Old Mama Dog – New Tricks…


“I am changing the direction of my photography as I shoot more film. Overall I hate my own results but I love the work itself. I’ve been all over the place trying to figure out what type of photographer I want to be when I grow up. As I get older I realize the small moments are just as powerful as the big ones. It’s been a long time since I’ve been a kid and yet I’ve never been more of a kid than right now.

So I’ll keep taking every kind of photograph like a kid in a candy store til the sugar high wears off, throw up or learn what kind is my favorite. Pretty sure it’s all about being human whether it’s in New York or my own little corner of the world.”
Virginia Smith


One Red Balloon… a Challenge

A recent assignment in my 2014 Project 52 group was to shoot one red balloon… but to stay away from cliche’s as much as possible, while definitely creating an interesting photograph in which one red balloon features prominently.

The students wee wonderful. Here are their photographs.

Assign_13_Michael_Mitchell-1 Assign_13_Michael_Mitchell-2 assign#13-Mark-Maynard Assign13-Gonzalo-GarciaGranero-A_smoking-is-sexy Assign13-Gonzalo-GarciaGranero-B1_Be-different_Be-nice assign13-sergio-fialho-1 assign13-sergio-fialho-2 Assignment_13-Barbara_Brady-Smith assignment-13-steve-gray-A assignment-13-steve-gray-B mon-assign12-susan-page sandra-red-balloon

Going Back in Time

assign24-nicole-fernley-tues

The great shooters of Project 52 Pros, 2014 just completed an assignment I would like to share.

The work was to be shot in a style or period and be as faithful as possible in presentation. The reason for the shoot was to introduce them to the special difficulties of finding props/locations that could be used for something of a previous era. We excluded any era forward from the 60′s/

I think they did brilliantly.

“What is Wet?” – Project 52 Assignment

Some beautiful work from the Project 52 assignment on ‘wet’.

From the assignment:

WET…

Shiny, smooth, liquid… wet is – well, wet.

And we have to show “Wet” in a photograph. For a client who wants to keep things dry.

You can approach this one in three ways:

You can show something very, very wet. And make the photograph speak to the power of being wet, and how that may be a challenge down the road a bit.

You can show something very, very wet that is purely for the fun of being wet… as long as it shows the detail of the ‘wetness’.

You can show something repelling the wetness from it’s surface. Like a deck protectant, or a sealer for cloth.

The title of the shot would be “Wet” and obvious to anyone looking what that referred to.

How do we show “Wet” – in a photograph?

Wet things are shiny. Wet things have highlights and speculars that show them to be shiny. We will have to have some context around them – or within the subject itself – to make the call that it is indeed wet and not ‘just shiny’… and that means probably some added detail to the wet areas.

We want to see big, ‘liquid’ highlights on this shot – so softbox, scrim or overcast sky with lots of control. White cards are important, and your subject should be chosen with care. (Note… natural wet areas do not count… lakes, streams, rain etc… unless there is a reason or context present in the subject.

Get More Info on Project 52 Summer 2015 here.
Enrollment starts July 3, 2015

The “Test Shot” with Stephen Collins

Objective:

Shoot rare military memorabilia (medals, daggers, insignias, etc.) for inclusion in to an auction catalog and online viewing portal. Images must be large (3000-4000px, .tiff), with no specular reflection, especially the dagger blades (ornate etchings), yet show depth and texture of every item. Some edge specular was acceptable and desired.

Background:
I was invited to a test shoot; Determine my ability to produce the image quality required. Of course, the people inviting me in, are not photographers and did not completely communicate the details of how, what or where I’d be shooting. So I loaded up the car with a little bit of everything and off I went.

During the test shoot it became obvious I needed to “MacGyver” a better solution than bouncing a soft box off tabletop white seamless. I needed an indirect, side lit solution, height adjustable with the camera directly overhead.

Using what I had around the house, I needed only two extra pieces of foam board. The three black boards are taped together, creating a trifold. The two holes cut for the storbs hold the trifold in place nicely and are not affected by heat from the modeling lamps.

I was originally thinking black board for zero reflection on the knife blades. While that did work, adding a white board clamped to the center board, is much better for a uniform, non-specular reflection. And, now I have both options should the image call for a change up. I also included two white boards on each end to provide more uniform lighting.

Final Shot:

_DSC6292web

Light stand (one side) consists of: Standard light stand with optional sand bag
Swivel umbrella adaptor with double stud adaptor
> Paul C Buff mini boom arm
> Pole clamp connected to large spring clamp holding 3×4’ white foam board reflector

Stephen Collins

Website

<a href=”http://www.lighting-essentials.com/category/summer-school/”><img src=”http://www.lighting-essentials.com/wp-content/uploads/2014/06/SUMMER-SCHOOL.gif” alt=”SUMMER-SCHOOL” width=”200″ height=”158″ class=”alignright size-full wp-image-8897″ /></a>MANY OF THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY <a href=”http://www.project52pros.com” target=”_blank”>PROJECT 52 PRO</a> MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.

 

“Work The Scene” with Rasmus Hald

Work the scene.

Rasmus Hald

One of the things that separate a good photo from a great photo is often planning, patience and how we work the scene.

In July 2012 I was in Italy on vacation, driving around Tuscany in an RV and we went to Florence for a couple of days. I had read beforehand about a place to camp with a RV close to Piazzale Michelangelo that have a splendid view out over the old city center.

We spent the first day down in the city and after a good dinner we went back to the RV and as soon as we got there I trapped my tripod and camera and went to shoot the city from above…

image 1

I was not happy with this image, it was to late and the sky had gone dark, so it was clear that I had to get there earlier to get a better picture, this was shot 11.30 PM.

So the next evening I came back a lot earlier…

image 2

This image is shot 08.53 PM in the evening. I like this image, but it was not the image I came for.
Olympus OM-D E-M5 45mm f/1.8 ISO 200, f/11, 1/50s

So I waited and tried the lenses I had with me.

image 3

Samyang 7.5mm fisheye. 13s shutter time to allow car lights to make lines below…

image 4

2 image panorama shot wide (12mm), I have printed this image here at home in 36x16inch and it looks very nice. This was shot 09.45 PM and was one of the last images I shot before the sky went dark.

I made a total of 50 images during this hour and ended up with the below image as my favorite:

Firenze

Olympus OM-D E-M5 12-60 f/3.5-6.3 f/16, 20mm 20s ISO 200.

All images shot in raw and processed in Lightroom 4 + Nik Color efex pro with tonal contrast preset.

Rasmus Hald
Oslo, Norway
Website
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SUMMER-SCHOOLMANY OF THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY PROJECT 52 PRO MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.