Full disclosure… Ken and I have been friends for about 25 years or so. We have traveled the back roads of the Sierras together and solved the ills of the world over about a hundred lunches. It is fun to present this interview with him for you all.

We met and chatted over lunch at a tiny little restaurant within walking distance of Ken’s studio. The studio, by the way, is located in the very first studio in Arizona, and was a full TV Broadcast studio for decades. From “Wallace and Ladmo” to Ronald Reagan, the studio has seen its share of celebrities, actors and politicians. Today those same floors and walls house Ken’s working commercial studio.

I just finished working on Ken’s new website, and we launched it this week. Ken takes a minimalist approach to many things, as do I, so the site is very open, clean and easy to navigate. Here is a screen shot.

I brought along my trusty iPhone and did a few clicks, and Ken sent some images from his portfolio to share.

Ken in front of his World Class studio in Phoenix, Arizona

Ken has been shooting a wide variety of work ever since I met him. From landscapes to interiors, food to people, Ken shoots it all. His style also lends itself to a wide variety of applications.

Ken at work in his office which overlooks the studio from the second story.

Ken shoots just about every format camera there is. “I haven’t pulled the Hasselblad out in a few years,” he said with a smile. But I know he will soon. Ken is itching to do something new and different. He is looking for a challenge, a project to spend some time with. I am looking forward to seeing what he comes up with.

Ken's Studio features a totally tech ready conference room

Recently Ken was invited to submit a print portfolio for a review process. He put together 10 images that showed his style and the breadth of his work. “It was a bit scary at first. I only chose 10 images, made large prints and put them into a very simple presentation box. I kept thinking that I should show more, second guessing myself on the decision to show only 10 pieces.” He smiles when he tells me “it actually worked in my favor. The reviewers had more time to remember each image. I was surprised at how well it was received.”

Ken's new portfolio is garnering a lot of attention in the regional market

The studio is quite an old structure and has been everything from a TV studio, to offices and at one time held about a dozen radio stations. There are places in the building that don’t really make sense now, but he has had fun hanging art and shooting in some of the passageways.

Ken in the hallway that runs around the top floor of the studio. This is one of Ken's favorite spots.

The studio is a huge room with a 2.5 story ceiling. There are still lighting instruments left on the railings above, and they give the space an amazingly fun feeling. The end of the studio has a second story walkway where clients and guests can stand and look down at the shoot in progress on the studio floor below.

The fantastic studio at First Studios, in Phoenix, Arizona, and it is where Ken Easley works his magic with a camera

Lunch at Matt’s Big Breakfast was simply a great time. If you are in the area, you should drop in.

Our Lunch at Matt's Big Breakfast Diner

If you are considering a workshop, please take a look at the Lighting Essentials Workshop Site at Learn to Light. Now on to the LE Interview with Ken Easley.

1. How long have you been in business? Was it a slow transition or did you just open shop?

For whatever reasons, I never felt I had the “chops” to work in photography until I had my degree. A month after graduation with a BFA in Photography in 1980, I was a full time assistant in a commercial studio. Been making my living doing nothing but photography since. 2 years assisting, 4 years as an in house corporate photographer, then my own studio.

2. How did you get started? Any mentors or great stories here?

My first job was with Rick Gayle. He really opened my eyes to commercial photography. I saw first hand the level of commitment it would take to make it, and he also helped me realize that I could satisfy my creative drive in a commercial photography setting.

I’ve been interested in photography since I was 10 or 11. My first camera was a brownie starflash, a gift from my aunt. My strongest memories are trying to shoot frogs and waterbugs in Oak Creek Canyon. And my Dad complaining about how much film I was using and how expensive it would be to get it all processed. The next year I got an “Ansco Developing Kit”.

3. Describe an average week at your studio.

This has really changed over the years. I have gone from doing lots of small jobs, shooting almost every day, for years on end, to having several days between shoots. The crowd sourcing of digital images has made the small product illustration, for several hundred dollars or more, a thing of the past. Fortunately, somewhat by design, my average shoot is now much more extensive, more expensive and more profitable. Factor in the preproduction time and post production time expected on each shoot and I work just as many hours in a week. But, I’m doing fewer invoices.

4. Why Phoenix? Have you considered anywhere else?

Born here. I guess I just got used to it. No snow, no earthquakes, no hurricanes, no tornadoes, just the heat which I really don’t mind. My work has taken me all over the US. Personal travel even more. I’ve been to many places I love. Briefly considered lots of them, but no matter where I go, it just feels good to come home. I do love to travel though. I figured long ago that if my goal was to be a really big name in the biz, it pretty much had to be NY or Hollywood. Yes it’s possible from other places, but much harder, almost a fluke. I made a conscious decision to stay local and try to work with companies that could send me out of town, rather than try to build relationships long distance. Now with the internet firmly taken hold, it matters less where you are from.

5. What motivates you, or gets you going? What do you use for inspiration?

Mostly other artists. Sometimes photographers, sometimes painters or sculptors. Anything that is visually new or interesting. That’s part of the appeal of travel. Seeing new sites (oh, and food.)

6. What is it you like the most about being a photographer? Do you do anything else for a hobby or avocation?

Paraphrasing the cliche, “a bad day as a photographer is better than a good day at almost anything else.” I’ve mentioned this as a generality in conversation but it did actually happen to me. After a really bad day in the studio, nothing went right, not feeling well, etc., even left to go home early. Within a couple blocks of leaving the studio I passed a crew of street repair guys. It’s 110 degrees, they are working with hot smelly asphalt and shovels. My day was not so bad.

I am a serious amateur woodworker. I like to think I’m an artist in that area too.While I do make practical things, including furniture for the house, etc. I really like woodturning. After working with art directors, meeting deadlines, running a business, it is very therapeutic to take what would most likely be a piece of firewood, and make a great big pile of wood shavings. If I happen to get a cool little bowl or vase or something out of it so much the better.

7. Are there any downsides to being a commercial photographer that you would like to change? How would you change them?

So many rambling thoughts on this. I have often thought that photographers should be licensed like doctors, or even plumbers and hair stylists. Make it illegal for someone to photograph a real job just because they have a 6 megapixel camera. I know it wouldn’t work and probably shouldn’t, but can’t help thinking about it sometimes. The fact is, I’m really not interested in the photo assignments someone would trust to an unknown. I’d rather work with creative dedicated people who care about the end result. They see me as a part of the solution, not an afterthought. The change will ultimately be determined by the marketplace. Like anything else, some people will only want their company or brand to be associated with the best, or at least convey the idea that there is nothing better, while others will be satisfied with the cheapest solution to showing the customer the goods. The buyers will have to decide where along that scale they want to be. Individual photographers will have to decide where they will draw the line for their own work, I hope to stay much closer to the best.

8. What was your most memorable assignment?

It’s been a while now, but I spent two weeks in Alaska, shooting for the National Park Concessioner at Denali. We really got special treatment, did some great work, and saw things that blew my mind. Denali, (Mount McKinley) on summer solstice with not a cloud in the sky. Standing next to a beaver dam and looking over at a water level just below my eye level, being held back by some sticks and twigs, amazing.

9. Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”

Every assignment has a little of this. I’ve never been a photojournalist, although that is part of what got me interested in photography as a kid. Nothing as harrowing as those guys see regularly. However, I did see my life flash before my eyes while shooting for a river rafting company on the Grand Canyon. I was way out on the nose of the raft while going through a rapid, Crystal Falls, and a guide who was holding my feet let go (to keep himself from going over) and I cartwheeled off the front, camera in my right hand and a rope wrapped around my left hand. I came up underneath and face against the bottom of the raft, and was more or less pinned there for what seemed like several minutes. Eventually I worked my way out from under and got my head above water a few yards downstream from the rapids. A couple shots of brandy and I was fine. It was a truly great trip.

10. What would be your ideal assignment?

I like shooting way too many things. I guess a corporate job for a large multinational, where “corporate photographer” was on the same level as say, CFO, or CIO. Where I could determine what was next up to document, advertise or illustrate, and how. The company should be in several countries, have several subsidiaries in varying lines of business, and it would be nice if they were doing something good for the planet as well, perhaps they would have a large charitable arm or foundation. Of course all expenses would be covered, and I would have access to any equipment I wanted. I would never have to send an invoice or negotiate an assignment. fee, yet had a very respectable income.

11. Future plans for (your name) and his/her photography?

I’ll be happy just to stay on top of technology and trends for my commercial work. I think I do a pretty good job of that but it takes a determined effort. Perhaps, like thousands of other photographers, try to do a little more fine art, and maybe even teach a little.

12. Tell us a little about your new work…

Personal work is always a struggle. If you are an ice cream taster for a living, you might not want ice cream on the weekends. That does not mean you don’t love ice cream. Ongoing projects include simple studio floral/botanical shots. When I can, a series with the working title “modern ruins” that documents abandoned architecture. And a few other ideas that have been rumbling around in my mind for quite some time. Commercially, I will continue to strive for the interesting and challenging work. I’ve always done some video production, starting in 1990 or 91, and will look for opportunities for pushing that a little.

13. Oh, and what is on the music box right now at your studio?
(yes, it was supposed to be 12, but what the heck…)

Right now my iTunes is playing “The Crusaders.” My taste in music is fairly eclectic. From Green Day to Billie Holiday. Last album into the collection was Tomo Fujita – Jazz/Rock/Blues electric guitar instrumental (iTunes says his genre is blues.)

Thanks Ken.
You can visit Ken’s Site Here. And drop him an email if you are wanting to take a look at the book.

Thanks for visiting the site, folks. You can follow me on Twitter if you are twitterly inclined. Workshop information is here, and my website is here.

A sorta Rant and sorta Rave:

Knowing your instrument in music means knowing it so well that you can pick it up and play whatever note you want to play. There isn’t a hesitation at all in the choice of keys, or fingering, or hand position. With a piece of music in front of the musician, he/she can play it perfectly the first time they see it.

In Jazz, we have improvisation… the making of music without any written notes. The musician listens to the chords or harmony and creates their own melodies or lines over them. That takes incredible mastery of the instrument, and a total inner awareness of the music as a whole. Something nearly autonomous takes over. The music flows from the jazz soloist through the instrument and into the ears of the audience.

There is no time to think about the ‘notes], or where the fingers go. None.

The same with photography. The instrument is different, but it does require an intimate knowledge of the workings of the camera, as well as what the relationship is between the operation and the making of images. The images should flow through the camera as music flows through the musicians instrument.

Basic tools and knowledge lead to basic imagery. Some photographers could put their camera on “P” and end up with well exposed, nicely focused, sharp photographs. The modern cameras are nearly flawless in presenting an image that is ‘acceptable’ on the basic criteria of the amateur photographer. Like beginning band; they can play “Twinkle Twinkle Little Star” pretty well after practicing it for a couple of months… but that doesn’t make them musicians with a capitol M. Not yet.

But there is a time when the musician gets more and more familiar with the instrument they are playing, and starts to understand the chord structures, rhythm, and scales that are part of the genre of jazz. They start to improvise… a little tentatively at first, but eventually there becomes… Bird, Miles, Monk, ‘Trane, Ornette, Elvin, Tony and so many more.

They know their instruments so well that it becomes an extension of what they feel instead of what they think. They hear the music and it plays through their instrument.

Photographers have cameras. All kinds of cameras. Some cameras do things other cameras wont. Or they do the same things differently. My small cameras are Nikon and Canon. Canon is the digital, Nikon is the analog. They focus manually in different directions. They load film differently, change ISO differently, mount lenses differently.

But they both take photographs the same way. I look through the viewfinder, make a billion instant decisions and trip the shutter. That is the art of photography… making those billion instant decisions and getting the synapses to recognize what the hell is going on and transfer some energy to my right index finger. Really fast.

The camera is my conduit for getting what I see onto a capture or piece of film. It is a tool that should be as well known to me as Bird’s alto, or Tony’s Gretch’s were to them. The tool needs to be an extension of me and my vision, and is simply what I use to capture what I see.

That means knowledge of what it does in relationship to what I want to do… and I think there are too many photographers who take that for granted. They don’t know their camera well enough to not have to think about it when they are working. It can be an impediment instead of a conduit.

When I go to make an image, I am seeing that image completed in my head already… sometimes I see the finished image before I even get the camera up to my eye. I start to ‘feel’ the image – or hear it… yeah, images make music to me. I hear different pieces when I am shooting… a rhythm from here a melody from there… it all plays into the image taking process for me.

I rarely have to think about my camera and the settings or the dials/switches and such to make it work. I learn that stuff through taking the time to familiarize myself with the camera so well, I can do many things without looking at it. I don’t want to play with my camera gear, I want to make photographs.

I see so many photographers struggling with their cameras while the moments of amazing images tick by them. Looking for this or that, trying to find the menu that does whatever they need – sometimes without knowing what it is they need to begin with. A devastating unfamiliarity that puts the camera at odds with the photographer instead of being an extension of their vision.

And yeah, sure the camera manufacturers sometimes make changes to the newer models so where something was is now moved to somewhere else. Arghh.. yeah. So what? Learn the new tool and work it into your system so that it isn’t ‘new’ any more. It isn’t a ‘new camera’ after it becomes ‘your camera’.

Can you imagine working a wedding and not knowing your camera intimately? The action moves real fast, and there are no do-overs. Or a photojournalist who misses a once in a lifetime shot because he forgot which setting his camera was on? Or a fashion photographer who forgot that you had to advance the film back by hand on an RB67 because it isn’t automatically advanced like the RZ67 that you had been shooting for a couple of months so you shoot about 20 shots on one frame and missed a couple of good shots that I… err… well, you get the point.

Every item on a camera deals with the reality of making images. Aperture and shutter speed and ISO combine for exposure. All three are integral in knowing what you want and how to get it. You can change the focus areas on the screen, and from center-weighted exposure to spot. Do you know which is which? Choosing an aperture controls the DOF that you will get with the image… and that is based on the distance of the focus. How do all the tools of the camera work toward making the image you see in your head? They work in tandem with the knowledge of photographic principles that have been ingrained into your psyche.

They have been ingrained… right?

We discuss the concepts of photography on this site a lot, but for now let’s discuss your ‘axe’, that camera that is hanging around your neck all day. That tool that you use to instantly make the images you see in your head is your extension of creativity.

Here is the challenge: And of course, there is no way we can no if you cheat. But, except for that moron from Redmond, most of you will not cheat.

Here is a list of 10 things I want you to do or answer instantly. No thinking… if it takes you more than a half second, mark it down. And then you know what to work on.

Set your camera at f-8, ISO 200, and 1/250 shutter speed, and manual.
Without Looking at your camera:

1. Identify where the ISO menu is. Bring it up and change it to ISO 100.
2. Change the current shutter speed to 1/2000.
3. Take the lens off and change it out without looking at the camera.
4. Identify where the focus spots control is.
5. Change the aperture to f-22.
6. Identify where the Card Format control is, and bring it up.
7. Change the lens from auto-exposure to manual exposure.
8. Identify the custom white balance tools/method.
9. Change the camera from Manual to Aperture Priority.
10. Change it back to the original settings above.

Here are a few more things that will help you to become intimate with the tools and craft of photography.

11. Can you recite the apertures of your lenses in whole stops? Can you do it in 1/3 stops?
12. Where are your cards kept in your bag? No searching…
13. If your flash is on 1/16 power and you want it to be two stops brighter, what would you change the power to?
14. What is the highest shutter speed your flash can sync with?
15. How would you guesstimate the aperture/speed setting for a person being side-lit by the sun with ISO 400?
16. Which would give you deeper DOF… f6.3 on a 24MM lens or f8 on a 200MM lens from the same spot?
17. If you wanted to increase the perceived area around a subject would you move back with a telephoto or move close with a wide angle?
18. If you were shooting a sunset portrait on a beach and wanted your flash to be more ‘warm’ without changing the color of the sky would you gel the camera or the flash? With what?
19. If the flash is set to f-8 on the subject, and the ambient reading is f5.6 @ 1/125, will the subject match, be lighter than or darker than the ambient at an exposure of f-8?
20. In the above example, what happens to the subject exposure (f-8) when I change the shutter speed to 1/160?

The answers for the second set of questions are after the jump.

There are few ways to increase your photographic ability more than shooting a lot of pictures… all the dang time. Of course there are more ways to get your tools to be an extension of your vision, rather than getting in its way, but this should start you thinking about automating it… in your mind.

Being able to shoot without thinking about the tools is like being a jazz player taking a solo on “Green Dolphin Street” – and bringing the house down.

Thanks for dropping by. You can follow my every move on Twitter, and please leave comments if you agree, disagree or simply have a question.

Answers:

11. Can you recite the apertures of your lenses in whole stops? Can you do it in 1/3 stops?

1, 1.4, 2, 2.8. 4. 5.6, 8, 11, 16, 22

1, 1.4, 1.6, 2, 2.2, 2.5, 2.8, 3.2, 3.5, 4. 4.5, 5, 5.6, 6.3, 7.1, 8, 9, 10, 11, 13, 14, 16, 18, 20, 22

12. Where are your cards kept in your bag? No searching…

Mine are in the top flap in a card holder on the right side of the bag. Yours?

13. If your flash is on 1/16 power and you want it to be two stops brighter, what would you change the power to?

1/4

14. What is the highest shutter speed your flash can sync with?

1/250 on my Canon, 1/125 on my Nikon, 1/500 on the Hasselblad, RB’s and Bronicas. Yours?

15. How would you guesstimate the aperture/speed setting for a person being side-lit by the sun with ISO 400?

Sunny 16 rule: Open up one stop for side lighting.
F-11 @ 1/400

16. Which would give you deeper DOF… f6.3 on a 24MM lens or f8 on a 200MM lens from the same spot?

6.3 on the 24MM.

17. If you wanted to increase the perceived area around a subject would you move back with a telephoto or move close with a wide angle?

Moving closer with the wide angle will exaggerate the distance around the subject

18. If you were shooting a sunset portrait on a beach and wanted your flash to be more ‘warm’ without changing the color of the sky would you gel the camera or the flash? With what?

You would gel the flash. Gelling the camera would also alter the sunset colors as all would pass through the gel. Gel the Flash with 1/4 CTO or 1/2 CTO to bring the cold flash color up to the warm ambient.

19. If the flash is set to f-8 on the subject, and the ambient reading is f5.6 @ 1/125, will the subject match, be lighter than or darker than the ambient at an exposure of f-8?

Brighter. The background needed more light to get correct exposure so it is underexposed at f-8.

20. In the above example, what happens to the subject’s exposure (f-8) when I change the shutter speed to 1/160?

Nothing.

Thanks for visiting Lighting Essentials. We do workshops, and could be coming to a town near you soon.

This is a RANT, folks. I am totally and definitely pissed off. If you decide to read this, you will find I am not kind or reticent in my total loathing of this situation. You are warned.

Recently I was shown this video on You Tube of some TV Judge ridiculing another photographer for being less than professional. Instead of getting to the heart of the matter, the ‘judge’ decided to use the power of the bench to humiliate, denigrate and castigate the photographers for alleged ‘crimes’ against photography and the use of ‘less than professional’ gear.

I found this man to be despicable and his ravings somewhat in the “best to keep one’s mouth shut and be thought a fool than to open it and remove all doubt.” I will admit to not watching a lot of TV (Burn Notice and the Closer get my vote) and especially TV where the sole purpose is to denigrate and ridicule other people. To think that those kinds of shows are popular is sickening to me. Uplifting, and good value filled programming sucks I guess. But that isn’t the point.

The point is the despicable way this man treated a fellow photographer and the despicable way other photographers then jumped on board ready to throw her under the bus. So much bad information now being disseminated as reality on forums all over the interwebs.

In the video, the photographer, not as poised or pretty as the complainant, doesn’t get a chance to even explain her side.

At 2:10 she complains that the complainant is not correct about where they met. Joe, I’ll just call him Joe because I have such contempt for him I would not ever use the word “Judge” to describe him, tells her that isn’t important to the case.

So OK to lie when you are complainant. It would be very much a part of the case if there was another place that the photographer met the woman or she could have been confused over which photographer she actually hired. Got it Joe.

At 2:35 the complainant states that the photographer had the photos done at WalMart on Fuji Paper – not professional paper. Really? I can state with certainty how many PROFESSIONAL wedding photographers charging more than this photographer uses Fuji Printers. And you all KNOW WHO YOU ARE. The Sam’s club by my home is the printer de-facto for a ton of wedding shooters doing weddings in a much higher scale than this woman.

At 3:15 he launches into what gear she was using. A Rebel XTi with a kit lens. And while that may not be the top of the line anything, I can tell you the XTi takes really good photographs. I SHOOT THAT CAMERA on all my workshops. I teach that it isn’t the camera, it is the photographer. And I will stick to that.

He asks her for the other lens and she states it is a 70-300MM and he asks what speed it is. I can understand how the answer “I don’t know” is so funny to gear heads, and lots of serious photographers. I teach workshops and consult with lots of professional photographers. When it is a graduated aperture lens, you may be surprised how many times the photographer will have to grab the lens to see.

Is this a professional response, of course not. Is it automatically damning that she doesn’t know? No way.

AT 4:00 he asks how she is going to be able to take “adequate photos with a lens this slow”? And before she can answer, he cuts her off. Hey Joe, maybe with a tripod, or upping the ISO? Lots of ways, and we may have been able to hear how she would have done it if you hadn’t cut her off.

At 4:12 here it comes… “When I do it I am prepared with the kit I have… blah blah…” Dude’s even got himself a Pelican case. OK.

At 4:45 he starts to address sharpness. Sigh… then states that they won’t be any good enlarged. Uh… he is looking at 8.5 x 11’s there… uhhh… they are, you know, enlarged. And when she starts to tell him that they are, he dismisses her. “… but that’s not what we are gonna get when we start to enlarge them on a hard copy..” His words. Looking at enlargements. Dense? You make the call.

At 5:04 it starts with the grilling… what F-Stop, what aperture, did you ‘note’ the f-stop. How many of you ‘NOTE’ the f-stops.

At 5:35 he states that the ‘natural light was soft and diffused and ideal for taking a picture…” Oh… he was there? The amount of photographic mistakes he makes in the next 25 seconds are breath taking. And when the defendant offered that there was a meeting, the jerk sits back and pontificates what the complainant was thinking. WTF? How does he know what she knew? And the dipshit audience applauds. It isn’t about what is real, it is about what is denigrating and humiliating.

And here it is: at 6:05 he makes the judgment that to be a professional photographer one must use a “1″ series camera. I won’t even go there. Fool. What about 5DMKII’s – losers. D300’s – crap. (The fallacy that this represents goes much farther than some lame-ass TV show. It goes to the very core of who we are as people and what we want for others. And how much compassion we are really capable of… not much, I guess.)

“…we don’t have sharp edges…” He doesn’t allow for her to explain post-processing choices or anything else. Her frustration and anger in being lectured by this guy is now real. And it should be.

Then at 6:15 he becomes so beclowned that he starts to pontificate on the edges being soft focus because of the camera… or something. I can’t follow this illogical crap.

Then he declares that the Rebel will not make a 24 x 36 inch print. Joe, you are a total moron. It will most definitely make enlargements that big. Done every fkn day, buddy.

I will not continue down the video as it becomes so painfully stupid that it is hard to watch. Especially when he called her a liar for saying the pastor wouldn’t allow flash photography. In my brief flirtation with the genre way more than half would not allow flash during the ceremony. And I charged a boatload more than $1300.

Look… before you think I am defending bad photography, I will point to this: The question could have been easily handled: Does the work match the photographers portfolio. I can tell you that in the professional world, this type of case arises… and that is the point that the ruling is made on. Does the work match the samples. In this case of course it did. Was it great work or bad work? Does that matter? It is work that was agreed to.

But I must say this: The photographers so damn ready to throw this lady under the bus better watch out for the Karma this may bring. I can only imagine how frustrated a person would be when confronted by an angry moron with a lot of power pontificating over what they did and what HE would have done. No dialog, just him preaching.

Why would so many photographers be so ready to attack her and side with him? Why the continued hatred and anger toward this woman? My God, glass houses are obviously made much better in the digital age.

And the fact that the ‘bride’ met with the photographer, saw a portfolio, agreed to the style should have been discussed. That the ‘bride’ only wanted to spend $1300 should have been noted. The fact that there was contention between whether there was a meeting at a bridal show or whether there was a tripod used should have been addressed.

We have millions of people who are struggling to keep their homes and their families together in tough times. We just witnessed a fellow photographer have her livelihood demolished by a know-nothing fool and we are good with that? Does that make us more powerful? Does it vindicate our purchase of an over-priced camera to shoot girls on Saturday afternoons?

I hated the attack on this woman from mean-spirited people.

I loathed the response from so many photographers. Isn’t there any pride left in our profession?

End of Rant… to summarize. Don’t be so damn happy to see other people lose their business. It is not a good place to be as a human being.

UPDATE:
It is important to remember that the point of the case was whether the work that was delivered matched the work that was used to get the commission.

It is NOT about what gear was used, or the photographers ‘attitude’ or whether she knows what lens speed was what or any of that at all. None of that would have mattered if the images came out good. And supposing that the images would come out good if she had used a 1DSMKIII is wrong.

However, the judge decided to attack her on nearly everything but whether the work delivered matched the work shown to get the assignment. This sort of thing doesn’t happen to just low-end wedding photographers, it happens to some big guys as well. In real courts. With real judges. And it can be terrifying when it does.

But again, there seems to be a focus on what kind of camera she used and her knowledge of the lens speed and all that stuff that makes for great forum fodder. And if you think that protecting someone from injustice is only worthwhile if they have really neat gear and meet some sort of madeup code of professionalism then I feel that there may be no ‘discussion’ at all.

UPDATE: BIG TIME, BIG DOLLAR WEDDING PHOTOGRAPHER DAVID JAY CHECKS IN VIA TWITTER:
“LOL – I’m so glad these arrogant, rude, and pathetic excuses for professonals got their clocks cleand by Judge Joe – http://bit.ly/99QMO9″
Guess little low end photographers in small communities are really pissing him off. Jaysus…. man.

You can leave your comment here at the bottom of the page.

(A rant about self censoring your work)

Have you ever stopped yourself from taking a photograph? And then thought later that “I should have taken that shot…” The excuses and reasons abound for not taking a photograph that presents itself to you. Not the right time Not the right lens. Not exactly what I had in mind. Not as good as that shot I saw by that photographer I like so much. Not a photograph in my style. Can’t use it in my portfolio.

I have heard them all. And I have said all of them to myself earlier in my career. And they seem on the surface to be somewhat valid, if not a little lame. But I also think that there is a certain amount of fear associated with the reasons and excuses stated above. A fear that we bring to our work through years and years of self-censorship. A fear of failing, or not measuring up. A fear that somehow taking a photo that will not go in your portfolio is wasted, or silly… there are so many fears disguised as reasons. Reasons are fine, irrational fears are not.

Let’s examine that a little.

Fear of making a bad shot:
First of all, I don’t believe in failing as a bad thing. On the contrary, a failed shot teaches us so much more about what we need to work on. It shines a light on the areas we are lacking in. It is a triumph over the un-taken image because it simply exists, while the image not taken is lost. Forever. It is unable to teach us anything.

I see it in the workshops, occasionally. A photographer won’t take a shot because he/she cannot see beyond what they miscalculated. They see the shot on the screen and begin to analyze it within the constraints of failure instead of the joy of learning. Looking at the image as it starts to come together is a truly marvelous tool, but judging the image as to its worthiness from a single snap is unwise.

That failed shot shows you where to go next… tighter, move back, zoom a bit, change the angle, make her smile, move her hips, bring in the fill card a little more… it isn’t a failure. It is actually a roadmap to success, if it is studied and dissected.

And that goes as well for entire shoots. If things didn’t go well, analyze and correct. Fix it next time. Dwelling on that failure only makes it bigger than it ultimately is. It isn’t the end of anything, it is the journey of photography and the discovery of our own talent that is beginning. Acknowledge it, learn from it… move on.

Becoming good at photography is not an easy process, no matter what you read on the blogs or the forums. It takes time and consistent effort. It takes perseverance.

The fear of not getting something totally right, not ‘measuring up’ to something or someone you are emulating should never be a reason to not taking the shot. You want it to be your shot anyway. Make your shot… work it until you cannot conceive of another way of shooting it. Then shoot it a little more just to be sure.

I have seen photographers shoot something, a few clicks, and walk away without pushing anything of themselves into the shot… don’t be afraid to challenge yourself or your subject or the location or the gear. Make it do what you want to try. You could fail (see above) or something truly unique and exciting can be achieved.

Too often it is an unreasonable fear that someone somewhere will make a disparaging comment on the image. The fear that the image will be torn apart by Flickrites, or someone on another forum somewhere. And, heck, it may be.

But so what? You took it, you like it, it means something to you, it may lead to more images that are better. Making a photograph is action, criticisms are not. Let it go… make the images for you, not other people who may or may not be even worthy to criticize your image. And keep in mind that not everyone everywhere likes your kids… ya know. As long as you do, all is well in the world.

When is it the right time to make the photograph?

When it is the time you have. With the lens you have, and the gear you have, and the place you have to do it. Right now, with the camera you have with you. iPhone, P&S, D700… whatever you have, when you have the shot in front of you.

Too many times I hear that the photographer ‘woulda’ done the shot, but they were waiting for a sunny day or a cloudy day or the weekend or when they would have more time or after American Idol is over (JK…) or a litany of ‘reasons’.

Bull.

You didn’t take the shot because you were afraid it wouldn’t be that magical time when you would only have to control those things that weren’t already perfect. You wanted a blue sky, on a weekend, when the only model you want to shoot is available, and you would have all day to work on it and the location was a beach in Maui… that about right? All you would have to do is set up your beauty light. Ahhh…

Well, I hate to burst your bubble, baby, but that ain’t never gonna happen. And you know it. You really do, but instead choose to blame all those things on the reason you don’t photograph. If those things are keeping you from making images, you may be more of a hobbyist than you thought. And that’s OK, it really is.

It wouldn’t be right for my portfolio.

I hear this all the time. From photographers I meet and work with to students at the workshop to that little voice that used to chat in my mind when the cameras were out. And this particular one is a doozy of an excuse… “I can’t use it in my portfolio.”

And really, does that matter? Are you a photographer or a “portfolio constructionist?” Do you love and revel in making images, or are you simply trying to get some pictures together so you can go out and show them a couple of times then get rich shooting only the stuff that will – you know – go in your portfolio?

Oh, I got some bad news for you. That just isn’t the way it works. This is not a business you go into to become rich. You want rich… banking or congress. Photography is a lifestyle choice that is made because you simply want to do it more than anything else. (If you are not driven to photography, the business will drive you out of it quickly.)

Shooting for your book is always important… but not shooting something that potentially will not go in your book is not the way to go. Making photographs of the family dog, or that cool sunset, or the way the ketchup bottle makes a shadow on the lunch counter… all that stuff is your vision at play. It is simply what it is… a photograph of a ketchup bottle shadow on a formica counter.

Someday you may be working on a still life shot, or a portrait… anything, and struggling with some aspect of it. The shadow shot will pop forward in your minds eye and it may be just the catalyst you need to work through the shot at hand.

To me, being a photographer means freedom. No 9-5 for me (more like 5 – to a little north of midnight sometimes). No cubicle, no parking space. Take Wednesdays off to hit a movie or travel… whatever. It also means the freedom to simply make an image of a shadow, or a wall, or the way the light bounces off a girl’s hair. It is all good. Those shots may never be in my portfolio… but I have them, and they are mine. My vision of something that happened for a split second one day in my life. Captured.

Without taking that shot, they would be lost. I prefer to keep than lose.

I used to hear that voice – “nope, not a portfolio shot” – but I vanquished him when I realized that it was far more fun to make a photograph than to not make a photograph.

NOTE: Family and friends may get on your case about always having your camera out and making photographs. Let them. They don’t understand why you want, need, must take photographs. And that is OK, really it is.

They aren’t photographers… you are.

Thanks for visiting Lighting Essentials. We try to publish stuff that emerging and serious photographers are interested in. You can follow me on Twitter, and see more about our workshops here.

I discovered Nick’s work a couple of years ago. Surfin’ from link to link, I stumbled upon his opening page and the image there of a woman with some amazing flare engulfing her. I immediately liked that shot, so I took some time to look around his site. simply wonderful imagery. Easy to get view, with a sensibility that was so accessible that I bookmarked it immediately.

Every one of my workshop students know his name as it is one of the dozen or so that I through out as being totally involved with making great pictures with light. Nope… not tons of strobes, as Nick seems to use a lot of natural light, and bounced ambient with great success, but light that wraps and flares and seems so integral to the communication ability of the image.

Yeah… I’m a fan. Heh.

So when I heard that he was coming out with a book of travel photographs, I emailed a congratulatory note to him. I mentioned that I would love to review the book when it came out and he emailed back that an advanced copy was on its way. Even cooler!

I gotta tell you that if you are interested in travel photography, or photography of people in environments, you must get this book. It is available now on Pre-Order at Amazon, and at a price that is simply irresistible. Man, those Amazon folks make the pre-orders really attractive with a huge discount.

Before I continue with the review, I would like to thank everyone for the great response to the workshops. Santa Cruz is nearly filled, and West Palm Beach is filling nicely. I do have some openings in New Orleans and Omaha, so if you know anyone who is interested in a workshop this year – one that actually teaches a ton of stuff you will use – send them on over to Learn To Light for more information.

A few important links That you may have missed:
A Sense of Urgency: Are You Demanding More of Yourself and Branding Your Photography Business, A Realistic View right here at LE.
Heather Morton has two great pieces in a row on Branding and the issues of working in another city. In Canada they call it the “Tall Poppy Syndrome” – refer to it as the “Out of Town Expert… on steroids”. My buddy Kirk Tuck has a post on building the perfect camera for himself… ah that it were that easy, and Seth always has something great to say. This point of “Looking Successful” is something to think about.

On the personal front, we are all moved in to the new studio, the office is setup and everything has been taken from the boxes and carefully arranged (LOL) in my work space. I am antsy to get in there and start shooting some food and still life soon. Probably after this weekend in Houston. I will do a walk around with a video soon so you can get an idea of how the studio lays out and what the work flow there looks like.

Please don’t hesitate to offer an article idea or to ask questions regarding any aspect of Lighting Essentials focus. We are ready and able to answer most questions you have as an emerging photographer.

Well, take the jump on to Nick Onken’s new book, Photo Trekking.

Photo Trekking is a different sort of travel photography book. From the outset you notice the landscape layout and the large, oversize images. Mmmm… big pictures! I like that! The printing is very nice, and for a photobook, that is really important.

But it is the content that is mixed with the images that set this book apart from a lot of other travel photography books that I have seen. Content that is real, easy to follow, and conversational… as if Nick were standing there telling you about traveling all over the world shooting known and exotic locations.

The table of contents shows how in depth the book really is: From Preparation to Tips to what to do After the Shoot, the information is delivered in easy to understand bites that don’t necessarily have to be done in order. Each chapter stands on its own. And that means you can read it any way you want. If you want to start with the Tips for Taking Great Travel Photographs chapter, go right ahead… it is self contained and full of great tips, tricks and professional working methods that are sure to increase the quality of your travel photography.

Nick starts by giving a real world evaluation of travel photography today. He cautions the unprepared and slowly guides the beginner through a potentially challenging maze of potential roadblocks. Traveling around the world, with bags and bags of camera gear is part art, part alchemy and a whole hell of a lot of planning. At every turn Nick takes the lead and tells the novice how to prepare and be ready.

This information is well stated and laid out through out the book as it relates to the different chapters, and I found that refreshing. Sometimes we need to be told a few times how something works, and keeping the challenges mixed with the fun of the imagery reinforces the serious side of such a fun lifestyle.

Nick Onken loves to make photographs.

And that truth is on every page, from setup shots and tests for his book, to once in a lifetime moments that are captured with his unique style, the imagery simply rocks. The larger size landscape images make such a great presentation.

Preparation is a fantastic chapter. Nearly all you need to know about preparing yourself, your gear and your mind’s eye to get the most out of a photo shoot on the road. Much of this advice is practical for the shooter who simply stays near home, but it is even more important for the ‘Trekker’ who may find it a bit difficult to get a sync cord in the middle of a Tibetan village in a snow storm. Funny how a $6 piece of gear can take the whole shoot with it when it goes.

Onken stresses the vision of the photographer. How to nurture it, press it, push it and develop it into a style that is unique to your shoot plans. Planning Your Images in Advance (heh, LE Workshop students… you have heard a bit of that before) and delivering them when the moment presents itself is one of the most important take-aways for the photographer who bought the book with hope of increasing the quality of their work.

The Tips Section is the one that will become dog-eared first in most folk’s books. From time honored suggestions of rules of thirds, through color and juxtaposition to the use of lens flare, there are some eye opening ideas and images that reflect the concepts.

Whether you are a newbie to digital photography or a long time pro, there will be something for you in this chapter. Nick presents it tightly, with examples and challenges for you to consider. One of the things a lot of photographers will like is the little personal commentary throughout the book giving the reader a glimpse into what he was thinking and doing at the time the image was taken. This insight is remarkable.

As a photographer as well as a designer, I must give kudos to the design team on this book. Beautifully arranged, with just the amount of white space and ‘air’. All of that leads to a more enjoyable read, for sure.

In the final chapter, Nick goes into detail on marketing travel photography, the creation of web sites, email campaigns and portfolio design. He uses his own portfolio and bound books to show how photographers can begin to market their travel work to ad agencies, NGO’s and magazines. Well presented and concise, the information is rock solid and easy to manage.

All in all I found the book to be an excellent addition to my collection. If it has a drawback it is that it makes you want to run off to the wilds of Argentina or Africa or… well, you get the picture. While some of us may have to settle for that cool road that goes from Sacramento to Mariposa (49), or a trip up the Eastern seaboard on the smallest two lane we can find, others will be inspired to pack it all in, grab their gear and go. Just go.

I recommend this book to any and all photographers who are interested in photographing people, developing a style, working on location or simply wanting to get a creative kick in the ass. Nick Onken’s “Photo Trekking” will deliver.

I would be remiss if I didn’t direct you to Nick’s new website – www.nickonken.com and his not to be missed blog at www.nickonken.com/shoptalk. Two sites that will inspire you as well as entertain.

Thanks for dropping by. You can follow me on Twitter – Nick too – and I hope you tell your friends about Lighting Essentials.

Content is King

In preparation for the Social Media Marketing article, I came to the realization that most of us have trouble figuring out what to say about ourselves, so I decided that we first need to talk about content – both on the website and in the portfolio. Whether your printed portfolio, your own website, tweeting, using a fan page, blogging, or any other content outlet, we need to focus on the #1 rule in creating an enduring web-based marketing strategy: Content is King. Yes, I consider your printed portfolio part of your web-based marketing strategy. Since we rarely show our portfolio to anyone who hasn’t already seen our website, it becomes part of the overall web-based strategy.

Your target audience falls into two distinct categories: prospects and repeat business. Let’s address these demographics separately.

Repeat Business
Existing clients are relatively easy to market in 2010. In fact, they are easier than ever. All you need to do is open a media channel to them and then provide interesting photos and bits of written content that let them know you’re active and progressing in your craft. They want to know that they’re working with someone who is consistently producing quality content and social media is the best place to keep them informed of your work.

The flip side of social marketing to your clients is that you need to be watching their channels and occasionally providing positive feedback to their content. This way they will know you’re staying in touch. Don’t be sales-y on your comments, be genuine. Keep an eye on their business trends and send them the right marketing messages.

New Business
New business is a totally different endeavor. Attracting new business through a fan page or twitter is much more difficult because there is so much competition for the attention of your client and there’s no direct way on these networks to reach out and impress the prospect with your style and expertise before they begin to follow you. Yeah, the best content in the world is powerless if nobody ever sees it.

Another very interesting fact about social media is that prospective clients hardly ever follow you. From my conversations with other photographers and my own experience, most of our followers are other photographers, friends from outside the industry, or existing clients. When I started on twitter and my fan page, I expected mostly potential clients to follow me. In reality, it has been other photographers who are following and contacting me through Facebook or my own website. I don’t feel as though putting the work into these media outlets is wasted energy, but it is something that should be understood and analyzed before making the commitment to social media. Eyes wide open.

The most effective way to engage a prospect is to show them that you’re constantly updating your content with stuff they find interesting. They need to understand that you’re a working professional and that you are an approachable and knowledgeable individual.

(There is more from Daron after the jump, and you must read his entire article. I just had to jump in with a few items before we leave the front page. Workshops are going great, and I do have openings in Omaha and New Orleans which we will see a ton of push on. I am so excited about bringing the concepts of great lighting and professional photography to those areas.

We are working toward a seminar titled Going Pro NOW with Selina Maitreya, Jack Hollingsworth and myself. I am excited like crazy about this project. The price will be wonderfully affordable and the seminar will have you ready to embark on a professional career, or fine tune where you are going currently. We are planning three cities at this point: Seattle, Chicago, Boston. If there is anything that has you stymied and think this seminar should address it, let me know so we can look at making the seminar the most informative you have ever attended. NOTE: We will not be addressing tax, licensing, incorporation and similar issues that are best left between you and your accountant.

One last thing. This week promises to be a big one for LE. We have a review of Nick Onken’s new book which will launch Tuesday and an article on the touchy world of model releases sure to bring a lot of controversy… heh. That’s me. Shaking the hornets nest!

So on with Daron’s great article on Content for your Portfolio.

Portfolio Images
Choosing images for your portfolio is very tough. I have been doing this for 20 years and still sweat the correct images. Occasionally I even totally miss the mark and show the wrong printed portfolio entirely. It’s a tough market and you have to communicate with your reviewer.

When I am preparing to show a book, I gather as much information about the client as possible. I will read their publications, Google them and see who they work with, and make phone calls to contacts in the industry who I know have worked with them or may have some experience to share. Once I have a good idea of what type of work my reviewing art director sees on a regular basis, I attempt to figure out what they like. Remember, if they are reviewing your work, there’s usually some type of opening.

Now that I believe to have a handle on the needs of my prospect, I attempt to build my portfolio around that assumption.

I will pull my strongest images that I feel meet their expectations from my archives. I will mix in different types of images that show my strengths and style as a photographer. In fact, I try to use mostly images that didn’t have specific art direction- ones where the entire concept is my vision. I feel that this communicates a stronger sense of my style than showing images that were closely directed by another creative professional. I also like to show a good number of paid work mixed in with my personal work – if the paid images are strong enough, it is a much smoother conversation when the AD starts asking who you were shooting certain images for. They do ask.

Once I have about 50 images, the goal is to cull them down to the strongest set of images that work and flow well together. For general commercial relationships, I prefer to show 24 images – but when the style or scope of your reviewer is much narrower, it’s best to show less unless you really have the depth of work.

You can’t show a weak image in your portfolio. I can’t say this enough. Your book is only as good as the weakest image. Missing the mark with a client and showing a bad image are two different things. Showing them images that aren’t what they’re looking for may mean that they’re not going to hire you, but if they’re solid images; they may refer you somewhere else or remember you in the future. This has happened to me more than once.

Once you have strong images selected, it’s time to figure out what order to display them and which images won’t fit into the lineup. There might be some great images that just don’t work with the book your displaying. That’s fine. If you present yourself well, your reviewer will take the time to visit your website and see what else you have to offer. I tend to put images together by category then find smooth transition images within those set. These transitions my be through mixed-subject images or through color palettes. Looking at the images and analyzing them should give you a pretty good idea of what flows and what doesn’t.

There has been a lot of talk lately about choosing a color palette for your work and shooting within that palette, creating a strong body of work with a concise feel. I couldn’t disagree with this approach more. In our markets, we may need to show work within a very wide array of subjects and styles, so tying ourselves to a specific palette will make creating this diverse portfolio very difficult.

Printed Portfolio
There is debate over what makes the best presentation, some AD’s are adamant about not using presentation books with poly sleeves and others are annoyed by buckles and latches that are on the more expensive presentation books to make them fancier. Choose work that speaks for itself and you won’t need to buy an expensive case and minor peeves of the reviewer will be forgotten by the third image. In my early days, my book was an 11×14 Oriental Seagull box. I got a lot of jobs with what was in that box. I doubt the box itself lost me any work.

I would love to have a hardbound book of my work that I show to prospective clients, but my work changes so often and I tailor my book to each reviewer (I haven’t showed the exact same book twice in the last 15 years) – I am just not willing to invest in a custom book for every presentation. I have two books. One is 8×10 and the other is 11×14. Both have the poly sleeves.

Portfolio Presentation
I strongly prefer to have a face-to-face review. I consider it a job interview – with a resume of photographs rather than a written history of your experience. I like to be available for any questions that may arise and to watch the eyes of the reviewer. It’s important to use this opportunity to present yourself as the professional that they will be both working with and sending to their clients. You must be a professional that can walk into any situation and make it work when their reputation is on the line.

Hopefully you will be asked questions about images. I personally love this type of review. An anecdotal story about how an image came together or the opportunity to drop names of previous clients can really help close the deal.

Thanks to Daron for sharing this solid information. For a look at Daron’s work, visit his site and blog at DaronShade.com – there is a wealth of information there.

For more on Going Pro, visit that area on Lighting Essentials and let us know what you think. To follow me on Twitter, click here. To follow Daron, here ya go!

Portraits… man I love portraits. People are so interesting and the combination of an interesting person and a creative photographer reveals more than simply a photo of someone… it reveals the nature of all of us. And that makes it timeless.

From the earliest times, painters and sculptors used people as their inspiration… from the Roman statues to the Mona Lisa, Rembrandts portraits to Bourke-White’s mother and child… people dominate our subject interest.

And photography is the medium I, and I presume most of the readers here, choose to render the people we see into portraits.

There are a lot of opinions on portrait photography, from the ‘Rembrandt triangle of light below the shadow eye’ to the ‘correct’ lens to use. I believe most of that stuff is crap… there are no rules other than the rules you impose on yourself. Does your vision of the portrait match the image taken? If so, good. If not, you may need more work. And that’s fine too.

Portraiture gives us a wide variety of genres to work in. Fashion, beauty, glamour, artistic nude, wedding, maternity, environmental, studio and more. And the styles can run from a total formality to a whimsical play. And so much in between.

But because portraiture is so popular as a type of photography, it becomes more and more difficult to set your work apart from the vast amounts of portraiture being created daily. I know that it is hard to do, but it is so important. And it can mean the difference in whether you can be sought out by people wanting your particular spin on the image, or just being considered by the price-shoppers.

Light can be one differentiation in how your work is seen and appreciated. How you work with your subjects, their relationship to the environment, posing, lens choices, angles, and gesture becomes your pallet. And then comes the vision thing that ties it all into your approach to the portrait.

Great portraitists present their subjects as they want them to be seen… infusing the photographers vision into the resulting image. This can be a little challenging to some who want only a ‘picture’ of themselves, and there are plenty of places and photographers who are only too happy to provide a snap. Portraitists want to do more than simply snap, they want to explore and reveal and lead and challenge.

A few portrait shooters from my list of influences.
Yousef Karsh
Richard Avedon
Irving Penn
Victor Skrebneski
And some newer to the scene:
Nadav Kander
Dan Winters
Chris Buck
Nick Onken
And of course, Annie, Patrick, Arthur, Albert and Peter.

The goal for me has always been to make the subject look as beautiful as possible… without changing them into something they aren’t. I want to let the beauty I see in them come forth through my camera. And that takes a mix of lighting, composition, lens choices, timing and most of all, rapport. I look through the lens and become emotionally involved. I don’t hear the music, I don’t hear the distractions (which I keep to a minimum in the studio… cell phones on buzz, only answer in the dressing room, no chatting on set unless it directly involves the subject and the session etc…). I just see the subject and what we are trying to do. When the camera goes down, things go back to normal, but when I am shooting… I simply am involved with my subject.

After the jump we will take a look at 24 images from the LE Flickr Pool that I thought brought a little more the portrait… a drama or sense of style.

If you are considering a workshop, we have planned a schedule that will bring us near to your city, and if you would like me to bring a Lighting Essentials workshop to your city, let me know. I like to go to the smaller cities where other workshops don’t venture. We are a small group (limited to 12 tops) so going to smaller venues is possible. And fun!

This portrait starts the gallery. I love the unexpected look to it, and the post brings a sense of cold and dread. The subjects eyes being set a little off from each other adds to the surreal effect.

The black and white post adds to the drama of this image. The slight backlight is offset by the fill and the light in the eyes. The photographers use of angle and the subject looking off from the camera adds to the uniqueness of the image.

I like the sense of loneliness and separation that this image conveys. Placing the subject in the center and in a little shaft of light isolates her from the dark and mysterious environment.

Framing the subject with a panel of color, and with the gates in the foreground make this image seem like a grab shot. But the formal position and the off camera gaze give the shot some definite focus.

A single spotlight effect gives this portrait a unique, stylish look. The sunglasses add a bit of whimsy… or mystery.

The post in the bluish tones adds to the unique style of this image. I like that the light is visible at the back to camera left. Her fun pose and leg line are kinda cool too.

I like the black and white processing on this shot. It adds so much to the dramatic pose and skin of the shot. Working the light to advantage here, the end result has interesting tonality and highlights.

A natural, soft light and angled horizon give this shot a very nice feel. Keeping the subject to an off camera gaze allows us to imagine a bit about what is happening in the image.

The falling lines, low angle and well defined light takes this portrait to a higher level. I like the look on her face and how she fits into the environment.

I love the gesture and the light here. Her total involvement in this shot really carries it. I love it when a model really lets go like this.

Dramatic lighting, the flared sun and the helmeted subject give this shot a dramatic appeal.

From the color to the dynamic pose to the dramatic setting, this shot delivers a wonderful feeling to a double portrait.

I like this shot a lot. Dramatic light, interesting post and a subject that really draws you in. The gritty location adds to the accessibility of the image.

Such a nice, illustrative image. The set of grass and the sleeping subject are set off well with the interesting light. A grand gesture brought into a ’small’ image.

A very dramatic image with a super wide lens and a wonderful affectation from the subject. The cross lighting adds a sense of illustration to the shot.

A fantastic illustrative shot with excellent lighting and a surreal setting. With the subjects attention off frame, the image takes on a poetic, editorial feel.

The light, pose, composition and excellent framing make this portrait a standout. It just grabs the senses and delivers a fresh look.

The negative image of the subject against the light and the corridor gives this shot a totally editorial feel. A small story in a single image.

Just an entertaining portrait with a whimsical feel. The light and the environment lend a fun feeling to this illustrative portrait.

One light majesty with a subject full of character and charm. The simplicity of a black background and a dramatic light can never be underestimated.

Tightly composed and brightly lit with beauty light, this portrait delivers a sharply defined subject with some very nice shallow DOF.

A small pool of dramatic light highlights this subject in a dramatic way that also shows off the muscular physique and interesting wardrobe.

Warm, enveloping light is perfect for this location maternity image. The framing and composition creates a compelling portrait.

This musician shot conveys a dramatic light, and an affable smile. Contradictory and yet inviting. I like how the light just hints at the guitar.

Thanks for visiting Lighting Essentials. Follow me on Twitter if you like. And if you like Lighting Essentials, be sure to tell your friends about it. We are pushing hard for a few thousand more readers. Thanks!

I ran across this quote today:

“I have been impressed with the urgency of doing.
Knowing is not enough; we must apply.
Being willing is not enough; we must do.”
– Leonardo da Vinci

It gave me pause.

The “urgency” of doing.

Pretty much says it all. Doing is the thing that makes it work. Not reading or listening or studying or being desperately in love with the idea. One must ‘DO’ what one does. It is the only true path to becoming better and stronger.

Imagine a weight lifter who reads all the weight lifting books, listens to 6 or 7 weight lifting podcasts a week, gets a couple of weight lifting magazines a month, and can quote weight lifting stats that amaze his friends. But he only occasionally ever goes to the gym to actually lift weights.

How well do you think he does at the lifting when he gets around to it?

Same with photographers. We must make pictures to be photographers, otherwise we are not. We only discuss, read, and study the subject. Occasionally pulling a camera out to make a shot or two won’t increase our skills. Are there exceptions, maybe… I think I read about an art photographer who thinks about his shots for weeks before executing. But that seems to be his particular way of working, and the images reflect that, I’m sure.

But for the majority of us, doing is more important than learning or wanting. I have always ascribed to the philosophy that it means less what one says and far more what one does. Actions speak louder than words is another way of putting it.

Action. Doing. Progressing. Achieving.

When I teach the workshops, I blend all the different modes of learning together. We talk about what the light does, we look at what the light does, then the students do it with the lights. Hear, See, Touch. It forms a bond of learning that encompasses all the different approaches we humans bring to the ability to understand.

What struck me about this quote was that I had just finished reading a couple of post questions asking things like; “What is the difference between a shoot-thru umbrella and a beauty dish?” And, “Has anyone ever used a bounce card for a reflector, and what does it do to the image?”

In my mind it is nearly impossible to answer these questions with simple words, or even pictures and words. Maybe we can add some words to the pictures, but even then we cannot even come close to the knowledge that would be gained by simply doing it. Get an umbrella and a beauty dish and see the difference. Grab a bounce card and add it to the mix… what then happens to the image?

Of course one should know how to get hands on both a shoot-thru and a beauty dish, but that is a logistical problem, not a photographic one. Knowing where to put the bounce card can be learned by charts and graphs, but what it does the image is purely look and see. And move it a little to there… a little more. That kind of thing.

Applying the knowledge that one achieves through different means is the balance to the learning. Shoot. Shoot everything you see. Make it an urgent and immediate project.

And wanting to won’t get it done. As Yoda said to Master Luke… “Either do or do not, there is no ‘try’”. Truer words were never spoken. Telling me that you plan on or want to or should… whatever… means little. Only that you have idle time to plan dreams that will be gone in a few days or years.

Do the thing you want to do. Now… it is urgent. Urgency builds energy, energy builds desire, desire spills over to action and the thing gets done. I am not talking about procrastinators, I am talking about the “terminally planning”. Make images today, it matters not what you photograph, only that you make the images yours.

The urgency that Leonardo must have felt is obvious in his level of production. Books, paintings, flying machine drawings, architectural renderings and more. He had to get as much done as possible.

Maybe he knew intrinsically that our moments here are shortened by our existence. Yesterday is over, and will never be repeated. It has no bearing on what our today brings. And tomorrow… well, tomorrow is a great place to be, but not yet.

A talented young photographer I know just sold most of his gear and is moving back to the small town he grew up in. Talented by the work that was actually accomplished, but unfortunately the call of partying and ‘livin’ large’ was too overwhelming. He shot all the time when he got to LA, but after a couple of years, he wasn’t shooting any more new things, but trying to get by on what had been done. His work grew a little stale, and he began to complain about the business. His failure was other people’s fault. He rarely picked up his camera unless it was for an assignment, and the work started showing it.

He lost his sense of urgency. He forgot what he was, and what he wanted to be, and, most of all who he NEEDED to be. I hope he gets to a point where the action takes hold of him and he starts to produce again…with new eyes and a renewed sense of himself as a photographer, not a “business man with a camera”.

Knowing about business is of course vitally important, but if it becomes more of the focus than the photography itself, then other challenges, some even more devastating than not knowing spread sheets, enter the fray and the love of the craft can be lost.

Being a photographer is one of the coolest careers one can have. And no shooter I know of does it for the money alone. They do it because they love it. And the really successful ones push themselves hard… inventing and re-inventing and pushing themselves. With a sense of urgency.

So ask yourself if you have a sense of urgency about your work. Do you push hard enough, or depend on someone else to tell you what you should do? Find your vison/passion and DO IT with your cameras. Do it every day… push and refine your work and get over the hurdles as quickly as possible.

I am not a big fan of patience… preferring to push and shove and run and leap and fall. A lot. Patience is a slower, easier to set aside type of habit. Urgency, along with terror and fear, is a motivator.

Get urgent and get going.

Thanks for visiting, and follow me on Twitter if you would like. If you are thinking about a workshop this year, take a look at the schedule here at Learn to Light. See you next time.
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Hey… how are ya?

I’m back from three workshops in very close proximity. In Seattle we did two in a row, and then back for a day and off to San Diego for a fun workshop. Lots of excitement, and I got to meet so many talented people.

I have some images from the Seattle workshop, and want to share them with you… next week we will post some from the San Diego workshop. I love to share the work the wonderful shooters worked so hard to make.

First some housekeeping:
We are adding West Palm Beach to the workshop schedule, replacing the Philadelphia workshop. Not much interest from Philly and a lot of folks wanting me to come down to WPB, FL.

From the Web:
Trashed Portfolios? – at Heather Morton’s Blog.
How to Deal With Infringers: An important post at APE.
A new blog I found: Chris Orwig. Nice work.
Nick Onken has a new site. Big Pictures. Shoptalk Blog got a facelift too. Nick’s book comes out in March. I got an advanced copy and will review it next week here. Pre-Preview… awesome.
Seth Godin has a very poignant post.

And here on LE, some things you may have missed:
Pricing Issues
Land and Assignment
10 Things You Can Do Right Now
Selina Maitreya – an Interview in Three Parts

Working in the studio this week. Finishing the shooting for the second DVD to come out soon. I am having so much fun with some of these projects. Sharing as we go.

The workshops are going very well, and we are off to some fun places next month… Santa Cruz and New Orleans. Both will be very cool workshops. I do have a couple of openings for Houston in two weeks… sign up and join us for an exciting and very informative workshop. If you haven’t seen what folks are saying about the workshop, take a minute and visit the comments page at Learn to Light.

My post on “Working for Peanuts” got a lot of response. I am working on the post for Saturday that takes the CODB model of constructing a price-point apart. CODB is not the only thing to take into consideration, and it can be quite misleading to a business that is very subjective.

Well, let’s get on with taking a look at some of the images from Seattle.

Here are a couple of images from Gretchen. The first image is a totally naturally lit shot in the doorway of the studio. It was raining outside, so Gretchen had to stand in the rain to get this shot.

Kayla in the doorway, Seattle Lighting Essentials Workshop

Next Gretchen takes Jake to the shore and adds an Alien Bee in a shoot thru umbrella and an Alien Bee with a bare reflector for a kicker. The models on this day were such troopers working in the cold and having a lot of fun.

Doug did these two: Kayla up first.

Then a shot of Jake.

These two headshots were part of the first day of the workshop.

Dave Gwiazdon shot the image above of Kenzie with speedlight and ambient balance. Below, Dave used multiple speedlights to do a dramatic shot of Jake.

Next up was an Advanced Lighting Workshop. This workshop is tuned for the aspiring professional. We do lighting for product, food, drink, still life and editorial portraiture.

Above is Jan Klier’s shot of the Nikon. The students were intrigued by how many little light sources we created to do this with only one light. Below is Kaitlyn’s version.

Dan’s shot of Tyeesa above used three lights including a grid spot in very close to her to present a very dramatic and soft portrait. Below is Dan’s shot of a leather purse with an iPod on it. Dragged shutter and careful Photoshop work was used to create the image.

Jan brought his Mamiya RZ to the workshop and did some modified natural light shots of the fresh produce we had.

Some of the most beautiful produce I have encountered up there in Seattle. Wow… just amazing. Great to shoot… then have a salad!

Florian tried a very subtle pour shot, and was an eye opener for the students. A lot goes into a shot like this, and we worked the shot with precision. It was fun to see the students encounter shiny surfaces, difficult reflections and angles that created challenges. But they handled it very well.

Jan's tightly composed shot of Tyeesa

Being a photographer means more than simply being able to chimp something in that is close enough to ‘fix’ in Photoshop. Giving the students an opportunity to do some fine, in-camera shooting allows them the fun of working the light, refining the light and creating something very compelling right within the capture. Photoshop is then used to refine the capture, much like a darkroom was used to refine the shot when on film.

BTW, I am NOT against heavy use of Photoshop. Not at all. I am simply trying to teach how to get what you want in the camera… then use of Photoshop can be more focused… whether extreme or simple.

I have a rant coming up about theft of images and content and more… rant brewing… gotta get it down. I am outta here. Follow me on Twitter for more daily fun.

I love to drive. Cars and motorcycles and trucks… I love to get behind the wheel and just go.

This weekend I drove to San Diego for the workshop there. And, BTW… it was a very fun and exciting workshop with a lot of talented photographers, some wonderful models, and fascinating conversations. I love to talk nearly as much as I love to drive. (Those of you who know me, are shaking your heads right now… just not sure which way… heh.)

I left pretty late in the day on Friday, having to clear some things before being out-of-pocket for a couple of days. The light was dreary and gray, but I am always on the hunt for something. All in all, fairly uneventful drive… and that let’s me think.

Think about photography and design and marketing and light and challenges ahead… that sort of stuff wanders in and out of my brain while wizzing along at 75+ MPH. I thought a lot about where my work is going and what I am doing this year. Thoughts of traveling to new and exciting places (because they are new) always gets me thinking about photographs. Light and texture and imagined images of places yet unseen… sort of a mind game with myself and the imaginary cameras.

I have never been to Santa Cruz or New Orleans… both workshops coming up soon. I am so excited to see both places and do a little shooting there. But it is the images I am seeing that are changed so radically from where I used to be image wise. I see light and texture and personal imagery more than the beauty / lifestyle stuff I have done for a longass time. Longass means more than a couple of decades.

And don’t get me wrong, lovely women in gorgeous wardrobe is still something I love to shoot. But I am more interested in jazz trumpet players, retired heart surgeons, the guys who cleaned up the stadium after the Superbowl, single moms who work three jobs… People. All kinds.

And places. I started as a landscape shooter and find myself returning to photographing a lot of still life and environments… not wilderness in my work, but environments touched by man… or with the visible influence of us humans on the environment. Not sure why… I just love shooting it.

There probably is no market for the personal work I do… and I LOVE that. I don’t have to worry about portfolios and culling through the images to find the very best of the shots… I just have to make the shots and enjoy them. Me… looking at moments in my life where I snapped an image of something that caught my eye.

Garry Winogrand said: “I photograph something to see what it looks like photographed.” I love that quote. I think about it a lot. It is becoming sort of my inner mantra… “shoot it so we can see what it looks like after you shot it” the inner voice says. So I do. As often as possible.

And sometimes the images make me smile and sometimes they challenge me to keep shooting till I get one that works. But more and more, the images are driving more images. I think that’s a good thing.

Restless is the heart these days. I love teaching the workshops so much that I miss it on down weekends. I have plenty to do with more and more client work coming up (and the design side is also getting busy), but the interaction with the students is so creatively invigorating. Whether they are newbies or seasoned professionals, I love to chat about photographs and lighting and the business. Seems that everyone brings something kinda fresh and unique to the table. We learn every hour of our lives… or at least we should.

But the restlessness comes from a desire to step my work up to a new level. One that I can see clearly in my head, and now struggle to get into the camera. Shoot, refine, shoot, refine, eat tacos, continue shooting and refining… that is a perfect day for me. How I envy some younger shooters who can shoot 4-5 days a week. And how I remember those heady days. I would love to shoot every day, but business is more than shooting for me, so I get in about 3 days a week.

I want more. More. More. More.

The thing about photography is that it wants to be made and made and made over and over again. Subtly changing from one thing to the next… moving and shooting and measuring and challenging and defining… quickly and with great deliberateness. Oxymorons for sure, but isn’t most photography oxymoronical in execution? (Yeah, I made that one up… sue me.)

We work temporally while seeking to freeze a moment in time to revisit throughout our own ever-changing time line. A still image that remains constant as time moves on. Like flowers that never wilt. Love that never dies. Skies that never darken. A representation of a point in time where everything was perfect – or at least perfectly presented – that we want to save.

I have always marvelled at the amazing ego of photographers. We have giant egos that need to be expressed. That isn’t a bad thing. That is actually what makes photography one of the great art forms… most anyone can do it, but only a small group can do it well. Those with huge photographic egos that scream for recognition.

I am not talking about arrogance. Arrogance is ego with no base or credibility… just an over-inflated sense of self that manifests itself in boorish behavior. Arrogance without passion and product is laughably entertaining. And, unfortunately, on display in way too many important places these days.

I am referring to the ego that we photographers have that lets us proclaim… “Yeah, I know you have seen the Grand Canyon 23 times… but look at this moment I caught a few years ago… 1/250th of a second during a week long trip. It caught my eye and I knew I had to share this miniscule sliver of a moment with you so you would see what I saw. My view of the Grand Canyon. My choice of the best 1/250th of a second the canyon has ever seen.”

Ego.

Thank God for it. Weston and Adams had it. Avedon, Penn and Winogrand had it. Winters, DeMarchelier, Elgort, Eggleston and many more have it. The beautiful ego driven desire to share with us the way they see tiny, minuscule moments of their lives and their vision. And what grand moments they become. And those grand moments live on.

A still image of a moment in time that is shared through the times of the ages. That’s pretty cool.

I have that ego thing. I have the desire… and the passion to make images that I love to share with folks. And sometimes I make images that were not taken to share. They were taken for me… to be seen by me. To make me remember. To make me smile.

But time takes us along on its journey regardless of our desire to hang out and catch the next ride. Each day passes with no regard to yesterday and no promise of tomorrow. Time simply is. And was. And will be. And where do I go from here is the question that seems to invade my thoughts lately. Not grandiose moves… little tweaks. Like moving the camera over a few inches to make a more classical composition.

Space and time and photography and Mexican Food and workshops and books are all so wonderfully intertwined in my life. And I wonder if the images are enough? I want more. I want so much more. I wonder if the days are getting too short… or maybe I am growing too slowly. Or simply too long for the ever-shortening moments that make up our personal journeys. It’s that damn timeline thing.

Like when someone moved your cheese. Or even wondering if the cheese was ever really there to begin with. Maybe they didn’t move your cheese… you were simply too stupid, or lazy, or busy, or self-absorbed to find it and it was eaten by the neighbors cat. Ya know…

Or maybe the cheese thing isn’t really what we are looking for anyway. It would really suck to find the cheese and then discover you were allergic to cheese. I know, too cheesy… I’m just sayin’.

This morning I drove out of San Diego in the dark. Sunrise began just before I got to the desert floor near Plaster City. The sun rose just a little before Yuma. It wasn’t a spectacular sunrise… just a gradual dark to light transition with momentary blinding peeps directly into the drivers window.

I made no photographs. Maybe I should have.

I do call myself a photographer. And that is what we do, we “photographers”. Make photographs. So what was I this morning? A driver? A passenger on the timeline of my own life? A violator of posted speed limits? A casual observer of a once in a lifetime occurrence with no interest in any saving of said once in a lifetime occurrence? A now-and-then photographer… then, but not now?

I know I am pissed that I didn’t stop the damn car and get a shot of some trailers that had a lighted courtyard with the early morning pre-dawn light. Or that tractor in the distance with the dusty trail behind his morning plow. Possibly the sheen of the sunrise over the misty Colorado River would have made a nice little 6×9 print… sepia with some texture. That shopkeeper in Yuma putting up a new sign… yeah… that would have been nice.

Not this time. Maybe next time? And… back to time again.

This fern caught my eye as we were heading back to meet another group at the Sunday shoot portion of the workshop. I loved the way the soft, cloudy light seemed to make the leaves shine. I also noted that the color of the leaves edges were the same as the model’s eye makeup. Instantly I knew a vertical shot with the leaf would be something I wanted to see. I took about 7 frames or so. This is the one I like the best.

This stand of trees against the wall just jumped out at me as we were walking by. It looks like a painting to me. The subtlety of the color, the formal composition and the geometry seem like modern art. A quick snap – adjust composition – snap – one more adjust. There… I got this:

My friend Christina now lives in San Diego and she joined the group for the Sunday shoot. We were leaving an area behind the Space Museum at Balboa Park when I saw this as a possible composition. Moving her into the light and keeping her framed to not allow the blown out sky to effect the top of her head was the challenge. I simply loved the juxtaposition of the tall tree and Christina in a red coat. Not a “big” picture. A quiet little portrait of my friend in her new home of San Diego.

I found these roof lines interesting. I shot them from a classical center-up stance and knew they would be used as a tryptich like this. I may do some different post on down the road, but for now I present them as a three photo image.

Hey… thanks for viewing Lighting Essentials. I am backlogged on getting stuff up here… bad internet in Seattle last weekend and nearly no internet at all at the La Jolla Hotel in La Jolla, CA where they advertise Hi-Speed WiFi but actually the La Jolla Hotel in La Jolla, California had no WiFi at all… at least any that would connect and stay connected. Hint… 1 bar ain’t hi-speed… nope.

So be watching this week. And as always, follow along at Twitter, and visit my workshop page for information on the workshops.

See you next time.