I've seen this picture before!

I was reading a photography post where there was an awesome image posted. It only took a few replies before someone pointed out "hey, isn't that idea getting old?"

Well, isn't the ideas of most photographers getting old? I mean, seriously, the image I posted on this post is pretty cool. (Well, I thought so or I wouldn't have posted it.) I'm definitely not breaking any barriers here. But, I wasn't trying to either. If photographers had to shoot something totally unique, there would be a lot less photographers in the world today. But, that is okay. Sometimes people put down another photographers work because it looks like some other photographers work they have seen before, but don't speak too soon, I'm sure your work looks just like someone else's. Maybe you only have not run into them yet. I'll assume I don't do anything special or different until it's widely accepted that it is. But, since I'm not going for that I'm guessing I'll never hear such a thing.

When I'm shooting I have a fairly clean slate in my mind. I know what the model looks like, and maybe saw some clothes she has, and know the relative location where we will be shooting, but beyond that I don't think too much about what I'm exactly going to be shooting. This works for me. It may not work for you.

I could image what a headache it would be for another photographer to be in my shoes. But, I couldn't really do that well in the shoes of a photographer who plans out too many specific details. Saying that I guess I'm sort of a go-with-the-flow sort of shooter. I'm a go-with-the-flow type of guy in general. So, I think that's probably a good thing that my personality and my shooting style match up. At least I'm not trying to be something I'm not. Wow, did I just blog a post of therapy for myself? Probably sounds like it, but what's more important is for you, the reader, to clear your mind and shoot with purpose and accuracy. If you want to claim the title of photographer, be the best photographer that you can be and nothing less!

The above is Dalida. She rocked this image a few weekends ago for me. Thanks Dalida!

Photography Inspiration

Today I was thinking "what inspires people to shoot certain things?" Sometimes photographers will copy something they have already seen. Or, capture it in a slightly different way. Some simply guess and hope for the best. Others draw up every detail and create what was in their mind.

Although I have a folder on my computer that is also on synced to my PMP of images of other photographers that I really like, I have not once went to shoot and looked at them. I have ideas in my mind, but they are always foggy at best. Usually a generalization of an idea. I like this and it works for me. I believe it's because I have a small foundation for what I want to shoot, but I don't tie myself down with too many details for during the shoot things can move more naturally.

Just about every shoot I have done in the past few years feels very winged. I try and make the best with whatever situation, equipment, clothing, and weather was available at that time.

I'm slowly getting better at looking around and seeing what would and wouldn't look great in an image. I'd imagine most things could look great in an image if it were captured in some interesting eye-catching way.

I think it would be fun to get a few photographers together and all shoot the same scene, like this old loading dock in the image above, and see how each person interprets it. Of course the other photographers couldn't watch what the others are doing because that would alter the natural creativity of each person during their time to shoot.

In the end everyone could compare and discuss their ideas during their shoot and what it looks like in the end. I believe this could quickly open doors for everyone into thinking about capturing/creating images in a different way.

Then, everyone go re-shoot the same scene together and see what comes of it. I don't have time for any of this, but it seemed like a great idea. If you do it, e-mail me results and I will blog it! :D

You can create great images with...

...whatever gear you currently have. If you are like me you have that small voice, usually around tax refund time, that says "If I get [new photography toy] I will have better images!"

I'm a firm believer that if one can not attain images they feel are great now, with their current equipment, purchasing more equipment will not solve that issue.

I believe the most powerful tool a photographer can have is the ability to create a great image with whatever is available.

I want to get your feet wet in how you can find out for yourself if you have this powerful tool.

Imagine you have a well paid shoot. You are using three strobe/flashes. A main, a fill, and a hair light. So, you know what the lighting at this shoot is going to look like. You setup your lights and find out that one of your three lights is not functioning.

It's at this point where we can cross that line of amateur to professional. If you have fear and can't think what else to do, then you are lacking in your ability to create great images. But, if you let go of the idea of that third light and shift into two-light-mode, then you are on your way of becoming more successful [and useful] than the photographers around you.

It's tough to deal with these situations because we had an expectation of what our three light setup was going to look like. But, if we have used two or one light to create great images before, loosing this third light will only be an inconvenience rather then a disaster.

And,

that's what makes a professional.

One who can make the best out of a given situation. These are the people who get hired, who get noticed, who make a name for themselves.

I encourage you to learn how to use one, two, and three lights incredibly well. And of course so many other things could go wrong. Syncs, remotes, camera breaks, power cable wasn't packed, lens isn't working, etc...

Try not to rely on expectations. They will only let you down if not met. Go with the flow and make the best out of what you have. As you become flawless with little you will be able to become flawless with much.

The above image is Becky looking amazing!

More retouching in the news!

Adding to the previous post of retouching being in the public eye.

2009
In this debate photo journalist Klavs Bo Christensen had some amazing images that he shot in Haiti. He submitted these images for a "photo of the year" contest. (What I like to call a POTY contest.) All was well until the judges suspected that Klavs used "too much" photoshop retouching.

Defining "too much retouching" is going to be difficult. I can see it now, images submitted into photo contests end up in court with the argument of determining if "too much" retouching took place. There are some interesting parts in the article about differences in RAW data and how it appears.

Anyhow, after the judges chatted about moving his images into another category or giving them a 'special' (made up) prize for awesome retouching, they decided to pull Klavsimages out of the contest.

Pictured above is the lovely Marjorie. Shot in 2009.

Mmmm, RED!

Guess where this backdrop is located?!

I'm not telling, but it does involve a hotel and a wall. (again)

Okay, it's apparent I don't mind hotel walls on occasion. But this is only because I'm not paying much attention to the background. Or am I? Yes, of course I am.

I figured I would share my thoughts during the creation of this shot, and also after wards in post production/retouching.

Candee walked into the room with this killer red dress on that was totally awesome. It's perfect because she has green eyes which compliments the red dress. Our backdrop was an off white, eggshell as 'they' call it, color with a bit of a plaster/stucko embossing. This backdrop is totally uninteresting, especially since we are working with a strong red reflective material.

The first thing I need to think about is where I need my single soft box strobe to be for the wall doesn't look flat and/or blown out. But, it also has to light up Candee in a way that matches her beautiful bold look.

Light Placement
I placed my soft box directly behind me which will light up Candee well. I put it up high and point the center of the light to Candee's chest. My head will be infront of the soft box's hottest spot, (sometimes they can have a hot spot) so it won't make her chest brighter than her face. Also, and more importantly, with the soft box up a ways it will create a shadow underneath Candee's chin. The same effect is shared by the dress folds, and chest. This setup works also because I need the light to skip over the embossing of the wall a bit to show it's detail.

Post Production
In post I added texture to the wall to intensify its effect and also added red to the off-white color. Did I know I was going to make the wall red while I was shooting the image? Nope. But, I did know I was going to change it in some way to fit the clothing we were using.

Double Mega Pixels!

Reading this post title like a computer generated Nintendo voice after I made my ninja character throw out a hard core double combo on 'The Boss" ...made me laugh a bit. Anyway...

Canon released their 5D back in 2005. At that time I was packing my 9d 10d. I remember having a conversation with a friend about the 5d and its superior 12MP+full frame sensor. I remember making the point that I can't imagine needing more than a 12MP+full frame sensor in a camera. Anything more would be overkill and only help out hard drive manufacturers, because I would have to store these monster files somewhere.

My friend replied "oh, but that is what everyone thinks until the new technology comes out...then you find that you want and need what's coming out next."

At that time, I disagreed.

But today, I came to the realization, that I still pretty much disagree. *shrugs* Yep.

I still shoot with a 10d. But, I do want to upgrade to a 5d (mark II) at some point. The only reasons are full frame sensor and the ability to shoot at least 12MP. Two things that will directly improve the quality of my images. I really have no need to shoot larger than 12MP images. I don't care to copy them over and back them up either. Only takes longer. So, unless I'm labeled as a super awesome pro magazine cover shooter who gets paid millions of dollars for every image produced, I'll stick with my mass'ish consumer camera.

"But, Joshua! What if you 'came into' money, then what would you buy?!!"

Two 5d's?! *raises eyebrow* Always nice to have a backup!

Magazine Covers

Most magazine covers have the same general lighting setup. There are several variations, but for the most part it's all the same. Put the model in front of the camera, set up 1 to 5 (or more) lights, or however many you feel like metering, up all around you and your camera lens and shoot. Fairly simple process.

If you would like to understand this lighting better, go to any magazine rack and look at the catch lights in the models eyes. You will see 1-4 little white circles in most cases. Compare one magazine cover with 1 or 2 lights to another cover with 3 or 4 and look at the overall difference in how the shadows are laying on the model. It will start to sink in better the most you do this. (Yes, I do this and have for years!) Chances are a few covers won't make much since due to all of the retouching going on. Dang those retouchers! :D

Where are these magazine cover type of shots taken anyway? Well, I don't know. But, I'd imagine some big awesome studio with lots of rad toys that I would waste too much time playing with!

As in my last post this image was also shot on a hotel wall, with a single strobe, and a soft box. Obviously the light positioning and posing was much different due to different models, different clothing, and my ability to become bored quickly and change things up!

This image is of Summer Taylor. She has fantastic features and amazing curves! When she came out in her dress it screamed magazine cover to me!

Locations

Ever get stuck on where to do your next shoot? It's easy to get lost thinking about all of the cool alley ways and old junk cars setting about. We can easily have big ideas for great shoots, but sometimes they involve too many lights, portable power, assistants, and time ...all of which we may not have much of.

Me and Jessica Vaugn finally got in some shooting time after meeting and working on other shoots and workshops for over a year! Here was the setup... one strobe, a soft box, and a hotel conference room wall.

Yep.

The PERFECT setting for finally getting to shoot a model you have wanted to shoot for a long time, right? I'm pretty sure you can feel the sarcasm in my typing!

I had all of these ideas and cool lighting setups, make up, hair, and, and, and....none of my thoughts mattered at that point. If I would have continued to think about the things I wanted to setup, I would not of been able to focus properly on what was in front of me.

What I also found out is that even though I have big ideas in my head, it's not the way I actually shoot. I'm usually simplistic and make the best of what I have at the shoot. Learning to accept how I naturally photograph models helps me shoot even better in these situations.

I was very much pleased with the results. Our shoot went smooth and it was a whole lot of fun! I was so excited about how this shot came out due to all of the laughing we were doing! Like I always say, you only need to capture 1/125th of a second to create the image you want!

Shooting with Vision

While having a conversation with friend and studio owner Jeremy Sparling from imagei we came to the same conclusion of how we create our favorite images.

Our conclusion was that there has to be something to inspire us. Something to create a vision in our minds before we can fully jump into a shoot and create what we want. It's hard to shoot when you can' t feel what you are shooting. You have to have a vision that will drive how you will shoot that next image. Without vision you get that feeling...

You know, that feeling you get when behind your camera and you have no idea what to do. You start to look around for no reason and play with camera buttons and say things like "uuuuuuhhhhhh" ...and nothing else.

VISION is the key to warding off that above awkwardness! How do you obtain vision? PRACTICE!

The image above is Laura. It was shot during this years Peoria Supershoots event. There were 4 big studio setups next to each other. I was two sets away when I looked over and instantly had a vision. Even though the lights were white and the background was brown, I saw BLUE all the way!

High Lighting

I have always wanted to shoot with my lights higher than what the stands limit me to. I got that chance last weekend when I had a boom stand available. I feel pretty good about the outcome. Thanks to Chelsea who prepared by obtaining couture clothing from several different designers.

Above Chelsea is a soft box and behind her is a gridded strobe for separation. She is natural in fashion posing so she felt comfortable striking something fun and strong. A bit of tweaking of chin placement to the light and there it is.

A big shout out to Kate Carroll, one of the best make up artists that I know who worked on Chelsea for this shoot. Heck, she taught me how to do make up and I translated those ideas into Photoshop!

Hit the Lodge 2008

If you haven't ever been to a photography event I would suggest any of the Supershoots events. More specifically the Hit the Lodge event.

Hit the Lodge is Supershoots biggest yearly event that I have attended twice now. It's a great place to stretch your knowledge in photography. From classes that are taught by those that have "been there" and "are there" to learning from other attendees. It's impossible to walk away without learning 100 new things and gaining some great images.

I'm still finding my pocket in photography, which proves to be a long hard road but enjoyable to walk. It's tough to learn and discern styles of photography. Especially glamor versus beauty. It's sort of like arguing Ford or Chevy at times. They blend on so many levels, but at the same time they are completely different in approach and goal. More on that in the future.

When shooting my mind is usually wrapped around the models personality and look. I try to make the best of whatever I'm shooting, and if i can I mix in a bit-o-fun.

Above is Maria. She is a friend of mine that attended her first Supershoots event last weekend. I have not shot her before and she hasn't done modeling at an event. She asked if we could shoot together in the morning before the event started to work on communication and flow. I believe she did a fine job! She fit in incredibly well and had a great time at the event. She will be back for events in the near future.

You can learn about other Supershoots events at supershoots.com.

Canon 20D
f/2 @ 1/125th
50mm
Strobe + White Umbrella

Headshots and miniscule movements!

Head shots involve so many variables in angles that it's almost infinite on what the outcome may be. As I scrolled through my shoot of about 45 shots I realized that one image looks ok and then the next where I shot within 1 second later looks totally awesome. They are almost identical yet one jumps off the page where the other doesn't. I'm excited to (re)discover angle relationships and how they can impact an image. Make it a goal to understand what angles make an image jump off the page and/or what other variable in relation to angles makes this happen. Maybe it's a correlation between facial expression and posing angles? Maybe it's the lighting incidence angle? Maybe it's nothing at all and simply preference.

Two light setup. Softbox on left and background light. I used a $1 car visor for a fill and since my white shirt was reflecting in the glasses I took it off (I had another black tee on) and used it to diffuse my background light. For post processing I decided to use a split tone green and remove some saturation.

(click image for detail)

f/3.5 @ 125th
ISO 100