Hold The Eye Images

Photographing People

I started the project Grand Dell Saloon over a year ago. Partly because it was next door to my studio, partly because I was interested in the people who hung out there, and partly because I like music so it fit more than one interest of mine. It did not cross my mind that I would become a student observer of people. Then again, maybe I have always been that, just didn't realize it?

I have learned since beginning this project, I enjoy photographing people. I'm not talking about studio portraits, or families, but people doing what they love or are very interested in. Mostly capturing people in an emotional state that is visible on their face. The emotion doesn't have to be extreme, joy or sadness, but facial expressions that speak without words. I might go on to say, body language, which everyone learns from childhood. I have become better at it over the last year, and have used light in my photography to frame it. The participants have ranged from the willing to the extremely unwilling, but I have been patient and my library of images has reached over five thousand. Now by no means are all of those images even keep-able, but it reminds me of my diligence and that alone encourages me to continue. So last night was one of those trips, to visit the Grand Dell Saloon where Pat Wilder was playing. I had seen her briefly at a Jam a few weeks earlier and was impressed with her skills as well as how down to earth she was off stage. Here personality and off stage vibe is every bit as pleasing as her on stage. I can't say that about many people, even if their stage is simply a job.

So keeping in mind that I'm capturing not just a performance but expressions of emotion. Here is the evening with the Pat Wilder Band. First Pat herself, sweet, full of fun, loving, and into the music.

She really got the crowd into her music, coaxing her "sisters" to join her on the dance floor. Walking around singing with a mic in hand, several of the ladies danced with Pat.

Even when she wasn't asking them to dance, people could not stand still.

Even well know guitar player Phil Franco LoBue took to the floor!

You have to say all was well in Muddville tonight. And then there were the duets, highlighting members of the band. The stand out was Carol MayDeo who has been nominated for a 2012 Grammy.

She played with a great deal of emotion, her solo performance was "Summer Time" which was beautiful. But her duets with the harmonica were also outstanding.

And I only wish you could her the sound of her electric fiddle! Here you can see Carlos in the mirror enjoying this wonderful music

But Pat was clearly the leader, chief music maker, and maestro of the evening. She was so into the music, it just flowed in her every movement.

And her duets were awesome, drawing attention to her musicians, her skills and her passion for music.

In the end, this band had a great time, the audience had a great time, and I came away thinking this was a very special evening with a very special talent.

The Grand Dell Saloon is a special venue for bands. It is intimate, funky, with a throwback vibe to an era decades ago. The people are comfortable, friendly, and share a love for music. They cross all lines of society, walks of life, and backgrounds....and that makes the place interesting.

 

 

50 Feet From My House

So I started this project of shooting within 50 feet of my house. The purpose is to improve the single most important skill in photography, "the art of seeing". Nothing in photography is as important or  as difficult as improving the ability to see a photograph. So my rules for myself, #1 don't take much time, just pick up a camera and give yourself a few minutes in a location. I don't want to over think this, spend time that I later dread. So for this shoot, I did it in less than 5 minutes on a corner of my bedroom. The funny thing, I thought about it for quite a while after it was over, thinking through my mistakes, options, etc. which I take as a good exercise. I try for 3 images which are OK. I'm just starting so I give myself a break. So here is the first one, taken on shutters in the window. 

I focused on the shutters because of the light and abstract nature of the images. Here is the second one. I didn't like it nearly as much, but it is what it is.

I was running out of time, and this lamp in the dark room kept my eye, so I thought I would try something there. This is actually my favorite one, simply because I got something unexpected. The wall blended in with the shade. I metered such that the light was even across both the shade and wall. Kinda cool, and a bit of learning involved.

I'm not trying to capture award winning images or ones I could sell, I'm trying to learn to see better. I had fun metering these images, creating something from very little. I also liked the time constraint since it didn't allow me to over think the whole exercise. I will try again maybe tomorrow or the next day.

Elements Of A Great Image

I have been thinking about what makes a great image. I'm not taking about the rule of thirds or similar principles which are important to learn but not that relevant to a great image. Today's great images are different, new perspectives, often broader dynamic ranges, and above all images that get your attention. The first ingredient in any image is light.

Light is the most important element in photography, one that often defines the image regardless of composition. In great images light is used to add texture and drama to the image. The light varies across the image. For example, this image is entirely created by light.

Here is another example of how light adds impact, by using it selectively. Above the sun provides the light, below the light is added artificially.

In many ways, light is the defining characteristic of all great photos but another characteristic is spontaneity. Capturing something in a special way. Here is an example of capturing the moment.

The use of black and white is really playing with light, the pose and capture grab your attention. Another element of great pictures is texture and depth. This is subjective but you have to learn to see it, and the great photographers see texture all around us. Here is an example of texture and depth which draws the observer into the story of the image.

Great portraits often display texture and depth, tell stories in the faces of the image. Here is an example of this.

Another example of the portrait, but this time the face says something but the environment also adds depth to the story.

And while you can tell I love black and white, color can be just as powerful. Here is a simple image with power because of the pose. The pose is candid, not directed, I simply asked him to stop while I did a light check. I loved this image from the moment I saw it. And by the way, he liked it to.

So you have light, spontaneity, texture, and depth, but perspective is also important in great images. And I'm not speaking of composition although obviously that's the output. Think of it as the lens you look through, how you see a subject. It's not how to compose but more how you see, if that makes sense. The images above illustrate that point for me, but here are a few more examples of perspective. First a cabin with a window on the Grand Tetons.

Another example from a nude shoot in my studio. This image is created in your mind's eye long before it is shot and perspective was the controlling factor.

There are also some elements of the above photo that break rules. For example, the open use of the hands and arms. The image below is an example of a perspective that is much more common. Here I intentionally waited until someone walked down the stairs, and I loved the phone. As with most photographs, people at something special and I love to include people where possible.

One final image on perspective to illustrate my point, is a common subject in Northern California, namely grapes. Here is an image of vines without grapes, but mustard adds beauty, but perspective adds depth and interest.

I hope I have done something to illustrate the elements of great images. Your photographic gift is your ability to see, some use instinct, others use rules. Some see the image in their minds eye before the shutter is pressed, others take lots of pictures and examine their product. Great images can be captured using any technique so long as you take lots of pictures. Principles mean nothing without practice and experience, and practice and experience develop your ability to see, and in those rare people, unlocks that special gift of sight. So here is a challenge that I'm thinking about, one picture a day from within 20 feet of my house. That's right I can shoot indoors and outside but I'm limited to my yard. Wonder how that will work out?

 

The Art in photographing people

There are lots of ways to photography people. You can grab shots as they do their daily activities, sit them down in a studio and give them directions, or some combination(s). It all depends on the outcome you are trying to achieve. Make them look pretty, make them look some other way, or as I like, capture them with a natural expression that creates a reaction or emotion. I don't mean emotion from the subject, but from the observer of the image. Sometimes I do this by watching for some particular expression, like this one from John Garcia. I observed this, then waited for it to appear again.

Or this one, where I didn't exactly see the specific behavior but knew the emotional body language was repeating.

Sometime it is spontaneous, it just happens and I grab it.

Sometimes I just wait, poised for something to happen, hoping for a special moment to appear that has emotion and action.

And sometime natural beauty just needs a little light.

Sometimes they are staged, to make a point with the observer.

But sometime you just get lucky and if you have a camera, you grab one that really speaks. This one is one of my favorites, taken without the subject realizing what it would become. I just asked him to stop a minute while I checked the lights. Sometimes it's magic.

The Art is capturing the real person, not just the pretty one but the one that shines through. I like the Grand Dell because the musicians wear their love of the music outwardly, don't hold back which allows me to create special images. Ultimately, the skill is not photographic but observation skills. You have to learn to see, recognize emotion, see things that matter and that reveal someone. It is skill never conquered, never completely learned, and is always a work in progress. Some with genius see it all around us in the ordinary, are able to capture and put together images that define periods in history. The rest of us just work like laymen, practicing our observation skills at every opportunity. Surprisingly, I don't get bored; people, places, and wildlife are not static, they represent enough opportunites for a lifetime of learning. I'm just graduating from the first grade.

On Camera Flash and the Nikon D800

I changed up my lighting last night with on camera flash. I almost never use on camera flash. I was lazy last night, waited too long to set up lights, and was forced into either using someone to hold a light or on camera flash. With on camera flash and moving around, iTTL is almost a necessity if you are not going to fuss with the controls every time you shoot. Another thing I don't like is iTTl. Not that it is not good in some situations, but for my work with fixed distances normally, and limited lighting, iTTl lights up the place like a bathroom. But I had a flash on camera last night. Now I could have used a cord, or SU800 and moved the flash a bit, but I didn't. I used the flash with a diffuser, rotated the head a lot, and set the EV to -1.7 to -2.0. You lose the side lighting which I personally prefer, but making it work is part of the task.

With on camera flash I shoot differently, from different perspectives to take advantage of the light as best I can. For example, straight on like this, works in black and white.

Boucing the light can add options on a similar pose

My trusty mirror still works with a bit of lens flare, although not as well as side light.

The EV can control the light drop off and help with images like this.

But some of my favorite perspectives work well with close in light as with on camera.

On camera flash limits the drama you can create with light, but it can work as these images illustrate. I don't like holding a flash unless I'm just taking a portrait but if I'm trying to get something creative, I like to be totally focused on the image, with the light as a known.

On camera flash is something to use, doesn't give the most pleasing pictures because of the way the light strikes the subject. You can mitigate by moving the head, bouncing but only on the margins. You can take it off the camera and hold it, using it as a remote, works better but more complex in figuring out the camera perspective if creative is required. If you are moving around and the subjects are moving around, your best bet is one of the wedding rigs that move the flash a bit off camera and allow you to maneuver easily. For the best, check out Really Right Stuff. Another alternative is to set up the light on a pole or light stand, more complex for some but works if distance is fixed or you have an assistant. Finally, don't forget the EV control.

Just for reference, my normal shooting for this situation is to hang a light from the ceiling, put the flash on 1/4 power, manual. I then control the lighting with my f stop in camera as I walk around. Making the f stop adjustment for me is second nature because I have done so much. But it takes a bit of getting acquainted with but works well.

All images taken with the Nikon D800, 24-70mm/2.8 lens and the SB900 camera mounted.

 

 

Taking Care of Business, the Portrait

Portraits are one of my favorite things to do. Not the kind where you say "cheese" but environmental images with people being people. Some call it street photography, others call it candid photography, whatever label you wish to use, it is seeing people being themselves. I believe very few pictures can not be improved with people. Most of us are worn out with the landscape shot without people but drop in a person doing something different and you have a "wow" image.

But photographing people knowing they are being photographed is a challenge. The big issue, they pose. Posing should be left to the professionals; models, actors, those that have been trained in speaking without words in body and facial expressions. Normal folks, simply put on a face or expression that is false. A big grin, or big smile, not really representative of their real body language and certainly not representative of themselves. As a result most of us try to make our subjects look attractive, either through talking them into a position or post processing. Neither is really acceptable as a representative of the person. Now some people are better at posing than others, often said as they are "photogenic". Personally, I love to get people acting naturally, which usually comes after some period of observation and relaxation. Done correctly it represents the persons personality and your subject will recognize themselves.

There is a class of photographer that can create an image with most any person, making a striking statement. Typically seen in advertising, promotions or in celebrity photographs. Annie Leibovitz and Bill McIntosh are two that come to mind. Bill has done this with heads of state and captains of industry, while Annie's credentials are legendary. Few photographers fit into this category but we all have to do portraits.

The key is getting your subject in a natural position, not a pose. There are no hard and fast rules, no list of positions, all of this varies with the natural body language and most importantly facial expression. The goal is a natural expression. Now I think it is accurate that people look better when posing in a certain manner. While this may sound contradictory to what I just wrote, our job is to find this without giving direct instructions. Allow the subject to pose naturally. Or, if it is spontaneous, be ready to capture with a camera.

Here is a case in point. I recently did a spontaneous shot with a mother and daughter. I took some 40+ images. So here is one I liked in the beginning. OK, but posed, sort of smiling, but no great show of emotion.

Now the very first shot, was taken as they laughed about having a picture made. They weren't really settled, and as such the emotion was real. Both were laughing about the thought of a picture.

So much better, it was natural laughter, smiling faces, happy mother and daughter. Keeper!

Sony FS 100, Video shoot tomorrow

John Omvik, VP Marketing for Unified Color  and I will be shooting a video for YouTube tomorrow morning using the Sony FS 100 camera. The Super 35mm camera uses a full frame sensor and has XLR audio jacks for two independent sources. We will be using a Sennheiser boom mike, Ari light, and the Grand Dell Saloon for the stage. Kim our singer will be singing Patsy Cline's "Crazy" sitting at the bar, and the recording will be done with two booms. We did the camera check this morning setting the black point and color levels, figuring out the lighting, and selecting the lens. The FS100 has interchangeable lens capability and with adapters, fits almost all 35mm camera lenses. I use Nikon, Zeiss, and Canon lenses. In this shoot, we will be using the Canon/Zeiss 24-70/2.8 lens.

The tricky part will be the sound. We are recording on two separate channels, and the FS100 has a nice meter to keep both channels in check. We have done several videos but this will be our first musical video. Editing will be done in Final Cut X although it is a simple one camera short video so editing will not be an issue. The one camera is not a creative choice, but a matter of budget with the client.

I will post the final product when completed. I might complicate things a bit with some D4 video, but will wait and see. Definitely will shoot some stills to illustrate the setup. More later.

DxO Rates the Nikon D800 as the top Sensor!

That means above the Phase One P65 Plus rating, formerly the top rated sensor. Check out the details here:http://www.dxomark.com/index.php/Cameras/Camera-Sensor-Ratings

Nikon D800 Images Part 3

Here are some images, the previous blogs show the resolution capability, so I will just post a few.

This is an extreme crop

All of these images represent significant crops, not "extreme" but enough to have issues with most cameras. See the previous blogs for extreme crop examples and more comments.

Nikon D800 Images, can only be described as AMAZING!

Let me begin with my conclusion. The Nikon D800 is the best buy for photographers since digital photography came into being. The ability to capture quality/high resolution images is amazing. I have shot thousands of images with the Nikon D3 and Nikon D3s, hundreds with the Nikon D4, and nothing compares to the images fromt the D800. Everything comes with a price and I'm not talking about money. The auto focus of the D800 is much slower than the D3 series. I have not used the D800 to track wildlife but no doubt the D4 smokes the D800 in this category. But those images, nothing compares to the D800. Now I'm going to give you an example and I could fill this blog with similar examples. So here is the wide shot.

Here is the crop! Can you believe this? Folks this is an extreme crop, one you would never do.

These files come out of the camera at between 41-44MB, quickly become 100MB's. I really don't know what else to say. I was using a 24-70mm/2.8 lens and the camera ISO was 400. You can lower the ISO to 100.

For landscape photography, there is nothing like this camera. Now you could talk about Phase, and yes it is a great camera. But I have tons of lenses including a 600mm, wide angles beginning 10.5 so my flexibility is enormous and outweighs medium format. Secondly, I can quickly switch to a Nikon D3s or D4 and track any animal on earth with the best focus system tracking on the planet.

Prior to digital photography, I used medium format. Specifically a Contax 645 and loved it. I still have the entire lens kit, body, etc. I have been waiting for the backs to become reasonable. I considered the 120mm macro planar to be the best lens on the planet. The D800 changes the game for me and anyone who wants high resolution. Next question, why do you need high resolution?

If you are shooting only for the web, the argument weakens. Or, if you are going to limit your prints to smaller sizes, the argument also weakens. Here are my two main reasons for the higher resolution. First, I like to crop, sometimes I get 2-3 images out of a single frame. It is the way I like to think and create. Secondly, I like big prints, and my printer is an Epson 9900 so resolution is critical for me.

There are likely shortcomings in the D800 I have not experienced besides auto focus. But thus far, after a 3 days of shooting hundreds of images, this is what I think. I'm not a technical guy. In fact, I picked up the camea started shooting before I even corrected the date/time in the camera. I'm a shooter, I judge by the images and because I'm familar with Nikon controls, I just turned it on and began pressing the shutter. And you should have seen the smile on my face when I zoomed in on the first image from the camera back. And bye the way, it is still there.