproachtotheflash
brightensuptheimageandgivesthesubjectaholypresence.Ialsoletmoreoftheambientlightintothepicturesothebackgroundturnedintoacreamy,softglowthatcomplementsthefullyilluminatedface.
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MUSICPORTRAITS
My professional career got its first toehold through the world of musicphotography.Aftershootingseverallocalbandsaroundmyhometown,myworkcaught the eye of a couple rock bandmanagers,who hiredme to photographtheir clients. From those first few assignments, I started traveling aroundwithbands, creating images for press kits, album packaging, and promotionalcampaigns. Many of these shoots took place on the road or with limitedresources.
Musicindustryshootsareoftenfast-pacedandlow-budget,butthereisadegreeof creative freedom that can be beneficial to developing a signature style andpersonal vision. I oftenused the sameadditive lighting styledescribed earlier,starting with a basic foundation and then adding lights as needed for a morepolished appearance. This process works well in these types of multisubjectshoots,wheretheclientwantsseveraldifferentlooksproducedinashortperiodof time. I later found that thisoverallworkingstyle transferredwell tobigger-budget,higher-profilecommercialadvertisingjobs.Workingwiththemusicindustryalsohelpedmelearntoworkunderpressure
and produce professional imagery quickly using thematerials aroundme. Forsomeofmyfirstshoots, Iemployedavarietyofhomespunmethodstoget thejobdone,suchasmakingscrimsoutofbedsheetsandreflectorsoutofaluminumfoil.SinceIwasoftenbalancingthedemandsofhighschool,Ididn’thavealotoftimeforPhotoshopenhancements.Thissituationforcedmetogetmyimagesrightincameraandproduceanearlyfinalimageonset.
PROTESTTHEHERO
Forthisgroupportrait,Iusedthesameone-lightsetupasforthegroupfightshothere,butIheldalongerexposuretosoakupmoreambientlight.Thatgavetheimageaslightlybrighterappearance,thoughstilldarkandmoodyoverall.Iaskedtheguystostandinfrontofmeinagroupformation,andthenturnedtheoutsideguys’shouldersslightlyinwardtodrawtheviewer’seyetowardthecenterofthecomposition.
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THISWASONEOFMYFIRSTREALPROFESSIONALJOBSWITHABAND,WHICHIdidwhenIwassixteen.I’dbeenphotographingsomelocalbandsinLindsay,Ontario,andbuildinganonlineportfolioofimages.ProtesttheHero’smanagerfoundmeandhitmeuptodothisshoot.TheyweregoingontourinJapanandneededimagestopromotethattour.Weproducedphotographsforafullpresskit,whichincludedpiecesforeditorialsubmissions,posters,
promos,andsocialnetworkupdates.Westagedtheshootinmydad’spaintshopinLindsay,andthebandtraveled
tometoconducttheproject.BackthenIdiditall—makeup,setup,cleanup,andeverythinginbetween.Itwasavery,verydifferentsituationfrommycurrentworkingmethodology,whichtypicallyinvolveshoppingallovertheplanettoshootonlocationpermyclients’requests.AfterIdidthisshoot,ProtesttheHero’smanagertookmeonasaclientand
servedasmyfirstphotoagent.HesentmealloverNorthAmericaphotographingmetalbands.Iworkedwithhimforaboutayearandthensignedonwithanagentwhoworksfulltimewithphotographers.ImentionthisbecauseIfeltitwasahighlyproductiveexperienceformycareer.Iliketheideaofworkingwithpeoplewhocanpushyoutowardinterestingclients,maybeinnontraditionalways.Whetherornottheyareproperphotoagentsdoesn’talwaysmatter.Yes,ithelpstoknowtheinsandoutsofthephotographyindustry,andagoodphotoagentisavaluableasset.Butthemostimportantthingisthecollaborativespiritinvolvedwhenyouworkwithsomeonewhobelievesinyourwork.
MAKINGITHAPPEN
ThiswasaconceptI’dwantedtodoforalongtime—severalguysbeatingthehelloutofeachotherinadark,moodysetting.ProtesttheHero’smusicisaggressive,athrashmetalstyle,sothethemefitwell.
MYPROTESTTHEHEROCAMERABAG
•Camera:CanonEOS5D•Lenses:85mmF1.8lensand28-135mmF3.5-5.6lens•Lights:TwoSpeedotronflashheads•Lightmodifiers:SoftboxandSpeedotronzoomreflector•Powersource:Speedotrongeneratorpluggedintoawalloutlet
Thesubjectsneededtohaveasweaty,greasylook,soIappliedsunfloweroiltotheirskinandhadthemrubitinlightly.Whenyousprinklealittlewaterontopofthesunflower-oiledskin,itbeadsuplikeraindropsonthehoodofafreshlywaxedcar.Thismethodworksgreatforcreatingthelookofsweatyskin.Italsoaddsshineandalluretonudemodelsorswimsuitmodelsposinginbeachorpoolscenes.Tore-createthelookofblood,Imadeaconcoctionoutoffoodcoloring,
water,glucosesyrup,andsugar.Whenyoumixthissolutiontoathickerconsistency,itworkswellonpeople’sskin,sinceitwon’trunasmuch.Athinnerconsistencyworksbetterwhenspatteringitonwallsorotherobjects.Asanaddedbonus,itdoesn’ttastehalfbad.
Inthisstagedactionshot,theguygettingpunchedleanedbackwhileafan(setupjustoutofframetocameraright)blewinhisfacetoflutterhishairandaccentuatethesensethathe’sinmotion.Westagedaslow-motionswinglikeinthegroupfightshothere,cueingthepunchertoswingandthenthepunchrecipienttospitoutamouthfuloffakeblood.Thecombinationofthesemovements,carefulposing,andthefanprovidetheillusionofimpactfromthepunch.Tolightthescene,Iplacedastudioflashinasoftboxtocameraright.Theshadowsidesoftheirfacesaretowardthecamera.Anotherflashwithazoomreflectorshinesfrombehindandabovetoilluminatetheirhair.
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Icreatedthisimagetorunonthecoverpackagingforasinglecalled“BloodMeat.”Ilitthescenebyplacingaflashheadmodifiedbyazoomreflectorhighandtocameraleft,pointingdowntowardthebandtoproduceharshshadows.Thesinglebulbthat’svisibleinthepictureonlyprovidesambience;there’snonoticeablelightthatsignificantlyimpactstheimage.Toproducethelookofafight,Iaskedoneguytoswingslowlyabovetheother’sface,andattherightmoment,theguyonthegroundwouldspitoutamouthfuloffakeblood.Icuedmysubjectsinthisaction,instructingonetostartswingingslowlyandthen
tellingtheothertospitasIhittheshutterbutton.
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Afterthegroupandstagedactionshots,Imadeindividualportraitsofallthebandmembers.Thisismyfavoriteofthebunch.Ilitthescenewithonestudioflashinasoftbox,positionedhighandtocameraleft,aimeddownatthesubjectatroughlya45-degreeangle.Afterapplyingmakeupandfakeblood,Iposedhimtolookserious.
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DAVIDDRAIMANOFDISTURBED
THESHOOTWITHDISTURBEDFORTHEPACKAGINGOFTHEIRINDESTRUCTIBLEALBUMwasoneofthehighest-profilejobsIlandedearlyon.Assuch,Iwantedtoimpresspeoplerightoffthebat.Iwascommittedtoofferingsomethingunique.Myconcept,whichplayedintothe“indestructible”theme,involvedthings
breakingallaroundthebandwhiletheyremainedunaffected.Ididavarietyofshotswiththebandandtheindividualmembers,buttheportraitofleadsingerDavidDraimanwasbyfarmyfavorite.TheguysfromDisturbedwereincrediblyniceandarealpleasuretowork
with.Alotofthingswentwrongonthisshoot,includingthepowergoingoutinthebuilding,buttheywereverypatientasweworkedthroughtheissues.Thereweren’tevenanycomplaintswhenwehadtorewireallofthelightingsetupstogetthemtoworkwiththefickleelectricalsystem.Sometimesthingshappenoutoftheblue,andyouneedtokeepacoolheadoreveryoneelsestartstoworry.
Tocreatethedarkandgrungymoodofthisimage,Iusedacorrectivecolorbalancetomakethebluesmorepronouncedandgivetheportraitacoldercolortemperature.Toaccomplishthis,Iopenedmycameramenu,wenttoPictureStyle,andthenselectedWhiteBalance.ThenIsetacustomwhitebalancefunctionof“K”forKelvinandadjustedthetemperaturemanuallytomychoice.Forthisimage,Iselected5,000Kelvin.Thiscreatesacoolerlookwithmorebluehues.Youcanproducetheoppositeeffect,warmingupyourimagewithmoreredsandoranges,byreversingtheaboveprocessandreachingintohigher
numbers,suchas7,000Kelvin(normaldaylightisusuallyratedaround5,400–5,500Kelvin).Ifyoushootinrawformat,youcantweakandredothesesamefunctionslaterinarawconversionprogramsuchasAdobePhotoshopLightroomorPhaseOne’sCaptureOne.Forthisshoot,itwasbettertodoitincamerasomyclientscouldseetheresultsinstantly.
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MAKINGITHAPPEN
IwantedtooverlaybrokenglassinfrontofDavid’sfacetocreatethelookofashatteredwindowinfrontofthesubject.SomephotographerswouldhavecapturedtheportraitandthenaddedthebrokenglasseffectlaterinPhotoshop.However,asIalreadymentioned,Iwasouttoimpress,andIknewthey’dwanttoseetheimagesonmycamera’sLCDscreenduringtheshoot.Asaveryyoungphotographeratthetime,IfeltitwasimportanttoproduceinterestingimagesonsetthatIcouldshowthebandandartdirectortoquicklygaintheirrespect.Whenyoushowpeopleaknockoutimagewhileyou’restillonset,itinstantlyearnstheirrespectbecausetheyseethatyoucandeliver.Italsohelpsthemunderstandexactlywhatyou’regoingforwiththeshoot,whichleadstobettercollaborationfortheremainderofthesession.It’smuchmoredifficulttoexpressyourconceptbyaskingpeopletoimaginewhatthefinalimagewilllooklikewithallthePhotoshopeffectsapplied.
MYDISTURBEDCAMERABAG
•Camera:CanonEOS5D•Lens:50mmF1.4lens•Lights:TwoAlienBeesB800flashheads•Powersource:ACoutlet
TomaketheportraitofDavidDraiman,aswellassomesimilarimagesoftheband,Iboughtthreebrokenwindshieldsatanautobodyshopandsmashedthemupwithacrowbar.Fromthesethreesmashingattempts,IchosethedestroyedwindshieldvariationIlikedbest.Isetupthatbatteredwindshieldinfrontofthesubject,posedhimontheoppositesideoftheholeintheglass,andphotographedthroughthewindshield.Tolightthisscene,Iusedtwoflashheads.Imodifiedthefirstlightwithazoomreflectorandsetituptocameraleft,onthefarsideofthewindshield,abitabovethesubjectandpointeddowntowardhisface.Isetupthesecondlighttocameraright,angledsimilarlybutpointedjustatouchmoretowardthecamera,sothelightskimsacrossthewindshieldandbrightensupthecracksintheglasswithoutcausinganyreflections.YoucanseealittlehintofthelightonthebackofDavid’shead.Backgroundilluminationcamefromambientlight.Itcameoutdarkandgrungy,butthatwastheintentionalmoodoftheimage.MattVarnish,thewell-knownartdirectorwhowasworkingwithWarner
Brothersonthisshoot,providedsomeguidance,mainlytoensurethatIwascapturingthematerialheneededtocreateasuccessfulpackageforthealbum.
AfterDavid’sportraitwascomplete,Iusedthesamelightingsetuptophotographeachoftheotherbandmembersinfrontofthebrokenwindshield.ThisportraitisofdrummerMikeWengren.Mike’shandrestsagainsttheglass,drawingourattentiontoit.TheeffectwouldhavebeenveryhardtomakebelievableiftheglasshadbeenatextureaddedinPhotoshop.
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ERICNALLYOFFOXYSHAZAM
ERICNALLYOFTHEBANDFOXYSHAZAMHASBEENAFRIENDOFMINEFORyears.I’veknownthebandsinceIfirststartedphotographingmusicians.WhenIwantedtostageashoottoshowcasesometechniquesformyinstructionalDVDseries,Ericwastheperfectsubject.He’saverytheatricalfrontmanwhodanceswithhismicrophonestand,kicksitaround,throwsitintheair,anddoesallkindsofothermoves.Ithoughtitwouldbeinterestingtocapturehisstagepresenceandenergyinashoot,butwhenIspoketoEricbyphonepriortotheshoot,hesuggestedtakingitastepfurther.Ericcameupwiththeideaoflightingthemicrophonestandonfiretoaddan
elementofdangeranddrama.SinceIwasconductingthisshootonmyown,Ihadfullcreativecontrol.SoIsaid,“Let’sdoit!”Theflamingmicstandwasagoodwaytoshowcolor—thewarmtonesoftheflameagainstthecoolhuesofthesky.Illustratingthatinterplayofcolorbecamethemainobjectiveofthisimage.
Wedidthisportraitafterfinishingtheshootwiththeflamingmicrophone(seehere).WorkingwithmyPhaseOnecameraandan80mmlens,Isetupasimilarlightingstructure,placingmymainlightwiththemodifiedlampglobeandCTOgeltocameraleft,justoffframeandslightlyabovethesubject’sface.However,ItookalotoftheCTOgeloffthelightandpushedthelightclosertothesubject.Whenalightisclosetoasubject’sface,ittakesonasofterquality,morelikeaflatteringbeautylight.Inasetupsimilartotheoneforthefireimage,IputanotherProfotoflashheadwithazoomreflectorbehindthesubject,justoff
frametocameraright.Thelightseparateshimfromthebackgroundandprovidessomeedgebrighteningalonghisleftside.Iwantedthesmoketobesubtlerhere,soinsteadofblowingitacrosstheframe,myassistantmoveditupanddowntowaftacrosstheentireframeforalighter,lessprominentappearance.Inpostproduction,ItweakedEric’sbangsabitinPhotoshopbecausetheywereblowinginthewindduringthecapture.Everythingelseintheimagelookedgreat,soIfixedthehairandkepttherest.
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MAKINGITHAPPEN
Wesetuptheshootonalarge,openrooftop.Afterestablishingmylightingsetup,wecreatedthefirebyinsertingalighter-fluid-soakedraginsideahollowed-outmic.Todothis,wejustunscrewedthetopofthemic,emptiedouttheelectronics,andthenstuffedthesoakedraginside.Whenwelititonfire,itactuallyburnedforabouttenminutes,whichwasgreat.(Yes,wehadafireextinguisheronhand!)
MYERICNALLYCAMERABAG
•Cameras:CanonEOS-1DsMarkIIIandPhaseOne645camerabodywithPhaseOneP65+back
•Lenses:16-35mmF2.8lensand80mmF2.8lens•Lights:TwoProfotoProflashheads•Lightmodifiers:Homemadeglobemodifier,CTOwarminggel,zoomreflector
•Powersource:ProfotoPro-7bbatterypack
Itwasastormyday,sotherewasalayerofcloudsbehindhimthatgaveamoody,swirlingtexturetothesky.Toplayupthislookevenfurther,IblastedastreamofsmokeinfrontofEricwithafogmachine.Istartedmylightingsetupbyconsideringtheexistinglightsource,whichwas
flat,diffusedlightfromthestormysky.Thelightfromtheburningmicwouldn’tbeenoughtoilluminateEric’sface,soIwantedtore-createthelookoffirewithartificiallight.Toaccomplishthis,IusedaProfotoProflashheadmodifiedwithabigbulb—thetypeyou’duseinaceilingfan.Thisismyinexpensive,homemadeversionoftheProfotoProGlobe,abulblikelightmodifierthatproducesasoft,360-degreewraparoundlightwhenplacedoverabareflashbulb.Ipurchasedmybulbfromawebsitethatsellsacrylicglobelampcovers,payingafractionofthepriceofaProGlobe,whichisafantasticbutpriceyitem.Mybulbdidn’tmountperfectlyontothestudioflash,butIriggeditupwithsomeducttapeanditworkedwell.Ithencoveredthebulbwithsomecolortemperatureorange(CTO)warminggeltogivethelightawarmlook,similartothefire.Byplacingthislightsourcejustoffframe,neartheflamingmicrophone,Iwasabletore-createthelightofthefireandbetterilluminatemysubject.Toseparatethesubjectfromthebackgroundandhelphimstandoutamong
thesmokeandclouds,IplacedanotherProfotoflashheadwithazoomreflectorbehindhim,offframetocameraright.ThisnotonlyprovidedanedgeseparationlightonEric’spantsandtorso,butalsoenhancedthenaturalsunlightcomingthroughtheclouds.Theshinyqualityofhisleatherjacketcreatedabitofreflectionforanicehighlighteffect.
Fromthesamebasiclocationasthemainlight,myassistantheldasmokemachine.Itwasawindyday,whichwashelpful,becausethesmokeblewacrossthebottomoftheframeforawindsweptlookwithoutfloatinguptoobscurethesubject’sface.AftercreatingtheportraitswithEric,Imadeafewexposuresofthescene
withouthim,justcapturingthesmokeblowingacrossthesetaswellasclose-upsoftheflamingmicrophone.Later,inpostproduction,theseimageswereusefulbecauseIneededtoenhancethefireinPhotoshopsothatitwouldstandoutmoreagainstthebackgroundandinthemidstofmyhigh-poweredstudiolights.Theactualflamingmicrophonedidn’tcomeouttoowellintheoriginalversionbeforecompositingintheflamefromanotherpicture.However,usingtheflamingprophelpedengageEricandencouragethedramaticlookonhisface.
Iwantedthecolortonestopanacrossthisimage,withorangeontheleftandblueontheright.Theorangeappearstobeemanatingfromthefireandthecoldbluefromthesky.Iadjustedthewhitebalanceinthecameratoplayupthecoolercolors,whichoffsetsomeoftheorangecolorfromtheCTOgelandbroughtabluerhuetothenaturaldaylight.Thisproducedaninterestingcolortemperaturethroughouttheimagethatstartsorangeinthebottomleftandfadesintoacooler,bluerappearanceinthetoprightcorner.
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Sincethisimageinvolvedalotofquickmovements,IusedaCanoncamerabecauseofitsfasterspeedandquickframerecycletime.Asistypicalinmywork,Iunderexposedthebackgroundforadark,stormylook.Bytheway,ifyouwanttoseemorebehind-the-scenesfootageonthisshoot
andothers,visitlearnfromjoey.com.
G-UNIT
WHENTHECALLCAMEFORTHISVIBEMAGAZINESHOOT,IWASSITTINGINANairportinNewYorkwaitingforaflightbacktoCanada,whereIwasstilllivingatthetime.TheopportunitytoshootG-Unitwasagoodenoughreasontoskipthatflight,soIrescheduledmyreturnhomeandbookedittotheshoot.G-Unitisahip-hopgrouporiginallyfoundedbyrapper50Cent,alongwith
hislongtimefriendsLloydBanksandTonyYayo.Thegrouphasarough,gangstarapperpersona,butbehindthatfacadetheyareallexcellentbusinessmen.Infact,theirbusinesssavvyhashelpedthembecomeverywealthyinspiteofthefinancialdifficultiesintoday’srecordingindustry.ThestoryinVibewasabouttheirbusinesssuccess,abouthowtheymakemusicandsimultaneouslymanageotherventures,liketheG-Unitclothinglineandrecordlabel,and50Cent’sendorsementsofVitaminWaterinexchangeforcompanystock.Withthisthemeinmind,themagazinewantedtostyletheminsuits,like
sophisticatedbusinessmen,insteadofthetypicalbaggyclothingyouoftenseehip-hopartistswearing.Vibealsowantedtoputtheminaclassysetting.Themagazinechoseacaviarrestaurantcoveredwithmirrors,whichwasatmosphericbutacompletenightmaretolightbecauseoftheabundanceofreflectivesurfaces.Inaspacelikethis,youruntheriskofinsertingyourselfintheimagethroughamirrorreflection,andthere’salsotheproblemofthemirrorsbouncingyourlightallaroundtheroominwaysyoudon’twant.
Theindividualportraitsof50Cent(seealsothisphotograph)involvedasimilarlightingsetupasthegroupshotshownhere,withthemainlightcomingfromaProfotoflashhead,modifiedbyabeautydishandfocusedwitha20-degreegrid.Sincethemainlightwasabovethesubject,aimeddownata45-degreeangle,thebrimof50Cent’shatobscuredthelightontheupperpartofhisface.Inthisstraight-onportrait,Ilefttheareaaroundhiseyesdarkforasenseofdramaandmystery.
1/200sec.atf/16,ISO200
MAKINGITHAPPEN
WhenIarrivedonset,50Centwasinitiallyabitdismissive.Hedidn’tseemtotrustme,probablybecauseIlookedlikeadumbkidinskinnyjeans.ButwhenIstartedworkingandherealizedthatIknewwhatIwasdoing,andthatthisshootwastherealdeal,herespondedveryprofessionally.ThisisasituationI’vedealtwithfromtimetotime,beingyoungandworkingatahighlevelwithestablishedpersonalities.Wheneverpeopledoubtme,IjusthavetoshowthemthatIknowmycraft.Youcan’ttellpeople.Youcan’tinsistthattheyrespectyou.Yousimplyhavetogetdowntobusinessanddemonstrateyourskillsandprofessionalism.
MYG-UNITCAMERABAG
•Camera:CanonEOS-1DsMarkIII•Lens:24-70mmF2.8lens•Lights:FiveProfotoProflashheads•Lightmodifiers:Silverbeautydish,stripsoftbox,20-degreegrid,snoot•Powersource:ACoutlet
Onthesetthatday,partofthoseskillsandprofessionalisminvolvedworkingoutasolutionforallthemirrorsinthechosenshootingarea.Theywereeverywhere,andoneofmynormallightingsetupswouldhavebeenplaguedbyweirdreflectionsandlightraysbouncingallovertheplace.SinceI’mveryparticularaboutthedirectionalityofmylightingandthedramaticimpactthatlightingstyleproduces,Ineededtofigureoutawork-around.Inthiscase,thesolutionwasacombinationofcarefulposingandnarrowlyfocusingallthelightsusinggrids.Forthegroupshot,IarrangedtheG-Unitmembersaroundatablewitha
nonmirroredwallasthebackground.Thereweremirrorsonthewallsoneithersideofthegroup,justoutofframe.Iposedtheguysveryclosetogetherforacouplereasons:one,themirrorsoneithersideoftheframedemandedit;andtwo,myuseofafocusedlightsourcerequiredthemtobeclosetogethertotakeadvantageofthelightingsweetspot.Iftheyhadbeensittingfartherapart,wewouldhavehadmorereflectionissuesfromthemirrors,andthefocusedlightwouldhavemissedthem.SoweworkedwiththisLastSupper–stylecomposition,withthethreeofthemsittingclosetogetherononesideofthetable.
ThisLastSupper–stylecompositionallowedmetokeepproblematicmirrorsoneithersideofthegroupjustoutofframeaswellasgetallthreemembersinthelightingsweetspot.
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Forthisprofileshot,Ihadanassistantholdalightinastripsoftbox,turnedtolowpower,beneath50Cent’sface,justbelowtheframeandaimeduptoprovideabitoffillandsomesparkleinhiseyes(seediagram).
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MymainlightforthisimagewasaProfotoProflashheadmodifiedbyasilverbeautydish,suspendeddirectlyoverthetableandpointingdownatthesubjectsfroma45-degreeangle.Iuseda20-degreegridtofocusthelightonthesubjects.Forthebackgroundlights,IaddedtwomoreProfotoheadswithzoomreflectors,alsofocusedwith20-degreegrids.Ipositionedtheseoneithersideofthecamera,pointingatthewallbehindthesubjects.Twoadditionallightsroundedoutthecomposition.Rightabovethebeauty
dish,IaimedaProfotoflashhead,modifiedbyasnoot,atthebulbsinthechandeliertoprovidesomehighlightintheglassandlightupthatdecorfeature.Behind50Cent,IlaidanotherProfotoflashheadwithastripsoftboxonthefloor,pointedstraightup,tocreateasoftgradienteffectonthebackgroundbehindthesubjects.Thewhitetableclothonthetableactedasagiantreflectorforthemainlight
shiningdownfromoverhead.Itprovidedacatchlightontheshadowportionsof
theguys’faces,whichwasparticularlyusefulon50Cent,sincehishatblockedmuchoftheoverheadlight.
PANICATTHEDISCO
THISEDITORIALSHOOTFORALTERNATIVEPRESSMAGAZINEISAGREATEXAMPLEofafast-movingsessioninwhichIneededtoworkquicklyandmovemysubjectsfromonepredesignedsetuptoanother.Idesignedthreelightingconfigurationsforthreedifferentroomsinthehouse.Aswewereshootinginoneroom,mycrewwouldbesettingupinanother.Whenwe’dswitchtothatroom,they’dbreakdownthesetupintheroominwhichwejustshot,andthensetupthethirdconfigurationsowecouldmoveseamlesslyintoitwhenwewereready.Therewasn’tanartdirectorfromthemagazineonset,buttherewasa
managerfromtheband’slabel,whichactuallyfundedhalftheshootbecausetheyknewitwouldproducegoodpressfortheband.Still,Ihadagoodamountofartisticfreedomonthisprojectsincethelabelisprimarilyinterestedinupholdingtheband’simageandpromotingitsbrand.Beyondthat,Iwasfreetotryafewdifferentthingsandcreatemyownlooks,aslongastheysynchedwiththeband’sstyle.Thebandfavorsvintagefashion,sowechosealocationthatworkedwiththisstyle.Acohesivenessbetweentheirstyleandthelocationwasimportanttotheseimages.Also,Iwantedtoincludepainterlylightingeffectswithanalmostregalfeel.
Shootingfromthefloorwithmycameraonatripod,Icomposedthisshotwithstrongbacklightingfromthewindow.TheonlyartificiallightcamefromaProfotoflashheadinabigsoftbox,whichIsetuphightocameraright.Toaccentthewindowlight,Ishotwithan85mmprimelens.
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Inthissetupshot,youcanseethelowangleItook,aswellasmydistancefromthesubjects.Mypositiononthefloor,shootinguptowardthebandwithalongexposure,providedtheidealperspectivetoaccentuatethenaturallightingfloodinginfromthewindows.
MAKINGITHAPPEN
Westagedtheshootina120-year-oldhousenearLosAngeles,whichIfoundthroughalocationdirectory.Locationdirectoriesareveryhandytoolsforphotographerswhoneedaspecificlookfromtheirsettings.Theseonlinedirectoriescontainawideassortmentofspotsthatlocationscoutshavepreviewedforfilm,television,andadvertisingprojects.Theycangiveyouaninsidelookatdozensofotherwisehiddenlocationswithoutspendinghundredsofhoursscoutingthemoutyourself.
MYPANICATTHEDISCOCAMERABAG
•Camera:CanonEOS-1DsMarkIII•Lenses:85mmF1.2Llensforthisimage;24-70mmF2.8lensforthisimage•Lights:ProfotoProflashheadsandaCanonSpeedliteEX•Lightmodifiers:Chimerasoftboxes,snoots,andgrids•Powersource:ProfotoPro-7abatterypack
IchosethislocationbecauseithadavintagefeelthatmatchesPanicattheDisco’sstyle.Thehousealsohadaneclecticdesign,witheachroomlookingdifferentfromthenextandprovidingavarietyofshootingoptions.Panichasastylistwhotravelswiththebandandchoosestheirclothingfor
appearancesandpromotionalprojects,includingthisphotoshoot.Duringtheshoot,Iwouldtellherwhatthenextshotwouldbe,showhertheroomandthesetup,andshewoulddressthemaccordingly.It’simportanttoadvisethestylistsoncommercialshoots,sothesubjects’clothingcoordinateswiththescenesanddoesn’truinthefeeloftheimages.Forexample,inadarkandsombershot,likethePanicimageintheredroomshownhere,ifoneofthebandmembershadbeenwearingabrightwhiteshirt,theimageprobablywouldn’thaveworked.Fortheimageshownhere,Ilaydownonthegroundwithmycamerasetup
onasplayed-outtripodinthedoorwayoftheroom(seehere).Aimingupatthebandfromthislowangle,Iframedtheshottoshowthetophalfofthebedframeandthebandmembersfromaboutthekneesup.Thebandwasstandinginsidethebedframe(therewasnomattressorboxsprings),soIcouldshootthroughthemetalframewithoutanysignificantobstructiontomysubjectsorthewindowlightbehindthem.Becauseofthestrongwindowlightbacklightingmysubjects,Ionlyadded
oneartificiallight,aProfotoflashheadinabigsoftbox,whichIsetuphightocameraright.Withthesoftboxaimeddownatthesubjects,Iflashedonrelativelylowpowertoprovideabitoffilllight,sothefrontsidesofmysubjectswouldn’tbecompletelyobscuredbyshadow.Tosoakinasmuchnaturalwindowlightaspossible,Idraggedmyshutteralittle.Thiscausedthelighttowraparoundthesubjectsandflareabit,whiletheguysintheforeground
stayedatouchdarker.Icouldhaveachievedthesameeffectbyblastingstudioflashesthroughthewindowandexposingforthatlightsource,withouttheshutterdrag.However,thelightwasalreadythere,anditlookedgreat,soIchosetotripod-mountthecameraandmakealongerexposure.Whendraggingtheshuttertoaccentbackgroundlighting,yoursubjectsneedtostayasstillaspossible.Also,it’sbesttolockyourcameraonatripodorsomeotherstablemounttoeliminatecamerashake.Becausewewereworkinginatightspace,Iposedtheguysclosetogetherand
hadthebandmembersontheoutsideturntheirshouldersintowardtheothers.Ingeneral,whenworkinginacompactspaceortryingtotightenupagroupcomposition,ithelpstoposetheoutermembersofyourgroupwiththeirshouldersturnedintowardthecenter.Thisdrawstheviewer’seyetowardthemiddleofthecomposition,andmakesthegroupappearmorecompressed.Iusedalong85mmprimelenstoaccentthelightinthebackground.When
youuselongerlenses,thebackgroundlooksbigger,asdoesanylightsourceinthebackground.Ontheotherhand,whenyouusewide-anglelenses,thebackgroundlookssmaller.Thinkofphotographingapersonwithamountaininthebackground.Withawide-anglelens,thatmountainwilllookdistantandsmall.Withalonglens,thebackgroundwillappearmuchlargerandclosertothesubject.Youwon’tseeasmuchofit,butitwillbemagnified.Lightsourcesinthebackgroundarealsomagnifiedbylonglenses.Soifyouwanttobringinastrongbacklightandsomeintentionalflare,alongerlensisthewaytogo.BecauseIwantedsomeflarefromthewindowlight,Ishotfromalittlefartherawaywithalongerlens.Thisincreasedthesizeofthebackgroundintheimageandalsoincreasedthesizeandimpactoftheflare.Withtheredroomimage,IwantedtocapturethelookofaVictorianpainting.
Isetupthecompositionandlightingtocreatethefeelofapainting—darkandmoody,asopposedtoasuperbright,crispcommercialphotograph.MymainlightwasaProfotoProflashheadmodifiedbyasoftbox,hookedup
toaboomarm,whichIarrangedhighabovethebandtocameraleft.Iaimedthesoftboxdownatabouta45-degreeangle.Thisproducedadramaticappearancewithstrongshadows,whichmatchthedarkroomandclothingstyles.Foralittleextrapunch,IhidaCanonSpeedliteEXinsidethelamp.Ialsopointedanotherlight,modifiedbyasnoot,atthelamp.Ifyoulookatthewallbehindthelamp,there’sacircularglow.That’sfromthesnoot.
LeadsingerBrendonUriejusthappenedtohaveacigarinhiscar.WhenhesawwhatIwasgoingforwiththeimage,heranoutandgrabbedit.Theadditionofthispropworkedwellwiththestately,retrofeeloftheimage,whichIshotwithathree-lightsetupandstyledtobedarkandmoody.
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COMMERCIALPORTRAITS
My commercial work is the most complex from a lighting and logisticalstandpoint. The images in this section are largelymultilight setupswithmoreelaboratescenes.Thebasicsofthestyleremainthesame:Ipiecethingstogetherone step at a time, starting with a simple foundation and adding elements topunchupdifferentpartsoftheimageforadramaticfinalcomposition.
There’salmostalwaysaprimarylightsourceplacedhighandtoonesideofthesubject,aimeddownatroughlya45-degreeangle.Aswithmyfineartportraitsandbandphotography, I try touse thevariablequalities of light emitted frommodifiers like the Elinchrom Rotalux Softbox Octa and Indirect Lightbank.However, with the exception of the fast-moving, on-location project forHistory’s IRT:Deadliest Roads, there are always other lights used to create abrighter, more commercially appealing look. This is what I mean by additivelighting.Formycommercialassignments,Ialwaysstartwiththeambientlight,thenaddmymain light,and thenadditional lightsonebyone,until the imagelooksperfect.
IRT:DEADLIESTROADS
Thisimageshowseveryelementoftheshow:thetruck,thedrivers,themistymountainlandscape,eventheroadsignindicatingtreacherouscurves.MyassistantheldtheRotaluxOctahighandtocameraleft,aimingdownatthetruckersatroughlya45-degreeangle.Isetuptheexposuretobringinthesoftmountainlightandintegrateitwiththeflash.
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ICEROADTRUCKERSISAPOPULARDOCUMENTARY/REALITYSERIESONTHEHistorychannel.Theshowfeaturesagroupofintrepidtruckersdrivingharrowingroutesonsomeoftheworld’sdeadliestroads.TheshowstartedoutfollowingthesetruckersonrunsacrossfrozenlandscapesupintheArcticCircle;thenHistorydecidedtochallengethemwithroutesthroughBolivia(andlaterPeru)ontreacherousroadsthroughtheAndesMountains.ThisnewseriesinSouthAmericatookonthenameIRT:DeadliestRoads.
IceLuce,acreativedirectoratHistory,isafanofmyfineartportraitsandknowsthatItravelfastandlightwithaportablelightingsetup.WhenHistorystartedputtingtogethertheBoliviaepisodesforIRT:DeadliestRoads,hegavemeacalltoseeifIcouldproducesomepromotionalimageryforthosesegments.IwasactuallyinDubai,inthemiddleofadesert,doingcinematographyonahorrormoviewhenthecallcamein.Irememberrunninguptothetopofasanddunetogetreceptionsowecouldtalkabouttheproject.HewantedthesamelookandfeelthatIcaptureinmyfineartportraits—almostasifIwasphotographingthetribalpeopleinEthiopia,onlyI’dbephotographingtruckersinBolivia.Theprojectseemedlikeanidealopportunitytoapplymyfineartportraitstyle
toacommercialjobandIwasexcitedandhonoredtotakeontheproject.IhadtoflyalmoststraighttoBoliviafromDubai,onlymanagingabriefstopoverinNewYorktodolaundryandgrabsomesupplies.IbroughtalongmylongtimefriendandassistantJesseashe’dworkedwithmeonotherprojectsandknewmysystem.Alltold,wewouldspendtendaysinBolivia.Thiswasalotshorterthanmy
usualtrips,butwewereworkingonatightschedule.Withtheinvaluableaidofourguideandtranslator,Fernando,wewouldfollowdifferenttruckersforadayortwo,thenstopinatowninthemiddleofnowhereandwaitforthenextteamofdriverstoarrive.Fernandowascriticalnotonlytothephotographicprocessbutalsotokeepingusaliveaswewoundourwaythroughthesemountainroadsatelevationssometimesexceeding16,000feetabovesealevel.Conductingthisprojectwasalotlikeworkingonamovieset.Therewouldbe
daysofintenseactionandfast-pacedshootingfollowedbyextendeddowntime,sometimestwoorthreedays,whilewewaitedtolinkupwithournextsubject.Whenthenextdriverarrived,Ineededtobereadytomovequickly.Thesetruckerswereworkingrealassignmentsonrealdeadlines;theirrunsweren’tjustinventedfortheshow.Sotheywereonthemoveandtherewasverylittletimetostopandcapturephotographs.Thewholeprojectworkedonthetruckers’schedulesandtheshow’sproductionschedule,notmytimeline.
Thisbehind-the-scenesshotshowsmeontopofourJeep,pausedalongthecliffsidetocapturethenextimage.Wehadracedaheadofthetrucktoscoutaplaceforaquickportrait.WhenIsawthetruckrumblingtowardusalongtheroad,IjumpedupontheJeepandphotographedthescenetoshowthedramaticlandscapeandthesteepfalloffattheedgeoftheroad.
Often,we’draceaheadinourJeep,findagoodspottopauseforaquickshoot,andthenradiobacktothetruckerstoletthemknowwheretopullofftheroad.They’djumpout,runtothespotI’dsetup,workthroughafewphotographs,andthenrunbacktotheirtruckstogetontheroad.We’draceaheadagain,tryingtogainatleastafewminutesofleadtimesoIcoulddosomequicksetupandtestingbeforethetruckarrivedatthenextphotospot.Ifyouthinktheseroadsaredangerous,trynavigatingthemataccelerated
speedsasyoutotrytoraceaheadofyoursubjectswhilescoutinggoodphotoopportunities.WhenIthinkbackonitnow,itwascrazy,definitelythemostdangerousprojectI’veeverdone.Thereweredayswhenthingsweremovingsofast,andtheroadsweresotreacherous,thatitwouldbetooriskyforustoraceaheadandsetupphotographs.Onthosedays,Ijusttoldtheproductioncompany,“Sorry.Noimagestoday.It’stoodangerous.”Atsomepoint,you’vegottotemperyourenthusiasmforphotographywithyourresponsibilitytokeepyourselfandyourcrewinonepiece.
Capturedinpureambientlight,thisimagegivesasenseofscaleandperspectivetotheproject,showingthetruckalmostswallowedupbythelandscapeandthewindingroad.
1/200sec.atf/11,ISO200
Ridingwiththetruckerswasn’tmuchmorerelaxing.Beinginbigrigsonthosetinyroadswithblindcurvesandthousand-footdropswasdisconcerting,tosaytheleast.Thetrucksbarelyfitonthepathway,andIcouldseerightovertheedgeintotheabyss.Still,theshootwasalotoffun,andtrueadventure—probablythemostenjoyablecommercialjobI’veeverdone.
Thisbehind-the-scenesimageshowshowclosetothesubjectJesseheldtheRotaluxOcta.Thelightmimicsthehazywhitelightcomingthroughthefog,illuminatingRickperfectly.
ThisisRick,ahardheadedtruckerwhodoesn’tusuallysmileoncommand.Iwantedtogetalittlebitofhislighterside,soIaskedHugh,histruckingpartner,tostanddownontheroadateyelevel.ThenItoldRicktostartcursingatHugh,toreallyunload,tocallhimnamesandtellhimwhathereallythinks.Ifiguredthiswasoneoftheonlywaystogetatruckertosmile,andIwasright.Aftereachstringofprofanity,hewouldlaugh,andIwouldcapturehimsmilingorlaughing.ByhavingHughstandinginfrontofhim,IgaveRickafocus,insteadofjustaskinghimtoscreamobscenitiesintothesky.
Tolighttheseimages,myassistantheldtheRotaluxOctaveryclosetoRick’sface,justoffframetocameraright.Bypositioningthelightsoclose,Igotanicecatchlightinhiseyes,andgoodlightingalonghisrightside.
1/100sec.atf/4,ISO50
MAKINGITHAPPEN
IusedthesamesetupforthisprojectthatIemployinallofmyfineartportraitseries:aProfotoProflashheadinanElinchromRotaluxSoftboxOcta,poweredbyaProfotoPro-7bbatterypack,heldaloftbymyassistantwhileIphotographedwithmyPhaseOne645.IalsoposedthetruckersthesamewayIposesubjectsinmyfineartseries.AswiththeportraitsofthesadhusofVaranasi,Iwantedasoft,painterlylooktothebackdrops,butitwasalsoimportanttoshowasenseofplace,andtodemonstratetheextremenatureofthelandscapethesetruckershadtonavigate.SoIworkedtoblendtheartificialandambientlightandshowmoreofthebackgroundscenery,asintheIndiaseries.
MYIRT:DEADLIESTROADSCAMERABAG
•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3,0.6,and0.9increments
•Powersource:ProfotoPro-7bbatterypack
Thisisanotherimagecreatedwithoutanyadditionallight.Imadethisphotographtoportraythefeelingofdangerandtoshowhowsmalltheroadslookwhenyou’reupinthecabofoneofthesetrucks.Theimagepresentsthetruckers’view,soIexposedfortheoutsideandlettheinsideofthecabremaindarkandunderexposed.Iusedthewindshieldtoframethemainfocalpointoftheimage,sothesubjectbecomestheroaditself,notthepeople.
1/160sec.atf/5,ISO400
Icreatedthisimagewithapanoramicstitch,usingthesamemethodI’veusedforotherimagesdescribedinthisbook,suchastheportraitofthetwoBatukstudentsinIndia(seehere).Therewasnoadditionallightingotherthanthetruck’sheadlights.Iaskedthedrivertoturntheseonfullpowerasheapproachedsotheywouldlightupthefogandprovidesomedramaticeffect.Whilethelightwassimpleforthisimage,thecapturewasnot.Toillustratethedramaticlookofthisbigtruckonthisnarrowroad,Iheldontomyassistant’sarmasIleanedoutovertheedgeandcapturedthisphotograph.Fromthatperspective,youcanseemoreofthedrop-offandgainabetterideaoftheslimpathsthesedrivershadtocross.
1/125sec.atf/11,ISO800
Historyaskedmetogetimagesofthetruckerswithlocalpeople.Youcantelltheyaren’tsuperhappyaboutwearingthehats,whichmakestheimageallthemoreappropriatebecausethetough-guyAmericantruckersaresooutofplaceinthisforeignland.Thehatsarealong-standingtraditionamongthepeopleofBolivia,particularlywomen,whoweartaller,moreroundedversionsofthehat.Wescoutedoutthisspotthedaybeforemakingthisimage,andhadalreadyaskedthevendortoappearintheportrait.Inexchangeforherparticipation,weboughtthehats.Then,whenthetruckersarrived,wejustaskedthemtopulloverandsitwiththiswoman.IlitthescenewithasinglelightfromtheRotaluxOcta,heldhighandtocameraright,aimeddownatthesubjects.
1/125sec.atf/10,ISO200
ThisportraitofaBolivianhatvendorisreminiscentofmyfineartportraits.Italsofulfilledtherequestbytheproductioncompanytophotographlocalpeople.Whencombined,theimagesforthisprojectformavisualnarrative.Thephotographshaveanintentionalsequencethattellsthestoryofthesetruckersworkinginthisdistantplace.Forviewersnotfamiliarwiththearea,ithelpsbuildasenseofthesettingsotheycanbetterunderstandthecontextofthetelevisionepisodes.Ilitthisscenefromhighandtocameraright,usingasinglelightmodifiedbyaRotaluxOcta.Theshadowsideofthesubject’sfaceisturnedtowardthecameratoshowthedramaticyetnatural-lookinglighting.
1/125sec.atf/3.2,ISO50
Duringoneofthedownperiodswhenwewaitedforthenextgrouptoarriveatourout-of-the-waylocation,IusedoursparetimetomakeportraitsoflocalBolivians.Weapproachedthismanintherockfieldworkingwithhiscattle.Thelocalsinthisareawerealittlestandoffishatfirst.Theyliketotestforeignerstoseeiftheyhaveagooddemeanorbeforecooperatingwithanyundertakings.Whenweapproachedtheman,hehurledsomegood-naturedinsultsatusthroughourinterpreterforafewminutes.Afterhesawthatwetookhiscommentaryinstrideandhadgoodsensesofhumor,heagreedtoposeforsomeportraits.WiththesinglelightintheRotaluxOctaheldhighandtocameraright,aimeddownatthesubjectatabouta45-degreeangle,Iunderexposedthebackgroundslightlyandmadetheportrait.Thesoftfocusandunderexposureofthebackgroundgivesitasmoother,darker,moreatmosphericappearancethanitwasinreallife(itwasafairlybrightscene).However,Iletenoughoftheambientlightintothepicturetobringoutthecolorsofthelandscape,whichplayedwellwiththesubjectintheforeground.
1/80sec.atf/3.5,ISO50
Thisphotographshowsussettingupfortheportraitofthetwotruckerswiththetiresat16,000feet.YoucanseetheRotaluxOctaandtheheavybatterypackontheground.ThestrainofcarryingthisgeararoundathighaltitudeultimatelycausedJessetoblackout.
Thisteam’struckhadbrokendownthedaybefore.Itwouldhavethrownofftheentireproductionscheduleifwe’dwaitedfortheirtrucktoberepairedtomaketheimage.SoIthought,howdoweshowthatthey’retruckerswithoutshowingthetruck?MyassistantandIwenttoamechanicshopandboughttwolargetrucktires.WetossedthemontopoftheJeep,droveuptohighaltitudeforascenicpanorama,andsetupthisshot.Atmorethan16,000feet,theairwasextremelythinanditwashardtobreathe.Rollingthosetireswasmorethana
littledifficult.Oncewegottheminplace,wethrewdirtonthemtomakethescenelookmorerealistic.ThenIposedthetruckersthewayyouseehere,litthescenewithasinglelightinaRotaluxOcta,highandtocameraleft,andmadetheexposure.IdidapanoramicstitchwiththreeexposuresthatIhandheldandthenlaterassembledinPhotoshop.Thebackgroundisallreal.Stunningandreal.Onthisshot,myassistantJessenotonlyhelpedmelugtheheavytrucktiresbutalsocarriedtheProfotoPro-7bbatterypackwhilewephotographed.Heblackedoutduetoexertionandlackofoxygen.Oneminutehewasstandingthere,andthenhesaidhefeltdizzy,andthenhesatdownandjustpassedout.Wehadoxygentanksthere,providedbytheproductioncompanyforjustsuchanemergency,buttheyweredefectiveandproducednooxygen.Thiswasanextremelydangeroussituationbecausethebraincanonlyfunctionwithoutadequateoxygenforsolong.Sooneofthetruckersdrovehimbacktoaloweraltitudeasfastaspossible.Jessehadtogotothehospital,wheretheyadministeredoxygenuntilherecovered.
1/125sec.atf/5,ISO50
MUDCATS
IwentoutwithMarionKincaidatsunrisetocapturehisportrait.SimilartoafewofmyimagesfromtheVaranasiseries,wewereinaboatwiththesuncomingupbehindhim.MysinglelightcamefromaProfotoflashheadmodifiedbyanElinchromRotaluxSoftboxOcta,heldhighandaimeddownatmysubjectata45-degreeangle.Idraggedtheshutteralittletoletthebackgroundblowoutjustatouch.Thistechniqueflaredthesunandproducedacreamy,milky-whitebackdropfromthelightoftheearly-morningsun.Theresultisacleancanvasthatdirectsyourfocustothesubject.
1/350sec.atf/3.5,ISO50
THISSHOOTCAMEABOUTINAHECTICMANNER.HISTORYISONEOFMYfavoriteclientsbecausetheyalwayshaveinterestingjobsandfascinatingsubjects.Whentheycontactedmeaboutdoingthisshoot,Iwas
alreadyinLosAngelesonajob,withonedayoffbetweenthatshootandapresentationIwasgivingattheProfessionalPhotographersofAmerica’sImagingUSAconventioninNewOrleans.AfterIheardthedetailsofthisshoot,thatonedayoffquicklymorphedintoaworkdayasItraveledtoOklahomatophotographsomeofthestarsofthisuniquerealityshow.Mudcatsarefishermenwhousetheirhandstohuntlargecatfishonthe
bottomsoflakes,rivers,andswamps.Nolures.Norodandreel.Justtheirbarehands.Theyfeelaroundinthemud,wigglingtheirfingersasifthey’reworms.Catfishsensethatmovementandbitethefishermen’shands.Whenthefishmakethiscontact,thefishermengrabthemandwrestlethemoutofthewater.It’sprettywildstuff.Historywantedindividualportraitsofthemudcatfishermenforamotion
graphicsintrototheTVshow,aswellassomeactionshotsoftheguyshuntingfish.
MAKINGITHAPPEN
Theportraitswererelativelystraightforward.Isetthemuplikesomeofthesingle-lightimagesinmyfineartportraitseries;specifically,theoveralllightingandcompositionaltechniquesweresimilartothoseusedfor“TheHolyMenofVaranasi.”Thatmeantasinglelightsourcepositionedhighandtooneside,aimeddownatthesubjectata45-degreeangle.AsintheimagesfromIndia,myexposuresemphasizedtheambientlightandthecolorsofthesurroundingsky,withalessprominentimpactfromtheflash.Theportraitsareaboutthesemenintheirenvironment,soIwantedthefeelofthatenvironmenttocomethroughinthephotographs.
MYMUDCATSCAMERABAG
•Camera:PhaseOne645camerabodyandPhaseOneP65+backs(forportraits),CanonEOS5DMarkII
•Lens:PhaseOne80mmF2.8andCanon16-35mmF2.8lenses•Lights:ProfotoProflashheadand69-inchElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforcameraandoneforpowerpack)•PowerSource:Profoto7bpowerpack
Capturingtheactionshotswasatrickiertask.Oneproblemwasthatourshoottookplaceoutsideofprimehuntingseason.Itwasthemiddleofwinter,thewaterwasfreezing,andstillwehadtothrowtheseguysinfrigidwaterwithnoshirts.Icroucheddowninthemuddylakeinwaterproofwaders,shootingwithaCanonEOS5DMarkIIcamerainawaterproofhousing.Iheldthecamerajustunderthesurfaceofthewater,aimedup,andshotfromtheperspectiveofafishbeingpulledfromthelake.Ihadmysubjectpulloutthefishandshakeitbackandforthtocreateasenseofmovementandsomesplashing.ThenIfiredseveralexposures,checkedmyresultsintheviewfinder,madesomeadjustments,andrepeated.Noadditionallightfortheactionshot—justafun,muddy,wettakeonafishoutofwater.Whenworkingwithacamerainanunderwaterhousing,youreallyneedto
understandthefocallengthyou’reusingandhowthatfocallengthrelatestoyourexposure.Youtypicallysetyourfocallengthbeforeputtingthecameraandlensinthehousing.Onceit’ssetandyou’reinthewater,youcan’tmakeanyadjustments,soyouneedtobesureyoursettingsgiveyounotonlyawell-exposedimagebutalsotherightdepthoffieldforyourscene.ForthetypeofimageIwanted,themostdynamicshotscomefromputtingthe
lenshalf-in,half-outofthewatersothecamerabodywasunderwaterandthelenspartiallysubmerged,rightaroundthewaterline.Thiswayyoucouldseejustalittlebitofwatersplashingandalsocaptureagoodexposureoftheactionabovethewater.It’salsoimportanttoconsiderthetypeofwateryou’reshootingin.Ifit’s
murkyandmuddy,thewaterwillfilteroutsomelightandimpactyourexposure.
Perfectlyclearwaterwillbebrighter,andyouwillhavemoreleewayintermsofhowfaryoucansubmergeyourlens.Forthisshoot,wewereinafairlymuddylake,soIputthelensjustbarelyunderwater.Anythingdeeperandthewaterwouldhaveobscuredtheimagetoomuch.
Togetthisactionshot,Ihadtoholdthecamerajustslightlyunderwaterinashallowpartofthelake,whichmeantthatIcouldn’tgetbehindtheviewfindertoseemyimagebeforeclickingtheshutter.Instead,IpositionedmycamerasoitwasaimingatmysubjectandthenIcuedtheaction.Onmysignal,mysubjectpulledupthefishandmoveditbackandforthinarealisticmotion.Imadeseveralexposureswithautofocuson.ThisimageisadeparturefrommostofmyworkbecauseIcouldn’tfine-tuneeverythingandhadtosimplyhopeforsomeluckinmycaptures.Thatluckarrivedwhenthecamera’sautofocuszeroedinonthewaterdropletsintheforeground.Thewater,whichisinsharpfocus,becamethefocalpointoftheimageinsteadoftheman,whoisinsofterfocusinthebackground.Thiswasaveryhappyaccident,asthepointofviewcameoutgreat—moreofawater’s-edgeviewoftheaction.Tomakethefishlookbiggerandmoreimposing,Iuseda24mmfocallengthona16-35mmlensforadistorted,wide-anglelook.
1/100sec.atf/5.6,ISO200
ForthiswideshotofMarionKincaid,Iplacedmysinglelightsource(aProfotoflashheadmodifiedbyanElinchromRotaluxSoftboxOcta)soithitthesubjectfromthesamedirectionastherisingsun.Theideawastoaugmentthesunlightandprovidealittlemoreilluminationonmysubject.Iunderexposedthebackgroundabittobringinmoreofthecolorsofthemorningsky.Asopposedtothisimage,inwhichIwantedaclean,milky-whitebackgroundtoemphasizethesubject,thisimagehasmoreofanemphasisonthesurroundingscenery,hencethelongerexposureformoreambientlightanddeepercolors.
1/180sec.atf/3.5,ISO100
THEJONASBROTHERS
AFEWYEARSAGO,FORBESMAGAZINEASKEDMETODOASHOOTWITHTHEJonasBrotherstoillustrateastoryontheirfinancialsuccessandmediaempire.WestagedtheshootinthehangarofaprivateairportinNewJerseyandhadaplanebroughtinfortheshoot.Initially,Icapturedastandardshotofthemstandingcasuallyinfrontofthe
plane,lookingrelaxedandcomfortable.Thisistheshoteveryoneexpected.Iwantedtoplayitsafebeforeexperimenting.Aftercapturingthatimage,Itriedsomethingdifferent.Ididn’thavetimetodoacompletelynewlightingsetup,sousingthesamesetupItriedsomethingwithmoreenergy.IcameupwiththeideaofmakingahumanairplaneoutofNickJonas.TheJonasBrothersareusuallyportrayedmoreseriously;thestylingandposinginmostoftheircommercialimagesmakesthemlookolderthantheyare.EventhoughthearticlewasallabouttheJonasBrothersassuccessful,wealthybusinessmen,really,they’rechildpopstarsunderneathitall,soIwentforsomethingthatwouldcapturetheirfun,childishsidejuxtaposedwiththemoregrown-upsceneandclothingchoices.Theirmanagerandpublicistdidn’tseemtomind,sowedidafewshotswiththisgeneralposeuntilNick’sbrothersdroppedhimacoupleoftimesandtheirmanagersteppedintostopallthefoolingaround.Forbesultimatelychosethehumanairplaneimageforthestory.
Onthesecelebrityeditorialshoots,thetrickistocreatealotofcontentinashortamountoftime,soIalwaystrytocaptureseveraldifferenttypesofimageswithonesetup.OnceIdidthestandardgroupshot,myonlychangeforthehuman
airplaneimagewastolowerthekeylightclosertothesubjectsbecausetheguyswerephysicallylowerintheairplanepose.MymainlightwasanAlienBeesB1600flashheadmodifiedbyaPaulC.Buffoctaboxsuspendedhighabovethesubjectsandpointingdownata45-degreeangle.IthenaddedtwoAlienBeesB800flashheadswithzoomreflectorsforbackgroundlight.Onetocameraleftlituptheplaneandprovidedalittlehairlightonthebrothers.Onetocamerarightaddedjustatouchofdimensiontotheplane,alittlewhitehighlightthatyoucanseeontherightsideofthejet.IusedAlienBees’slightingbeforeIinvestedinthehigher-endequipmentIusetoday.Thelowerpricetagcanmeanlowerqualitywithinconsistentoutputoflightandcolortemperature.However,fortheprice,theAlienBeeslightsareanincrediblevalueforphotographersjuststartingout.
Firstimage:1/80sec.atf/13,ISO200;Secondimage:1/200sec.atf/14,ISO200
MAKINGITHAPPEN
Thesetypesofshootswithcelebritiesarereallyfast.You’vegotonlyafewhours,atbest,tosetuptheentireshoot,andyou’veoftengotmereminuteswiththetalent.Soyouneedtolightquickly,shootquickly,andthinkquickly.Thesedays,whenIhaveamorerelaxedtimeframeforashoot,theclientwillsometimesaskmeifIthinkIcangeteverythingdonebythedeadline.Ijustsmileandthinktomyself,Youhavenoidea!
MYJONASBROTHERSCAMERABAG
•Camera:CanonEOS-1DsMarkIII•Lenses:17-40mmF4Llensand24-70mmF2.8lens•Lights:OneAlienBeesB1600flashheadandtwoAlienBeesB800flashheads•Lightmodifiers:PaulC.Buffoctabox•Powersource:AlienBeesVagabondportablebatterypack
Witheveryeditorialshoot,it’simportanttopresentacollectionofimagesthatthepublicationcanusetohelptellthestory.Theyneedtobecohesiveandrevolvearoundacentraltheme.ThisportraitofJoeJonasfollowstheconceptoftheJonasBrothersassuccessfulbusinessmen.Usingthesameplane,werearrangedoursetuptoshootinside.IposedJoebythewindowandaimedmytwoAlienBeesB800lightsintotheplanefrom
outside.Iarrangedoneofthelightsdirectlyoutsidethewindow,shininginonJoe’sface.Thelightwasabarebulbwithazoomreflector,whichproducesastrong,directlightsourcereminiscentofthesunshiningthroughthewindowofaplaneinflight.ImodifiedtheotherB800witha10-degreegrid,andaimeditatanangletocreatealittleseparationbetweenthesubjectandtheseat.Inpostproduction,IpulledtheimageintoPhotoshopandaddedtheflaretoenhancethesenseofthejetbeinginflightwiththesunshininginthewindow,notsittinginahangar.IusedaflarefromanotherpictureI’dcapturedtomakeitlookmoreauthentic;IdidnotcreateagraphicinPhotoshop.
1/200sec.atf/3.5,ISO200
AMOUR.COM
PEOPLEOFTENASKHOWMUCHIAMINVOLVEDINTHECREATIVEconceptualizationofmyphotoshoots.Whichideascomefrommeandwhichcomefromartdirectorsorothercreativesworkingfortheclient?Formypersonalwork,notsurprisingly,everythingisallmine.Fromconcept
toexecution,Iaminfullcontrolofandcanart-directtheprojectbasedonhowIseeitevolving.Foreditorialphotoshoots,themagazineusuallygivessomedirectionbasedonthethemeofthestory,butIremainveryinvolvedindevelopingtheconceptsbehindthephotography.Foradvertisingcampaigns,thereistypicallystrongcreativedirectioncomingfromtheagencyandmoredefinedguidelinestofollow.Creativeteamsatadvertisingagencieshavepitchedandsoldtheirclientsonsomethingspecific,andthentheyhirethephotographerwhosestylebestcomplementstheircreativevision.Sothatvisionneedstoberealized,buttheagencyhashiredmetoaddsomethingunique,toenhancetheimageandaugmentthecreativeprocess.Thebestimagesbeginwithagoodcreativebriefandimprovethroughcollaborationbetweentheartdirectorandphotographer.
ThediagramIwasgivenfromtheclient.
Fromalightingperspective,thekeytothisimagewassoft,wraparoundlight,whichIcreatedusingahomemadeversionofaProGlobe.Itwasalsocriticaltoseparatethesubjectfromthecitylightsinthebackgroundwhilesimultaneouslyblendingthephotographiclightingwiththeambientlightsforaconsistentcolortemperature.Carefulapplicationofarimlightwitha1/2CTOwarminggelhelpeddothis,asdidaslightshutterdragtobringinmoreoftheambientlight.
1/8sec.atf/5,ISO200
Hereyoucanseethesetup.Noticetheplacementofthehomemadeglobelight,whichenhancesthelightfromthecityscapeinthebackgroundwhileprovidinganicemainlightonthesubject.It’sjustcloseenoughtoaddsomecatchlightinthesubject’seyes.Inthemeantime,thebacklightseparateshimfromthebackgroundbylightingtheedgeofhisbackside.
Duringanadvertisingshoot,it’simportanttopulloffexactlywhattheclient
wantsfirst;thenyoucanspendsometimeplayingaroundwiththesetuptoproducesomevariationsthatmightofferaninterestingtakeontheinitialcreativebrief.Sometimesthebriefisextremelyspecificwithdiagramsormock-upstofollow.Inthosecases,youneedtobringallofyourlighting,composition,andstorytellingskillstothetabletobringthesketchtolife.Evenifyou’regivenverysoliddirectiononanimage,therearealwayssubtlethingsyoucandoasaphotographertomaketheimageyours.Foreverycommercialphotographer,thoselittletweaksandsmallphotographicdecisionsarewhatdefineyou.Ifyouimplementthesesubtletieswell,youcanbringaclient’svisiontolifemoreeffectively,whilekeepingtheprocesstruetoyourcraft.OnegreatexampleofthisisashootIdidwithartdirectorThomasDerouault
atEuroRSCGinParisforthematchmakingwebsiteAmour.com.Thomasandhiscopywriter,PeterMoyse,cameupwithanideaandscribbledsomesketchesinanotebook.Theconceptbehindthecampaignwastoshowlonelyguyswhoneedadate,andwhoareforcedtocreatetheirownfakegirlfriends.TheimpliedconclusionisthattheycanvisitAmour.comtofindarealcompanion.AfterThomasandPeteragreedthatmyphotographicstylematchedwhattheyweretryingtopulloff,theysentmethesketches.
MAKINGITHAPPEN
OnceIstoppedwonderinghowthisweirdprojectcametobe,Istartedtofigureouthowtomakeitallcometogether.Ihadtothinkabouthowtodissectthediagramsandmakethemworkinarealenvironment.
MYAMOUR.COMCAMERABAG
•Camera:CanonEOS-1DsMarkIIIforthespaghettipicture(becauseofitsstrongcapabilitiesinlowlight);PhaseOne645camerabodywithPhaseOneP65+backforthemirrorpicture
•Lenses:24-70mmF2.8lensfortheCanon;80mmF2.8lensforthePhaseOne•Lights:TwoProfotoProflashheads•Lightmodifiers:Homemadeglobetocovertheflashbulb,ProfotoZoomReflector2,ElinchromRotaluxSoftboxOcta,1/2CTOgel
•Powersource:ProfotoPro-7bbatterypack
Allofthelocationsinthesketcheswereverysimple,sowestagedtheminmyapartment.Castingfromamodelagencywasoutofthequestionastheconceptcalledfora“streetcast”—average-lookingguysthateverydaypeoplecouldidentifywith.SinceIthoughtitwouldbedifficulttoexplaintoastranger,“You’regoingtoplayaguywholookslikehecan’tgetlaid,”Idecidedtocastsomeofmyfriends,includingphotographerNickOnken,whomIsortoftrickedintobeingpartoftheshoot.Forthefirstshot,ofaguyeatingdinnerbyhimself,Iwantedthemainlightto
besoftandwraparoundthesubjectlikecandlelight.Toachievethiseffect,myfirstchoiceforalightmodifierwouldhavebeenaProfotoProGlobe,aspherical,bulblikemodifierthatspreadsthelightaroundlikealamp.However,Idon’townoneoftheseexpensiveitems,soIusedmyhomemadeversion(seehere).Oncemodifiedsatisfactorily,Iarrangedthemainlightjustabovethesubject’shead,hoveringoverthemiddleoftheframe.Ithenplacedarimlighttocamerarightsotherewasabitofseparationjust
touchingthetopofthesubject’shead,hair,andshoulder,helpinghimstandoutfromthebackground.ImodifiedtherimlightwithaProfotozoomreflectorandwarmedupthecolortemperaturewithsome1/2colortemperatureorange(CTO)warminggeltoreplicatetheambientlightfromthecityinthebackground.Thiseffectunifiedthelightsources(ambientcitylightsandrimlight)sothesceneappearedmorenaturalandblendedseamlesslywiththesurroundings.Themodifiedrimlightalsohelpedseparatethesubject’sdarkhairfromthedark
background.IusedthewarminggelonlyontherimlightbecauseIwantedtodistinguishbetweenthetwolightsources.IfI’duseditonthemainlightaswell,therewouldhavebeentoomuchwarmlightintheimage.Finally,Ibroughtinsomeambientcitylighttoaddcolorandatmosphereto
thepicture.Todothis,Idraggedtheshutterjustlongenough(1/8sec.)forthecitylightsinthebackgroundtoexposeproperly.Forthesecondshot,Ifelttheoriginalsketchhadacompositionthatdidn’t
workaswell.IfeltitcouldbemoredynamicifItookanover-the-shoulderviewpointshotfromrightnexttothesubject’shead.Theartdirectormadeitclearthathedidn’tneedtheexactcompositionfromthesketchandgavemefreereintodowhateverIwanted.SoIarrangedthescenesoIwasshootingfrombehindthesubjectandgettingamoreup-close-and-personalperspective.AfterIcapturedtheoriginallyscriptedshot,whichdidn’tincludethelipstickonthemirror,Idrewsomelipsonthemirrorwithredlipstickforafewadditionalshots.Theclientendedupchoosingoneofthelipstickimages.Thelightingforthisshotwasmuchsimpler.IusedthesameProfotoPro-7b
batterypackwithasingleProfotoProflashheadmodifiedbyanElinchromRotaluxSoftboxOcta.Ipurposely“dirtied”upthelightabitbysuspendingithighabovethesubjecttocreatesomegrittyshadows.
Theoriginaldiagramfromtheclientforthemirrorshot.
Collaboratingwiththeartdirector,Irecomposedthisshotfromtheoriginalsketchtoproduceanover-the-shoulderperspectivethataccentuatedthelonelyguy’spointofview.LightingcamefromasingleProfotoflashheadmodifiedbyanElinchromRotoluxSoftboxOcta.Tobetteradaptthelightingtothescene,Isuspendedthesoftboxabovethesubject’sheadforgritty-lookingshadows.
PENNZOIL
MYWORKWITHPENNZOILCAMEABOUTWHENTHEARTDIRECTORONTHEproject,JustinSmithatDoner,referredmeafterseeingmy“CradleofMankind”series.AlthoughJustinwantedadifferentlookforPennzoil’sadcampaign,thisisanotherexampleoffineartfeedingcommercialwork.Itsupportsmyfeelingthatpersonalexplorationisnotonlyimportantforartisticgrowthbutalsoasanancillaryroutetoprofessionalsuccess.TheideabehindthiscampaignwasPennzoilPride,aconceptbasedon
passingdownthevalueofPennzoilproductsfromprofessionalstoeverydaydrivers,andfromfathertoson.Thefirstimage(shownopposite)featuresHelioCastroneves,acelebrityIndyCardriverwhohasnotonlyachievedgreatsuccessonthetrack,butwasalsothewinnerofthefifthseasonofABC’sDancingwiththeStars.HisnameisassociatedwiththePennzoilbrand,andsotheimageneededtoshowcasehimastheirrecognizablefrontman.Thefather-sonimagesshownhereandherecamefromadifferentshootfor
thesamecampaign.Thisduowasanactualfather-sonpairthatwecastandphotographedinLosAngeles.Theclientwantedamoreauthenticlooktotheseimages,sowedidamixofstreetcastingandprofessionalmodelcastinguntilwelocatedthispair.
Usingathree-lightsetup,Icreatedabright,sunnysceneduringwhatwasactuallyadark,stormyday.Mymainlight,aProfotoProflashheadinanElinchromIndirectLightbankOcta,becamethe“sun”whiletwoadditionallightstocamerarightprovidedaccentlighting.Ishotwithashallowdepthoffieldtoblurthesomewhatclutteredbackgroundandemphasizetheproduct.SincethistechniquealsoblurredthePennzoilcaninHelioCastroneves’shand,IaddedasharpimageofitbackintothefinalcompositioninPhotoshop.
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MAKINGITHAPPEN
IconductedtheshootwithHelioCastronevesbyaracetrackinNorthCarolina.TheoriginaltelevisioncommercialforthiscampaignhadavictorycelebrationgoingoninthebackgroundwhileHelioheldalofthiscanofPennzoil.Thisdidn’tworkaswellinastillimagebecauseitseemedtoostagedtohavethisguyholdingacanofoilwhilepeoplewerecelebratingallaroundhim.SoIfoundsomepropsaroundthegarage,includingacrankandaclipboard,andaskedthemodelsinthebackgroundtoholdthemandtalknaturally.It’sstillanobviouslystagedcommercialimage,butitfeelsalittlemorerealisticinthissetting.
MYPENNZOILCAMERABAG
•Camera:PhaseOne645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Lights:MultipleProfotoProflashheads•Lightmodifiers:ElinchromIndirectLightbankOcta,CTOwarminggel,zoomreflectors,20-degreegrid
•Powersource:ACoutlet
Iwantedashallowdepthoffieldtokeepthefocusonthemainsubject,whilethebackgroundelementswentsoft.Thisisparticularlyimportantinacommercialimagethat’sshowcasingaproductandarecognizablespokesperson.Youdon’twantalotofconfusingbackgroundfeaturesdrawingyoureyeawayfromthemainfocus.TheproblemwasthattheshallowdepthoffieldmadeitimpossibletokeepbothHelio’sfaceandthePennzoilcaninfocusatthesametime.Toworkaroundthisissue,ImademultiplecapturesandthenusedPhotoshoptostitchinasharpimageofthecanwithasharpimageofHelio.Hisfaceisinfocusand,magically,soisthebottle.TherewasnootherwaytoaccomplishthatdualsharpnessunlessIstoppeddowntof/11orf/16,andthenI’dlosethatnice,shallowdepthoffieldthatmakestheimagesoeffective.Weconductedthisshootonadarkandstormyday,buttheclientwanteda
bright,sunnylooktotheimage.SoIadded“sunlight”byarrangingastrobeoutsidethegaragewindow,aimedinwardandmodifiedbya½colortemperatureorange(CTO)warminggel.Thelightstandwasvisibleintheoriginalshot,soIcloneditinPhotoshopduringpostproduction.Ialsodraggedtheshutterandoverexposedtheimageabittobringinmorelightandmaketheskylooklighterthanitwasinreality.MymainlightcamefromaProfotoProflashheadinanElinchromIndirect
LightbankOctaarrangedtocameraright,abovethesubjectandaimeddownata45-degreeangle.BehindHelio,justoutoftheframetocamerarightatthesamedistancefromhimasthetwoguysinthebackground,Iplacedanotherlighttoshineonthecarandwashoverthebottomofhisrightleg.Imodifiedthisflashwithazoomreflector.Toaddsomeshinetothehoodofthecarandsomesparkle
tothewheel,IplacedanotherProfotoflashheadjustoffframetocameraright,aimedatthecarandfocusedwithazoomreflectoranda20-degreegrid.Forthesecondimage,wecastarealfatherandsontogetmoreauthentic
expressionsandinteraction.Wehadalongdayofshooting,so,understandably,theyoungboywasstartingtogetfrustratedandthedadlethimhonkthehorntoamusehimself.Afterhonkingthehornafewtimes,theboylookedbackathisdadtoseeifitwasokaytokeephonking.Atthemomenthelookedbackandmadeeyecontactwithhisfather,Icapturedthisimage.Pennzoillovedthispicturebecauseofthetendernessofthemomentandthelookoftrustintheboy’seyes.
Forthisimage,Iworkedwitharealfather-sonduotogetamoreauthenticinteraction.
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Iplacedmymainlightonthecarhood,braceditwithalightstand,andmodifieditwithanElinchromIndirectLightbankOcta.Youcanseethislightonthedad’sfaceandtheleftsideoftheboy’shead.Isetthelightalittlehigherthanthehoodsoitwouldfilluptheentirewindshield.ThelittleflareinthetopleftcornercomesfromaProfotoflashheadmodified
bya¼CTOwarminggel.Thislightdropsalittleorangeonthebackoftheboy’shead,aswellassomelightonthedad’slipsandchin.
Tolightupthebushesbehindthecar,Iplacedabare-bulbflashonthefarsideofthevehicle.The360-degreelightspraysaroundthebackground,brighteningitupandalsoputtingsomelightonthedad’shands.Thislightisalittlecoolerthantheotherflashbecauseitdoesn’thavetheorangegel.Sincetheboy’sheadisturnedawayfromthemainlight,Iputanotherflash
withabeautydishonthebackofthecar,aimedthroughtherearwindowtofillinhisfaceandprovidesomecatchlightinhiseyes.Iturneddownthepoweronthisflashtohalfthatofthemainlightonthehoodsoitwouldprovidejustasubtlepopoflighttobrightenuptheboy’sface.
InthiscommercialimagemadeforPennzoil,Ibuiltascenearoundthisfatherandsonsittinginacar.Mymainlightsatonthehoodofthecar,fillingupthewindshieldwithlightandshiningonthedad’sfaceandtherightsideoftheboy’shead.Inthetopleftcorner,Iaddedanotherlightwithanorangegeltoprovidealittlewarmlightonthebackoftheboy’shead.Tolightupthebushesinthebackground,Ipositionedabareflashbulb,whichsentout360-degreelighttoilluminatethebushesevenly.Sincetheboy’sheadwasturnedawayfromthemainlight,Iputaanotherflashinabeautydishonthebackofthecar,aimedthroughtherearwindow,toprovidesomecatchlightinhiseyes.Withthisscenecreated,IletmysubjectsinteractnaturallyasImadeseveralexposures.
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PAWNSTARS
Workingatdusk,IsetupaProfotoflashheadinaRotaluxOctaasmymainlight.Positioningittocameraright,Iflaggedthebottomofthesoftboxtoobstructthelightandpreventitfromhittingtheground.Thelightjustskimsthetopofthepicture,rightbytheOldMan’supperbody,andletstherestofthecompositiondropintoatmosphericshadow.Tohighlightthecarbumperandchromeaccents,IplacedaProfotoflashheadmodifiedbyazoomreflectorandagridjustbehindthecarandoutofframe.Toaddanextralittlepopoflight,IhidaCanonSpeedliteEXflashwithaPocketWizardtransceiverinsidethelightfixtureonthewall.Finally,byintentionallyunderexposingthisimage,Igavetheskyadarkertoneandmadethesceneappeartobeatnight,whenitwasactuallyshotjustaftersunsetwhiletherewasstillagoodbitofresiduallightinthesky.
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WHENTHEHISTORYCHANNELAPPROACHEDMEABOUTCREATINGSOMEimagesforanewrealityseriescalledPawnStars,Ijumpedatthechance.They’dsentmetheshow’spilotepisodeandIthoughtithadaninterestingconceptwithsomeintriguingcharacters.Historywantedsomeimagesofthemainpeopletohelpthempromotetheshowinothermedia.SoIsetupatriptoLasVegastomeettheguysandproducesomepromotionalportraits.Duringthatfirstshoot,theshowhadn’tairedyet,andnooneknewhow
popularitwouldbecome.Thenow-famouspawnshopwasemptyanditwasjustlikephotographinganyothergroupofnormalguys.Ididn’thaveastrictsetofdirectionsfromtheshow’sproducersbecausetheydidn’tknowexactlywhereitwouldgo.ThispresentedanexcitingchallengebecauseIhadanopportunitytohelpcrafttheshow’slookandbrandingthroughthatinitialsetofimages.SincethepawnshopfeaturedintheshowisaVegaslandmark,ItalkedtotheartdirectionteamatHistoryaboutusingalotofVegasthemes,playingupthedarktonesandneoncolorsthatmanypeopleassociatewiththecity.Ialsophotographedalotinsidetheshop.Lightingoptionswereabitlimited,soIoptedtoaddinteresttotheportraitsbyincorporatingantiquesandotheritemsfromthestoreintothebackgrounds.Thiswouldplacemysubjectsinthecontextoftheirwork,surroundedbytheartifactsthatdefinetheshow.WecreatedsomuchcontentduringthisinitialsessionthatHistorywasabletousetheimagesforthefirsttwoseasonsoftheshow,pullingdifferentsetupsandportraitswithoutrepeatingmaterial.AfterthethirdseasonofPawnStars,whentheshowhadbecomeanenormous
hit,Historyhiredmetodoanothershoot.Sincethemainguyshadbecomecelebrities,wedidn’tneedtoidentifythemasmuchwiththepawnshop;theywererecognizablecharacterswhocouldstandontheirown.Plus,theGold&SilverPawnShopwasnolongeraquietset.Therewasalineoftouristssixblockslongwaitingtogetintothestore!History’sartdirectioncameupwiththeideaofdepictingastrongerVegastheme,sowestartedplanningsomeshotsofthecharacterswalkingdownFremontStreetintheoldpartofVegas,aswellasotherimagesthatexemplifiedthecharacters’connectiontothecity.OneconsistentelementthatwecarriedthroughbothshootswastheOldMan’scar,avintageCadillacthatmadetheperfectprop.
TheprimaryilluminationforthisscenecamefromaProfotoflashheadinanElinchromRotaluxSoftboxOcta,placedtocameraleftinfrontofthesubjectsatabouta45-degreeangle.However,thekeytomakingthisscenerealisticwasblendingthephotographiclightwiththeambientlightfromthecasino.Todothis,Iaddedasecondlighttothebackandrightofthesubjectsandmodifieditwithcoloredgelstore-createtheyellowlightfromthecasino.Deeperorangeandredtonesalsocomethroughfromthecasino,producingareddishwashandhelpingeverythingblendtogether.
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MAKINGITHAPPEN
I’moftenhiredforcommercialjobsthatinvolvenoncelebrity,nonmodelclientsbecauseIhavealotof“ordinary”peopleinmyportfolio.Thismeansalotofshootswiththecastsofnewrealitytelevisionshows(whoaren’tfamousyet)andadvertisingprojectswithstreetcasting.Workingwiththesetypesofsubjectscanbealittlemoredifficultbecausethey’renotusedtobeinginfrontofthecamera.Theymightbeuncomfortable,andthey’reoftenunsureofthemselves.Thekeytomanagingoneofthesesessionssuccessfullyisbuildingarapportwiththesubjectsandinstillingconfidence.Ireassurethem,trytohelpthemrelax,andexplainthatmyjobistomakethemlookgood.Inmanycases,I’llstartoffbyshowingthemmyportfoliosotheygetasenseofmystyleandwhat,ingeneral,I’mgoingforintheimagery.
MYPAWNSTARSCAMERABAG
•Camera:PhaseOne645camerabodywithPhaseOneP45+back•Lenses:80mmF2.8lensand45mmF2.8lens•Lights:MultipleProfotoProflashheads•Lightmodifiers:ElinchromRotaluxSoftboxOcta,CTOwarminggel,zoomreflectors,20-degreegrid
•Powersource:ACoutlet
Next,Iworkwithmyamateursubjectsonposingandhowtoactinfrontofthecamera.Peoplewhoaren’tusedtobeingphotographedoftenlikemoredirection,soI’mfairlydetailedinmycoachingatthisstage.ThenIwatchthemwhenthey’renotoncamera.Ipayattentiontohowtheycrosstheirlegs,howtheystand,wheretheyplacetheirhands.Whenpeoplerelaxandactnaturally,that’susuallythelookI’mseeking.It’salsothelookthatmostclientswantfromtheseshootsfeaturingnormal,everydaypeople—asopposedtoahighlystylizedcommercialshootwithmodelsoractors,wheretheposingfitsintoaspecific,predeterminedlook.For“ordinary”people,naturalusuallyworksbest,soI’malwayswatchingthesubjectsinbetweenshotsandduringbreaks.Whentheyrelax,whentheysettlebackandactlikethemselves,thenIstepinandaskthemtoholdtheirpose(or,moreaccurately,theirlackofapose).Mystyleofdirectionismoresubtlewithestablishedcelebrities,models,and
actors,whohavebeenphotographedthousandsoftimes.Thesepeopleknowwhatthey’redoing—usually—andIcanworkwiththemonamoreadvancedlevel,discussingthingslikemoodandamorenuancedexpression.Withthesehigh-profilesubjects,Iusuallylimitmydirectiontomylightingsetupandhowandwherethesubjectsshouldpositionthemselveswithinthatsetup.Fromthere,myfeedbackrevolvesaroundthelightingandmaximizingtheimpactofmylightsetup.Forexample,ImightpointoutmymainlightsourceandaskaprofessionalmodeltoturntowardthatlightsothatIcancaptureareflectioninhereye.OrI’llpointoutthesourceanddirectionalityofthelight,explainwheretheshadowswillfallandthenaskthesubjecttoworkwiththoseshadowswhileproducingadark,thoughtfulexpression.Bymakingitaboutthelighting,I’m
bringingthesubjectsmoreintoanartisticcollaboration,helpingthemtweaktheirlooksowecanoptimizetheresults.Typically,I’lldeliveralotofpositivefeedbackinthesesituations;youhavetoletpeopleknowwhentheyaredoingsomethingrightsotheycanworkoffit.Whencreatingtheimageshownatleft,takenduringmyfirstshootwiththe
castofPawnStars,theOldMan(that’shisnameontheshow)wasverystandoffish.Weneededmoreenthusiasticparticipationfromhim,soIhadtofindawaytoconnect.InoticedthathehadsomeoldCokemachinesintheshop.Itjustsohappensthatmydad’sjobinvolvesrestoringvintageCokemachines,soIknowalotaboutthem.IstartedtalkingtohimaboutthemachineandthehistoryofCoca-Cola,andyoucouldtellhewasimmediatelyimpressed.Hereallyopenedupafterthat.Heconfidedinmethathe’dneverhadhisphotographprofessionallytakeninhisentirelife.Manytimes,whenpeoplearealittlereservedonset,itmaybebecausetheyfeelawkwardorunsure.Ialwaystrytofindsomecommonground,torelatetotheminawaythatdemonstratesmysincerityandinterestinhelpingthemlookgreatinthephotographs.Inreality,theOldManisoneofthemostphotogenicpeopleI’veevershotandhelooksgoodinalmosteveryframe.
ForthisimageoftheOldMan,werearrangedseveralelementsinthebackgroundtocreateamoreintriguingcomposition.Forexample,wedraggedtheCokemachineandthesailboatintothescene,completelyscratchingupthefloorintheprocess.ThemainlightwasanElinchromRotaluxSoftboxOcta
withastandardProfotoProflashheadpositionedtocameraleft,justfarenoughtothesidetoshineonthesubject’sprofile.IangledtheOldMansohewasbacklitbythewindowlight,andImadeatestshotduringwhichIdraggedtheshuttertoproducesomelensflare.Ididn’tseeenoughflare,soIaddedanotherlightbehindhimthatwouldflashintothelensandaddadditionalflare.Aswithmostofmyportraitimages,Iorientedtheshadedsideofthesubject’sfaceclosesttothecamera.
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Forthegroupportraitshownhere,theartdepartmentatHistorywantedaRatPackstylephotograph,somethingthatresonatedwithclassicVegasstyle.SowechosealocationonFremontStreetintheolderpartofVegas.Thisareahassmallerbuildingswithlowerlights,asopposedtotheStrip,whichhastallerbuildingsandhigherlightingarrangements.Wewantedthebrightlightsinthebackground,sothissettingwasperfect.Bythetimewedidthisshoot,theguyswerefamous,sowehadtosetup
barricadesandhavepoliceandsecurityhandlecrowdcontrol.Peoplekeptscreamingtheguys’names.Aftertheshoot,IreceivedseveralGoogleAlertswithpeople’spicturesofmeshootingthisimage.(IhadsetupaGoogleAlertonmyselfandthePawnStarscrew,andthealertsflewinaftertheshoot.)Itwasawildsituation,andcrazytoseethetransformationoftheguys’livesfromthefirstshoottothisone.MymainlightwasaProfotoflashheadinanElinchromRotaluxSoftbox
Octa.Ipositionedthislighttocameraleft,infrontofthesubjectsatabouta45-degreeangle.ThenIaddedonecoloredlighttothebackandrightofthesubjects.ThislightwasanotherProfotoflashheadwithazoomreflector,modifiedbyagrid,aswellasasodiumvaporgelandayellowgel.Thecombinationofthesegels—theintenseorangefromthesodiumvaporandtheyellow—mimickedtheyellow-orangelightingcomingfromthecasinolightsbehindtheguys.Ididn’twanttouseaplainwhiteflashherebecausethewhitelightwouldhaveseparatedthesubjectsfromthesceneandmadethemlookasiftheywerecutoutfromtheirsurroundings.Theideawiththiscoloredlightwastoreplicatetheyellowlightfromthesignbehindthesubjectstocreateayellowhighlightontheguys’faces.However,theambientyellowwasn’tquitepowerfulenoughtoshowuponthesubjectsbecausetheambientredlightoverpoweredit.SoIre-createdtheyellowcolorontherightsideofmysubjectswithmygel-coveredflash.Ittookalotoftrialanderrortomatchthecolorexactly,buttheresultisayellowhighlightthatlookslikeit’sfromthecasinolights.Atthesame
time,thedeeperorangeandredtonesfromthecasinoprovideanoverallreddishwash.(Inpostproduction,wechangedthenameofthecasinotoavoidcopyrightproblems.)Iincludedtheshotshownhere,takenattheendofmyfirstphotosessionwith
thePawnStars,becauseIwantedapicturewiththeOldManbyhisclassicCadillac.I’dbeenshootingtheentiregroupinthesamesetup,andthenIaskedtherestoftheguystostepasideandslippedinthisshotquicklybeforewewrappedup.Ineededtoworkfastbecausetheclientwaspayingeveryoneovertimeatthatpoint,soIposedhim,tweakedthelightingslightly,andgottheshotinthreeexposures.Wewereworkingjustaftersunsetwithsomeresiduallightintheskystill
illuminatingthescene.IpositionedmyRotaluxOctatocamerarightandcoveredthebottomofittoobstructthelightfromthatportionoftheoctaboxandpreventitfromshiningontheground.Asaresult,thelightscrapesonlythetopofthepicturebytheOldMan’suppertorso,leavingtherestinshadow.Theinterplayoflightandshadowproducesadramatic,atmosphericfeel.Ifthelighthadn’tbeenflaggedontheground,therewouldbeabig,awkwardsplashoflightrightinthemiddleofthecomposition.Tocameraright,behindthecarandjustoutofframe,IplacedaProfotoflash
headwithazoomreflectorandagrid.Thisflashprovidesjustalittlebitoflightonthecarbumperandchrome.Itdoesn’tevenhittheOldMan.You’llnoticeadistinctshinecomingfromthewalllightonthewallofthe
building.Theactuallightwastooweaktoproducethiseffect,andyouwouldonlynoticetheselighttrailsifitwascompletelydarkoutside,soIenhancedtheexistinglightbyplacingalittleCanonSpeedliteEXflashwithaPocketWizardtransceiverinsidethelightfixture.Ilovetoaddinteresttomycompositionsbyconcealingflashesinexistinglights—streetlights,lamps,carlights,andsoon.It’sagreatwaytoaddsomeextrapunch.Inthiscase,theflashproducedthelightingeffectIwanted,andthenIaddedinthegreenishtintinPhotoshop.Iintentionallyunderexposedthisimagetogivetheskyadarkerappearance,
asifitweremuchlateratnight.Also,bylettinginlessambientlight,theflashlightappearsmorefocused,withaspotlighteffectcomingfromtheexistinglightfixture,whichworksverywellforthisscene.Ambientlightmakesartificiallightappearlesspronouncedbecauseitmixesinandwashesouttheflash.Whenyouunderexposeanimage,yougetridofmuchofthatambientlight,leavingjusttheparticularlookofyourartificiallights.
PROJECTRUNWAYALLSTARS
WHENLIFETIMEWANTEDPROMOTIONALIMAGERYFORITSLATESTPROJECTRUNWAYseries,ProjectRunwayAllStars,Igotthecall.Theshowfeaturedfanfavoritesfromvariousseasonsofthehitrealityshow,whichfollowsup-and-comingfashiondesigners.Theprojectinvolvedcoordinatingseparateshootswithindividualdesigners,
orpairsofdesigners,andeachimagehadtobeperfectsothatartdirectorAaronDayandhisteamcouldproducecompositesandrepurposethephotosintomultipleformats.Aaronwasfamiliarwithmywork,butwantedtobesureIcouldproducetheclean,commercial,studio-styleimagesneededfortheproject.Priortolandingthejob,IhadtosendhimaseparateportfolioofstudioworktodemonstratethatIcouldproduceflawlessindividualimages.Prominentconsiderationsforthisshootwerethestyleoftheimageryandhow
theshow’scontestantswantedtobedepicted.Thedesignerswereallfunandeasytoworkwith—nothinglikethecutthroat,moodypersonastheysometimestookonfortheshow—buttheywerealsoaveryimage-consciousbunch.Theyare,afterall,fashiondesigners,soappearancewaseverything.Unlikesomeofmyothercommercialportraitshoots,inwhichIusedprominentshadowstoaccentuatefacialfeaturesandcreateasenseofdepth,thesepicturesneededtobecleaner,brighter,andlitwithasofterlightthatwasmoreflatteringtothesubjects.
Thiscompositecomprisesmultipleimagesofindividualsubjectsorpairsofsubjects.Overthecourseofasingledayofshooting,Iconductedmultipleshootswiththecontestantsontheshow,matchingthelight,exposure,andpointofviewasmuchaspossible.IshotalltheimagesforthiscompositewithaMamiyaRZ67medium-formatcamera(withaPhaseOneP65+back)anda110mmF2.8lens.Thereasonforsuchalonglensinastudiosetupwaslimitedspace.Workingwithintheconfinesoftheloft,wehadtoplacethesubjectsrelativelyclosetothebackground.Animagefromashorterlenswouldhavelackeddepth.Byusingalonglensonamedium-formatcamera,Iextendedthebackgroundtocreatetheillusionofextraroombehindthesubjects.
MAKINGITHAPPEN
IcreatedalloftheimagesforthisprojectonawhiteseamlessbackgroundthatIsetupinaloftspacenearwheretheywereshootingtheshowinNewYork.Wehadonedayfortheshoot,butallofthedesignerswouldn’tbeavailableatthesametime.Myportablestudioallowedthedesignerstocomeoverduringbreaksinthefilmingforquickphotosessions.Thiswasthebestoption,becauseIneededtheresultstobeabsolutelyconsistent,eventhoughIwasphotographingpeopleatdifferenttimesduringtheday.Acontrolled,on-locationstudiowithidenticallightingagainstauniformbackgroundwasthewaytogo.
MYPROJECTRUNWAYALLSTARSCAMERABAG
•Camera:MamiyaRZ67camerabodywithP65+back•Lens:100mmF2.8lens•Lights:MultipleProfotoProandBrieseflashheads•Modifiers:Briese180Focusumbrella,twowhiteumbrellas,twobeautydishes,whitefoamcore
•Accessories:Whiteseamlessbackgroundandmountingrig•Powersource:FourProfotoPro-8a2400Airwithbuilt-intransceivers
Formymainlight,IputaBrieseflashheadinaBriese180Focusumbrellaonaboomarmpositionedhighabovemysubjectandslightlytocameraleft.Theboomarmallowedmetosuspendthelightoverthecamera,aimeddownatmysubjectatabouta45-degreeangle.IusedtheBrieseinsteadoftheElinchromRotaluxSoftboxOcta,whichI’veemployedonsimilarshoots,becauseoftheBriese’sdistinctlookwithitsmoredefinedseparationbetweenhighlightandshadow.TheOctaisamorevariablelightsourcewithhotandcoolspotsthatIwouldpositionovermysubjectstocreatemoodyshadowsandadddepth.Italsoproducessofterlightwithlessdefinedtonaldifferencesbetweenhighlightandshadow.Whileextremelyexpensive,theBrieseprovidesaflawlesslightfromaperfectlyengineeredconcaveumbrella.The“punchy”lightitproduceshasaverycommercialstudiolook.Byplacingthislightsquarelyonmysubjects,Iilluminatedthemwithauniformstudiolightthatisgenerallyconsideredmoreflattering.OntheothersideoftheframefromtheBriese,totherightandalittleforward
fromthecameraposition,Iplacedapieceofwhitefoamcoretobouncesomelightontotheshadowsidesofmysubjects’faces.Thisevenedoutthelighting,removinganypronouncedshadowsandgaveeverythingaclean,polishedlook.TwoProfotoflashheadsinbeautydishesprovidedbacklightonthesubjects.I
likebeautydishesforbacklightinginthesetypesofsituationsbecausethelightissoft.Softerlighttendstowraparoundsubjectsformoreofaflatteringglow,asopposedtolightsourceswithhardedges(morecontrastbetweenhighlightand
shadow),whichproduceadefinedlightontheedgesofthesubject.Thisbrightedgelightingdoesn’tworkwellwhenshootingagainstawhiteseamlessbackgroundforacomposite.Overlydefinededgesonthesubjectswillmakethecompositelookartificial,tooobviouslycutandpastedintoadigitalcomposition,asopposedtosofteredgesthatblendandappearmorenatural.Tolightthewhitebackgroundevenlyandfillinshadows,Ipointedtwo
Profotoflashesmodifiedbywhiteumbrellasdirectlyatthepaper.Positionedhighandoneithersideofthebackdrop,theselightsprovidedaflatlightthatevenedoutanydefinitionorfoldsinthepaperbackgroundforamoreconsistentlookacrossalltheimages.Whenworkingwithaseamlessbackgroundforimagesthatwilllaterbe
composited,it’simportanttogetaproperexposureofthebackgroundthatremainsconsistentacrossalloftheimages.Themoreconsistenttheexposureandlighting,theeasierthecompositingjobwillbelateron.That’swhyIlikeumbrellasforthistypeofshoot—theyareaveryconsistentlightsource.Eventhoughawhiteseamlessshootisasimple,clean,studiolightingsetup,
therearesomanywaysthatyoucandoit.Onewaytoseparateagoodshootfromalacklusteroneistomakesurethemainlightisataproperheightinrelationtothesubjects.Youwanttheshadowsandhighlightstobeconsistent;shadowsshouldbecloseinsizeandlength,andhighlightsshouldfallonthesamegeneralplacesonyoursubjects.Ifthey’reoff,yourimageswon’tmatch,anditwillbecomeveryclear,veryquickly,thatyourlightingwasinconsistent.Imaintainconsistentlightingbysuspendingmymainlighthighabovethesubjectsandthenpointingitdownata45-degreeangletothesubject’sface.Thistechniqueinvolvesadjustingthelightupanddownforthedifferentheightofeachsubjectsoit’salwaysstrikingthematthesameangle.Thisangleshouldprovideapleasinglightwhilestillsparkingalittlecatchlightinthesubject’seyes.Youalsohavetomakesurethatthecameraisinthesamespotforeachphoto,andthatit’satthesameheightrelativetoyoursubject.Ifyourpointofviewchangesfromimagetoimage,thesubjectswilllookmismatchedinthefinalcomposition.Ishoteveryonewiththesamesetup,soallthesubjectsarebacklitwiththe
samelight.However,inthefinalcomposite,someofthedesignersappearinfrontoftheothers.Inreallife,ifitwasagroupshotwitheveryonephotographedtogether,thatbacklightwouldbeblockedonsomeofthesubjectsbythepeoplestandingbehindthem.Sothere’satouchofunrealisticlightingthere,ifyoureallylookclose.However,youcan’tcontrolthistypeofsituationasaphotographer.Thefinalcompositemadebyyourclientisoftenwellbeyondyourcontrol.It’sbesttojustshooteverythingperfectlyiftheexactcompositionhasn’t
beendecidedyet.Ihadadigitaltechworkingwithmeonthisshoot.Adigitaltechsitsata
computerduringtheshoot,monitoringtheimagesastheyarecreatedandbackingupthefilesrightthereonthespot.MydigitalbackwastetheredviaFireWiretoalaptopsothetechcouldcheckouttheimagesastheycamethrough.Whilesomephotographersmayfeelalittleuneasywithsomeonelookingovertheirshoulderatalltimes,Ifinddigitaltechstobeextremelyhelpful.Theyaretrainedtolookforspecificthingslikesubtledifferencesinlightingandcolor.It’sgreattohaveanothersetofeyeshelpingmekeepthingsconsistentandwellexposedonsuchalongandfast-movingshoot.
HOUSEOFANUBIS
Withatotalofsixlightsandsomeadditionalhelpfromreflectivewhitefoamcore,Ilitthislargegroupasnaturallyaspossiblewhileprovidingsomeatmospheretotheimage.Posingwassimple,tweakedslightlytogivethecompositionaninterestingflowwhilerepresentingeachsubjectwellwithinthelightingsetup.Thekeytothisimage,fromalightingperspective,wasilluminatingtheentirescenetolooklikearealroominahouse,notafilmsetwith100percentartificiallight.Atthesametime,Ineededtomakesureeachsubject–includingthecrocodile–waswelllitandclearlyvisible.
1/125sec.atf/16,ISO100
INTHEFALLOF2010,IFLEWTOLIVERPOOL,ENGLAND,TOPHOTOGRAPHTHEadvertisementsandpressshotsforNickelodeon’snewkids’showHouseofAnubis.I’vealwaysbeenimpressedwithDavidHamed’sartdirectionofNickelodeonphotoshoots.Eventhoughthenetworkfocusesonyoungeraudiences,itsvisualmaterialalwayshasahighproductionvalue.Workingwiththissortofclient,andcollaboratingwithitstalentedcreativeteam,isadreamforanyphotographer.Nickelodeonhadatalentedsetbuildercreateasetforfilmingtheactualshow,
andIgottouseitformyphotoshoot.Ilovedoingshootsontelevisionandfilmsetsbecausetheyaredesignedforproductions.Therearetrussestohanglightsandplentyofspacearoundthesettoshinelightsthroughwindows,andeverythingisspaciousandopen-endedsoyouhaveplentyofroomtomaneuveryourcamera.It’sanenvironmentmadeforgreatimages.ForsomeonewhoisusedtotapingbackgroundstomudhutsinAfricaandriggingupquick,on-the-flysolutionsduringlocationshoots,workingonawell-outfittedproductionsetisarealtreat.Ievenfeltabitspoiled.IjusthadtomakesureIdidn’tgetlostintheconfusinglabyrinthofdifferentroomsandsetfeatures.Wordofcaution:Whenworkingonatelevisionset,makesureyougotothebathroomintherealone,asthefaketelevisionbathroomcanlookprettyconvincing!
MAKINGITHAPPEN
Forlargecommercialprojectslikethis,there’susuallysometimeallottedtoprelightthesceneonthedaypriortotheshoot,ormaybeafewhoursbeforetheshoot.Thisisthetimetofigureoutthelightingsetupandworkoutanybugs.OnceI’vegottenallthatsortedout,Istartbuildingmylightingscenariopiecebypiece,perfectingeachstagebeforeImoveontothenext.
MYHOUSEOFANUBISCAMERABAG
•Camera:Mamiya645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Lights:SixProfotoProflashheads•Lightmodifiers:ProfotoProGlobe,twoProfotoSoftlightReflectors(a.k.a.silverbeautydishes)with25-degreegrids,20-degreegrid,threeProfotoZoomReflector2,andwhitefoamcore
•Accessories:PocketWizard,fourCstands,boomarm,1/2CTOwarminggel,LenspenPanamaticpanoramaadapterplate
•Powersource:FourProfotoPro-8a2400Airwithbuilt-intransceivers
Theprelightalwaystakesplacewithtestsubjects,nottheactualcast.Workingwithsomeassistants,Isetuptheshootandlightalltheelementstomysatisfaction.Next,it’stimetoposetherealsubjects.Inthisinstance,Ihadbeenworkingwiththecastforthreedaysonothershots,sowewereallverycomfortableworkingtogetheranditwaseasytomovethemaroundandseewhatgroupcompositionworkedbest.Posingninepeopleanywherecanbetricky(well,tenifyoucountthe
crocodile).Iwantedtovarytheeyelevelsofthesubjectsandmakesurenoonewassittingexactlythesameway.Iposedsomeofthecasthighonthecouch,somelower,andsomestanding,andIkepttweakinguntilthecompositionhadaniceflow—theeyemovedfromsubjecttosubjectfluidly,withoutgettingstuckonaparticularelementordistractedbyanyinconsistencies.Itwasalsoimportanttoleavespacessotheviewercouldseesomeoftheinterestingpropsontheshelfandaroundtheroom,sincetheseitemscontributedtotheoverallfeeloftheimageandthebrandingoftheshow.Formymainlight,IstartedoutwithaProfotoProGlobe,aspherical,bulblike
lightmodifierthatspreadslightaround360degrees,almostlikeabarelightbulb.Inmanyshoots,IhaveusedasimilarmodifierthatIcraftedoutofasphericalglasslampshade,butsinceIwastravelingabroadforthisshoot,Ijustrentedtherealthingwhileonlocation.
WhenIdidmyfirsttestshot,Ididn’tlikethewaythelightdrapedoverthewalls.Itwastoobrightanduniform;thescenedidn’tlookcozy,warm,andmoodyasIwanted.SotogetthatlookItapedsomeblackpapertotheareasoftheProGlobefromwhichthelightwassprayingontothewalls.Bycustomizingmymodifier,Ifocusedthelightonlyonthesubjectswithoutanyfalloffonthewalls.ThenIaddedasheetofdiffusionpapertothebulbtofurthersoftenthelightthatdidhitthesubjects.Iaddedtwolightsoutsidethesetwindowstoreplicatesunsetlightcomingin
fromtheoutside.Itappearstobeonelightsource,muchlikethesun,butit’sactuallytwoseparatelightswithzoomreflectors.Iusedtwolightsbecausethewindowsaresofarapartfromeachotherthatonelightwouldnotshineevenlythroughbothwindowswiththesameimpactasthesettingsun.Twolightswithidenticalorientationsaccomplishthislookbeautifully.Also,thelightaimedthroughthewindowoncamerarighthelpsdistinguishtheactorsonthatsideofthecompositionfromthebackgroundbyilluminatingthewallpaperbehindthem.Sincewehavetheillusionofwarmwindowlightshininginfrombehindthe
group,Ineededtoaddsomeadditionalinteriorlightingtoenhancethateffect.Ialsoneededsomerimlighttoseparatetheactorsfromthebackground.IpositionedtwoProfotoProflashheadsinsideofbeautydishesandthenaddedagridtofocusthelightmoreacutely.ThenIsuspendedthelightshighabovethesubjects,aimingthebeautydishesdownandslightlytowardthecamera.Towarmupthecolortemperature,Iplaceda1/2CTO(colortemperatureorange)warminggeloneachlight.Thisorangegelcreatedawarmglowfrombehindtheactors,whichwrappedaroundtheedgesofthesubjectsandseparatedthemfromthebackground.Oncewearrangedeveryone,itwasclearthattheactoronthefarleft,Tasie
Dhanraj,neededanadditionallighttohelpherstandoutbetterinthatdarkcorner.IarrangedaProfotoflashheadwithgridanda1/2CTOwarminggeltocameraleft,justoutoftheframe,aboveherandpointeddownatheratabouta45-angle.Inthefinalphotograph,youcanseetheflarefromthislight,butIdecidedtokeepitbecauseitlooksinterestingandworkswiththefinalcomposition.Besides,itappearsnatural,asifitwerecomingfromaninteriorlightintheroom.EvenwiththisadditionallightonTasie,theleftsideoftheimagewasstilla
touchdark,anditwasn’tlitevenlybythemainlight.SoIplacedapieceofwhitefoamcoretocameraleft,justoutoftheframe,toreflectlightbackontothetwosubjectsinthechair.ThelightfromthemodifiedProGlobelookedgreat,butitcausedsomestrong
shadowsontheactors’faces.Toaddressthisissue,Ibouncedsomelightuptotheundersideoftheirfacesusingapieceofwhitefoamcoreunderthetable.Ipositionedthefoamcoreoutofsightandangledittoevenoutthefacialshadowswithoutaffectingmuchelseintheimage.Togetawide,panoramiclookwithoutanydistortion,Ishotthefinalimagein
twoseparatepanels.Forthiskindofimage,Iusuallydon’tlikethelookofsuper-wide-anglelenses;theydistorttheitemsintheframe.Iwantmyimagestohaveasimilarperspectivetoahumaneye’s,soImergedtwoimagestakenwithan80mmlens.Iusedapanoramicadaptertorotatethecameraonthecorrectaxis,andthencombinedthetwoimageslaterinPhotoshopwithaphotomerge.Iemploythistechniquequiteabitonpanoramic-typeimages.Allofthesubjectsremaininoneplace,butthecameramovesbackandforthbetweentwopositions.
ThissetupshotshowsthelightingarrangementIusedfortheHouseofAnubisgroupportrait,conductedonthesetoftheNickelodeontelevisionseries.Therewasn’tenoughtimetoswitchtoawide-anglelenstoshowtheentiresceneinoneshot,soIpannedthecameraroughlylefttorighttocreatethiscomposite.
POSTPRODUCTIONWORKFLOW
ALOTOFPEOPLELOOKATMYWORKANDTHINKTHATIT’SBEENHEAVILYPHOTO-shopped.Particularly inmycommercial images, theway Iapplymultiplelightsourcesmaygivethisimpression.However,Idomostofmyworkonsetandincamera.IdoenhancetheimagesinPhotoshop,ofcourse,butmy techniques are subtle. They are designed to optimize what I’ve alreadycaptured.I’m not implying that the digital processing and enhancements aren’t an
important part of image creation—not at all. A well-executed postproductionprocesscanaugmentthelookofyourimagesandhelpthemstandout.Intoday’sphotographymarketplace,wheresuccessreliesonauniquevision,developingagood digital workflow can help your images ascend to the next level. Thespecific toolsandtechniquesyouusewillfurtherdefineyourphotography.It’sthefinalstepinimplementingyourpersonalvision.
Also,digitalenhancementsofferanotheropportunitytoshoreupthecohesivenessofyourwork.Ifyoucancreateaconsistentpostproductionworkflow,itwillgoalongwaytowardbuildingcohesivenessacrossallofyourwork.I’mnotsayingthateveryimageneedstobeprocessedidentically,butareasonablystandardizedsetofmethodsshouldbeinplace.Thenyoucantweak,play,andmakesubtlevariationstobringeachpicturetolife.Togiveanideaofmydigitaldarkroomprocess,I’veprovidedaninsidelook
atmybasicpostproductionworkflow.Aswithmycapturetechniques,Idon’tfor
asecondsuggestthatyousimplytakemyprocessandcopyit.Instead,usethisinformationasanothertoolintheconstructionofyourpersonalvision.
1.Ialwaysshoot inrawwithacolorspaceofAdobeRGB1998.Ipreferthis method because it gives me the most digital information with thewidesttonalrange.SinceIdon’tcapturethousandsofimagespershoot,thelarger size of these files isn’t a concern. Later, I can create new, smallerfilesasnecessaryforthefinaloutputmethod.
2.UsingPhaseOneCapturePro,Isharpentheimageandthenconverttherawfileintoa16-bitTIFFfileat100percentsize.IalwayssharpenbeforeconvertingtherawfiletoaTIFFbecausetherawfilehasthemostdigitalinformation,sosharpeningatthisstageoffersthemostaccuratemethod.Idon’t sharpen the base image in Photoshop.During this entire process, IleavetheimageinAdobeRGB1998becausethat’sthenativecolorspace,and it’s a larger color space than something like sRGB. It handles moredetailinshadowsandhighlight,anditholdsmoreinformation.3.UsingCurves, I tweak the color levels and tonal rangeof the image. Istart by clicking Image > Adjustments > Curves. You can use the RGBchanneltoadjustthetonalrangeoftheimage.Theareaatthetoprightofthegraphrepresents thehighlights,and thebottomleft, theshadows.Youcan pull the line one way or another in multiple places to adjust thesehighlights and shadows.Pulling the shadowportionof the linedownandthehighlightareaupwillincreaseyourcontrast.Toadjustcolorinthisbox,clickonChannelsintheupperleftandselectred,blue,orgreen.Withineachcolorchannel,youcanmovethelineupordown to adjust those color levels without affecting the tonal range.However,rememberthatthetoprightimpactsthehighlightsandthebottomleft affects the shadows, so by pulling your line oneway or the other inthose areas, you’re changing the color levels in those tonal areas. Forexample, by pulling the blue line up in the upper right corner, you’reincreasingthebluecolor(anddecreasingtheoppositecolor,yellow)inthehighlights of the image. Similarly, by pulling the green line down in thelower left corner, you’re decreasing the green color (and increasing theoppositecolor,red)intheshadowareas.Youcanplayaroundwithalloftheindividualcolorstoachievealookthatyoulike.Idonothaveasetformulaforthisprocess;IadjustthelevelsuntilIachievethelookIwant.Thisisthebestmethodforcolorizinganimagebecauseyoucangetanycolorcombinationyouwantbyplayingwiththeselevels.
InPhotoshop,ItweakcolorlevelsandtonalrangeusingCurves,thenadjustcolorsfurtheranddesaturatetheimageusingtheChannelMixer(seeStep3,andStep4).
4.IusetheChannelMixertodesaturatetheimage.GotoWindow>Layers(F7) >Adjustment Layer >ChannelMixer.You can also get toChannelMixer by going to Image > Adjustments > ChannelMixer, but I like towork in layers so I can go back and change things easily later on. ByaccessingtheChannelMixerthroughLayers,itcreatesanewlayerwithamask,andyoucaneditinanondestructiveway. The ChannelMixer opens a box with red, green, and blue channels,whicharethemaincolorsaffectingyourphotos.Bymovingthesliders,youcanseehowtoadjustoverallcolorlevelsinthephoto. This method is also how I do black-and-white conversions. Digitalcameras offer great options for shooting in color and then converting toblack and white with customized tonal ranges. By running the imagethrough different color channels in Photoshop, you can create your ownblack-and-white effects, similar to colored filters and custom processingback in thedaysof film.Todo this,whileyou’vegot theChannelMixerboxopen,clicktheboxforMonochrome.Youcanplaywiththered,blue,
andgreensliderssomemoreandseehowadjustingthesecolorscompletelychanges thecontrast rangeof theblack-and-white image.Theredchanneltendstogiveasmooth,softlooktoskin.Thebluechannelistheopposite,providingaharsherlooktotheskin.Thegreenchannelisinthemiddle.Ilike to use a mixture of green and blue channel adjustments to give myimagesaninterestinglook.Icanachieveamorehigh-contrast,high-impactlooktomyblack-and-whiteimagesbyusingthismethod,asopposedtojustturning the image toblackandwhitebyclickingDesaturate.Youcanseethis process and other Channel Mixer techniques in more detail on myinstructionalDVD,availableatlearnfromjoey.com.
5.OnceI’veachieved the lookIwant, Isave thefileasahigh-resolutionTIFF,andthenmakecopiesatdifferentsizes,dependingonthefinaluseforthe image. If necessary, I adjust the sharpness along the edges of mysubjectsinthesesmallercopiesusingtheUnsharpMaskfilter.Ialwaysdothisadditionalsharpeningadjustmentafterresizingtheimagebecausewhenyou downsize an image, the process reduces the number of pixels in theimage. You need to produce harder edges because there are now fewerpixelsalongthoseedges.I typicallyapplyUnsharpMaskwitharadiusof0.7andanamountbetween60and80percentatathresholdof3.
6.Finally,Ibackupmyfiles.Ineverkeepallmyfilesinthesameplace.Photographers have many different options for saving files in differentphysical and virtual locations, including multiple hard drives, additionalservers, Drobo-type storage devices, and cloud services. Choose whatworks foryou—justmakesureyoubackupyour images.Allharddrivesfail eventually. Ifyou spendyour life creating images, it’s agood idea topreserveandprotectthem.
Whenevernecessary,Iadjustanimage’ssharpnessusingtheUnsharpMaskfilter(seeStep5).
Remember,yourpostprocessingandPhotoshoptechniquesshouldbeasuniquelyyoursasyourstyleofcapturingtheoriginalimage.Thedigitaldarkroomisyouropportunitytobringitalltogether,toturnyourworkinthefieldintoafinishedcomposition.Ifyouhoneyourskills,standardizeyourmethods,and,mostimportant,applyanoverarchingvisiontoyourdigitalenhancements,youwillbewellonyourwaytocreatingacohesive,distinctportfoliothatdefinesyouasanimagemaker.
ACKNOWLEDGMENTS
Iwould like to thank the following people for their support ofmy career andtheirhelpwithmyvariousendeavors,includingthisbook:
George,Kim,Shane,andCoreyLawrence,andtherestofmyfamily.
JeffKent,JulieMazur,StephanieLeonard,JamesHill,ShaneezaAziz,PatriciaMcmahon,JonboyandGabiSimpson,BarbaraCox,AundeCornely,AnneSheridan,MaryCharasHealy,andDonnaMaxey.
JesseKorman,BlackBlack,TasieDhanraj,RyanMcCarney,CaleGlendening,WillemIsbrucker,SterlingHealy,JustinWoodward,JonathanBregal,KhalidMohtaseb,TylerGinter,OscarZabala,JamesZanoni,LaraJade,ChrisDowsett,JamesDouglas,SarahRigney,SebastianKoever,SusieHayasaka,Tom-TomLeavy,Adam“PDA”Ross,SamSpratt,AlloraVisuals,SurvivalInternational,EricNally,Haakon,BenedictEvans,OvationTV,BenjaminBates,JazmineValencia,ToddRussell,LukeFontana,HectorAldid,AshtonDo,DustinSnipes,JedandVickiTaufer,andRossTanner.
RickyPutraSinaro,AntenehEndaleMamo,RajuVerma,SatishKumar,DavidHobby,MohamedSomji,HalaSalhi,KholloudAlMuraikhi,MatHolloway,HindIskander,TejinderSingh,FernandoPiaddioPoliti,andAndyRedpath.
IanLuce,ZachDilgard,AaronDay,DavidHamed,JustinSmith,AngeloPatrona,KevinPesta,SaraClark,StefanHaverkamp,ThomasDerouault,AurelieBourdais,StephenAviano,ToddHeughens,BrandonDonahue,andMargyDudley.
INDEX
A
advertising campaigns, 14.1, 14.2;House of Anubis shoot; Pawn Stars shoot,p3.1,16.1;Pennzoilshoot;ProjectRunwayAll-Starsshoot
Aghori(Hinduholyman)AlternativePressmagazineAmour.com
B
BabaVijayNund(Hinduholyman)background: underexposure of, 2.1, 2.2, 2.3, 3.1, 4.1, 5.1, 5.2, 16.1. See alsospecificshoot
Balo(Daasanachtribegirl),3.1,3.2Banks,LloydBatukstudents(India),5.1,11.1Biwa(Karotribeelder)BodiMe’entribephotographBolivia:hatsin,11.1;IRTshootingin;localpeoplein,11.3,11.4Bona(Hamertribeelder),3.1,3.2Brooklyn,NewYork;HalloweeninBushwicksectionof
C
camerabag:forAmour.com;forDisturbed;forEricNally; forEthiopia; forG-Unit; for Halloween in Brooklyn; forHouse of Anubis; for IRT; for JonasBrothers;forMudcats;forPanicattheDisco;forPawnStars;forPennzoil;forProject Runway All-Stars; for Protest the Hero portraits; for Varanasi HolyMen
cameras.Seecamerabag;specificphotographCastroneves,Helio,15.1,15.2,15.3celebrities;posingofcohesivenessinworkcommercial photography: exposure in; Joey’s development of; photographersrolein,14.1,14.2;popularcultureand;stylefor,1.2,1.3;stylistsand.Seealsospecificshoot
compositionCradleofMankindseries,3.1,15.1creativeconceptualizationcroppingimages
D
Daasanachtribe(Ethiopia)Day,AaronDerouault,ThomasDhanraj,Tasiedigitalphotography:GenerationZphotographersand;postproductionworkflowand, 19.1, 19.2; responsibility of photographers and; as trust-buildingtechnique
digitaltechsDisturbed(band)Draiman,DavidDutchmasterpainters,1.1,1.2,2.1,2.2,3.1,4.1
E
editorialphotoshootsenvironmentalportraitsEthiopia:camerabagfor;OmuValleytribalpeoplein,2.1,2.2,3.2,5.1exposure
F
fast–clickphotographyfather–sonimages,15.1,15.250Cent,1.1,2.1,9.1,9.2,9.3,9.4files,savingfine art portraits: composition of;environmental portraits in; exposure in, 2.1,2.2;Joey’sdevelopmentof;one-light,2.1,2.2;poseof;purposeof image in;styleand.Seealsospecificportrait
fishermen,mudcatflamingmicrophoneshoot,Nally’s,8.1,8.2Forbesmagazine,itr.1,13.1
G
G-UnitGenerationZphotographersgroupshots,2.1,3.1,6.1,9.1,9.2,16.1,16.2,18.1.Seealsospecificshot
H
HalloweeninBrooklynphotographsHamed,Davidhatvendor,BolivianHistoryChannel, itr.1,17.1; IRT:Deadliest Roads project for, 1.1, 10.1, 11.1;Mudcatsprojectfor;PawnStarsprojectfor
Hobby,DavidHolyMenofVaranasi,1.1,2.1,5.1,12.1HouseofAnubisHugh(trucker)humanairplaneimage,13.1,13.2,13.3
I
India.SeeHolyMenofVaranasiIndonesia;tribalpeoplein,itr.1,itr.2,2.1IRT:DeadliestRoads(HistoryChannel),1.1,p3.1,11.1
J
JonasBrothers
K
Karowomanportrait,3.1,3.2Kincaid,Marion,12.1,12.2,12.3
L
LasVegas,Nevada;PawnStarsshootinLast-Supper-compositionstyle,9.1,9.2,9.3Lawrence, Joey: artistic development of; “big break” of; education of, fwd.1,itr.2;firstdigitalproductof;goalof;personalvisionof,itr.1,1.1,1.2,1.3
lens.Seecamerabag;specificphotographLifetime;ProjectRunwayAll-Starsforlightingtechniques.Seealsocamerabag;specificphotographLuce,Ice
M
Magesh(Hinduholyman),5.1,5.2MahaShivratriFestival(Varanasi,India)McCarney,RyanMentawaipeople,itr.1,itr.2,2.1Meyer,Stepheniemodifiers,lighting.SeealsocamerabagMountYasur,itr.1,itr.2movies;asinfluenceonJoey’sstyle,1.1,1.2Moyse,PeterMudcatsMursiwarrior,3.1,3.2Mursiwoman,3.1,3.2musicportraits.Seespecificpersonorgroup
N
Nally,EricNickelodeon;HouseofAnubisshootfor
O
OldMan(PawnStars),2.1,16.1,16.2,16.3,16.4OmuValley(Ethiopia)tribalpeople,2.1,2.2,3.1Onken,Nick
P
PanicattheDiscoPawnStars,2.1,10.1,16.1Pennzoilpersonalvision,itr.1,1.1,1.2,1.3,2.1,2.2,5.1,19.1photoagentsphotographers:asentrepreneurs;influenceonphotographsof;personalvisionof,itr.1, 1.1, 1.2, 2.1, 2.2, 6.1, 19.1; responsibility of; role in commercialphotographyof,14.1,14.2
posing:infineartsportraits,2.1,2.2,2.3,3.1,3.2;ofgroups;ofnoncelebrities,2.1,16.1.Seealsospecificphotograph
postproductionworkflowpowersource.Seecamerabag;specificphotographProfessionalPhotographersofAmericaProjectRunwayAll-StarsProtesttheHeroportraits
R
Rick(trucker),11.1,11.2Rufo(Arboretribewoman),3.1,3.2“ruleofthirds”
S
Silverstein(band),itr.1,itr.2,itr.3Smith,Justinstyle:cinematicportraitphotography;commercialphotographsand,1.1,1.2;asevolving; fine art portraits and; influences on, 1.1, 1.2; of Joey; portraits asillustrationsof,1.1,1.2,1.3,1.4,1.5,1.6
stylists;oncommercialshoots
T
TannaIsland,Vanuatutechnique;composition;exposure;lighting;posingtelevision;asinfluenceonJoey’sstyle,1.1,1.2televisionsets;shootingontestshotsTwilightposters,fwd.1,itr.1
U
underwaterfilmingUrie,Brendon
V
Varanasi,India;HolyMenof,1.1,2.1,5.1,12.1Varnish,MattVibemagazine,2.1,9.1
W
Wengren,Mike,7.1,7.2
Y
Yayo,Tony