Selections from the taco bar at Su Casa Aspen

I live in the Aspen, CO economy.  When it doesn’t snow (which it hasn’t this year) our little economic bubble can really tighten up.  One of the smartest things that I’ve done to stay busy in a shitty economy is, stay open to all things photography. This week its food.

Selections from the taco bar at Su Casa Aspen

Photographing food can be fun and eating it tends to be one of the perks!

The Plate de Carne Asada at Su Casa Aspen

I’ve been busy!  Check out some of my new projects, they all represent a new working relationship with www.Mando-matic.com:  The first is a series of ad shots I did for a small boutique in Aspen, CO.  The second is a shot of local phenom Torin Yater-Wallace that I shot for an Aspen Skiing Company’s ad on the back cover of Freeskier Magazine.  The third is a portrait of Lance Armstrong that I shot for the Cover of Aspen Magazine.  Thanks for looking.

High fashion produced in Aspen!

High fashion produced in Aspen.

High fashion produced in Aspen.

Torin Yater-Wallace

Lance Armstrong

Wow, I’ve been gone for a while!

Check it out, I produced a music video.  From start to finish, I formulated a budget, found the location, built the sets and acquired the props. I directed the talent, shot the footage, worked with the editor and the color guy. It’s finally done.  I stayed under a very modest budget and completed it on reasonably tight schedule.  I took on the project to teach myself (about) the process of producing a moving image.  My favorite parts:  Set building and cinematography.  My least favorite parts:  Post-production and post-production.  I dig it!  I hope you do too.

I’m growing a little tired of posts about the photography I get paid to do in a weak economy.  But since that is what I’m currently doing with my camera, that is what is creating the ammo for my blog posts.  I guess I’ll be grateful to have any work at all.

Luckily for me I have a great client and friend(s) in the folks at Kissaneviola www.kissaneviola.com.  Kissaneviola is a regionally based and nationally recognized website design firm.  They use me for just about anything they need a photographer for.  Thanks guys!  My last assignment for them was to shoot a restaurant.  WAIT! food photography, ambiance, the chef?  Really?

Now, I use artificial light from time to time, generally to add a little extra something to a natural light scene, but this particular restaurant is in a below ground location and this would be an ALL artificial light scenario.  Well, someone has to pay the bills, and I approached this shoot as  a particular challenge, that I could learn from.  A challenge that would push me as a photographer.  Sure, I studied photography in school and yes I learned all sorts of artificial lighting techniques but I’m in my 40s and that was 20+ years ago.

What a blast, once again I was using my camera, to make a living (how cool is that) and loving every minute of it.  Food photographers get to eat everything.  Here are a few samples of the work.  How’d I do?

Dessert

Sommelier

Dining Room

I really dig shooting for a layout.  Show me an add comp and I’ll create the perfect image to fill it.  A layout along with a good relationship with the art director(s) just makes it plain easy to do my job.  But in these days of tiny budgets and granny’s garbage stock there are just not as many opportunities to shoot FOR a specific project.  It seems clients, in my realm, these days would rather build an add around an existing image rather than have an original image created.

So with budgets dropping and the opportunities dwindling I, and I’m guessing many other photographers, are left with the more frustrating assignment of creating images for clients who aren’t quite sure what they want or where they’re going to run them.  Not that much fun really, and it’s all about having fun.

My remedy for these mild headaches again points to my personal work.  When I go out and shoot something without an assignment, I create one for myself.  Sometimes I’ll even sketch out a layout.  This gives me the opportunity to shoot for a layout….in a way.  I consider it good practice, I continue to enjoy my profession and most importantly I continue to grow as a photographer.

My latest (job) was for my friend’s ski clothing accessories company.  I chose to shoot for a web banner format.

A personal photo created for a web banner format layout.

I have many friends in the photography business who have spent years establishing themselves as “specialists” in a specific field of photography, a niche if you would.  I’ve had photography consultants tell me to do the same, ADs who have been skeptical of my potential (but hired me anyway) because they didn’t know what my speciality was and I have many times tried to focus my energies on a specific segment.  It all makes great sense, be the best at one thing and you’ll get all the work, right?

a shot for a bike racing team

I think what it really comes down to is “why is a photographer a photographer?”  and the answer is different for every photographer.  Consider why you want to be a photog, the passion, the money, the fame.  I chose photography because from a very early age I found cameras and lenses and printing (remember that?) fascinating.  It turns out that my brain and heart were well suited for the art part as well.  I’ve chosen photography as a lifestyle choice, fewer days at work and more time to play.  With this decision made I chose to be as diversified in the subject matter I shoot (and get paid to shoot) as possible.  That’s not to say that I don’t consider myself mildly niched as a adventure lifestyle shooter but rather to say that I love to create great photos for cool clients and the fact that I get paid to do it amazes me everyday.  It’s a great feeling to do what you love and get paid for it too.  So I went with “the passion” and I just shoot and shoot and shoot.  I’m never New York’s flavor of the day but I pay the bills with my camera and I enjoy it.  I shoot corporate, editorial and add work, portraits, action and food and music and….

a shot for a pool hall

Many of my less diversified colleagues have now found themselves left out to dry with the flat economy. Let’s face it if you’re a niche guy it’s like having all of your eggs in one basket.  If “your” segment shuts its doors, even temporarily, your gonna go hungry.  Diversity has kept me busy in these super hard times.

Let’s also consider the creative benefits to being diversified.  In my book, keeping your camera in your hands is more valuable than any other aspects of the creative process.  When you’re used to shooting XGames crazies doing unimaginable tricks on a snowboard or a skateboard, shifting gears to creating

art out of a plate of food presents a formidable challenge throw a portrait of a corporate executive in the mix and you are, at that point using, all the regions of your creative process to get the JOB done.  Practice makes perfect!

a shot for a corporate client

I promised a “how to” on my last post so here you go.

I believe that it is important to have intention before you go out and shoot.  I often go as far as to break out the sketch book and sketch out my ideas before going on assignment.  I use the resulting sketches to open up the creative process let my brain puke all of my good and sometimes not so good ideas out on to the page.  This way I have something tangible to refer back to when I’m on location.

That said, the “actor shot” I referred to in my last post was not one that I took to the sketch books.  I knew exactly what I wanted it to look like from the second I agreed to the assignment.  I wanted the shot to look like it was shot in the scorching desert environment, sun in the frame, minimal earth and shot from below to give the subject the larger than life feel.  Very intentional.  Here’s how I did it.

This was an “actor shot,” and it needed to look like it was shot on the set of a movie, with real cinematic lighting.    Short of a Hollywood budget and seven trucks full of all the gear a guy could dream about, I’ll show you how to create cinematic lighting using only one artificial light.

The sun is a powerful player in this shot so let’s start there.  Place (your primary light source) the sun behind the subject and use its super atomic powers to create a rim light effect.  Expose for the rim highlight to be almost white.  This will create your ambient exposure.  You want this rim light to be almost blown out for this technique and that’s why we’re using the sun to do it, the sun is your most powerful light source.  When you have the sun as a light source go with it, fighting it will only cause headaches.

Cinematic lighting map

The sun behind your subject will leave your subject mostly backlit and in a silhouette.  Next, use an artificial light source (I like my new Elinchrom Ranger with a bare head) directly opposite the sun.  Balance this light to 1/3 of a stop just under the ambient exposure.  This will result in  bringing your subject just up out of the silhouette while leaving a shadow stripe right down the middle of his/her body.

The shadow stripe will look really weird but it means your just one step away from the goods.  The last step is to use the sun as your third light source as well as your primary.  Huh?  Now take a large reflector (I use a 8′x8′ ScrimJim) and bounce the sun into the subject to erase the shadow stripe and fill under Conan’s arm pits, eye sockets and buck teeth.  I knew from the start that when I put the image into the computer that I would color balance it to an amber tint so I used the gold reflector cloth.  Remember I wanted the whole thing to look hot, 110 degrees…..gold.

Remember to bracket your ambient exposure to play with the mood of the shot.

I hope you have fun with this one.

Cinematic lighting effects help create a winning shot of an actor.

So a friend of a friend came to TZPInc with a crazy if not small project and a reasonable budget to get it done.  The conversation started like this, “Hi, I’m a friend of so and so and I’m trying to be an actor and this guy is making a movie and he wants me to send him some photos…….”  Ouch!  How many photographers have heard this before, raise your hand!  I think I was bitter that day because it hadn’t been snowing which means I hadn’t been skiing, so I answered, “and let me guess you have 75 bucks?”  As it turns out the film company had given the guy a decent amount of dough to get the shot but still,  this type of thing really isn’t my gig.

The friend who sent this guy my way is a very good friend so I really wanted to help.  It was when the guy said, “they sent me a Conan costume and a sword for the shoot,”  that I was sure this was a portrait I’d have to shoot.  I scouted for cool location and scheduled the shoot for later in the week.

Any photo shoot is what you, the photog, chooses to make of it and the Conan concept had me totally inspired to make the most out of the shoot, push the envelope and shoot something I don’t get to do everyday. Yeah it was just and “actor shot” but I was going to spend the afternoon traveling to a far off land and battling barbarians.  Maybe it’s the kid in me but I had a blast creating this image.  I’ll do a follow up post, with a how to, on the cool cinematic lighting.

Do what you love, immerse yourself in passion, happiness awaits you!

Keep shooting, I’m constantly telling myself to keep shooting.  It’s absolutely critical to maintain contact with your camera.  Not working, grab a friend and go out and shoot.  Do something you love.  I love the pan blur.

Emily trail running in an Aspen forest.

Check it!  Cool!