Portraits Victorian Style

This past holiday weekend, MJ and I spent a few hours window-shopping in Doylestown and, of course, popping into used bookstores.  I love used bookstores.   There's that musty scent that I imagine inside ancient Egyptian crypts.  Press the right stone to find a room full of golden statutes and sarcophagi.  As you scan shelf upon shelf of poetry and art and photography ... of travel and entertainment ... time seems to stop.   You are transported to the Louvre or to Robinson Crusoe's island or the Heart of Africa.

(A few months earlier)

Mike over at TOP referenced a book from the National Portrait Gallery.  I was captivated by the cover shot.  My wife and son were kind enough to find a copy for me for Father's day.  It is a sampling of notable portraits from the gallery compiled in choronological order from the early days of photography to the mid-20th century.   The cover (above) is an image of Virginia Woolf by photographer ....  I fell in love (again) with the character and drama evoked by the Victorian portraitists.  Is it procedural ... yes.  Is it formulaic ... yes.  Is it programmed ... yes.  Is it enchanting and captivating and pleasant and powerful ... quadruple yes!  Don't argue with me, argue with the image above.  (PS - for the geeks like me - This shot violates the rules for classic full-profile.  Would it have been quite as powerful?  Rules are made to be broken.)

(fast forward back to today)

After stumbling into one of the hidden antechambers of the bookstore, I unearthed two complete treasures.  One cost me $3.95 and the other cost me $4.95.  I think I would've willingly paid 5 times that much.  One man's garbage is another man's ... errr ... future garbage.  But all kidding aside, these are keepers.

The First Treasure - Phaidon Press, "55:  Julia Margaret Cameron"
     This "55" series book by Phaidon is about 4 inches square and fits in your pocket.   If you can find any of these, buy them!  And Cameron's work is such a treasure.  Here are a couple of examples.

I haven't found the title for this one yet.  Here is the link for where it was posted. (http://weblog.bezembinder.nl/27.htm)

I really enjoy the softness that this chemistry and paper gives but combined with the intensity of the pose.  I can almost hear her  ... "wherefore art thou Romeo?"

"A Study of Cenci-May" (Cameron)

I especially love the use of layered textures here with the head wrap and her hair.  The framing is odd but Cameron was pushing the boundaries of her day.  The tones are exquisite.  The pose is that dramatic pensive and somewhat sad pose typical of the day but Cenci-May had just the hint of a smirk.






I'll reveal my second great bookstore treasure in the next post.

Peace,
Glen

Improving Your Self-Portraits

Ok, maybe it's cheating.  But one sure fire way to make yourself look better ... Press a pretty girl against your face.  See how it did wonders for me!

MJ was on her way out to meet some friends and, since she was dressed up anyway, I grabbed her for some quick portrait practice.  We have some pretty good sized windows in our bedroom that happen to face north-ish.  So I quickly setup the tripod, grabbed a gold reflector panel and my wife and squeezed.  The shutter.  I squeezed the shutter button.  Ok, maybe I squeezed MJ, too.  Hey, whatever it takes to get a smile!

I heard it said somewhere recently (I think it was from Chuck Arlund) that it is easier to warm up a portrait than it is to remove a yellow cast.  So he doesn't shoot with gold reflectors but with silver ones.  Since silver ones are actually neutral color, what is really happening is that the color cast of the natural light is being carried as-is.  No additional warming.

I agree with him about yellow cast removal.  For some reason skin tones get all finicky when you remove yellow.  I haven't figured out exactly why that is yet.   Of course, skin tones contain a lot of yellow, but even keeping that in mind, it seems to be difficult to do.  This shot was an example.  I used a gold reflector panel and it added a goldish hue.  Not entirely unattractive but not entirely natural looking either.  Every attempt to neutralize it made it look worse.

BTW - Speaking of Chuck Arlund and Niel van Niekirk.  If you haven't read their blogs, it is very good reading.  Both of them share quite liberally their lessons and techniques especially related to flash / strobe work.  Check them out here:

Neil Van Niekirk

Chuck Arlund

Peace,
Glen

Practice, Practice, Practice

Question - What do you do when you have some rare free time, you need an image of yourself and need portrait practice?

Answer - Take on a fool for a client.

This little exercise started innocently enough.  I woke up early one Saturday and decided to try to update my self-portrait. Then I thought, what the heck, let me practice my lighting too. Out comes the umbrella, strobe and radios. The result ...  I now have a deep and abiding sympathy for my subjects!!  I'll post a few of the 69 outtakes here (did I really take that many shots!?  Wow)

If you haven't tried this experiment, you might want to try it. You really can't appreciate how difficult it is to model until you try it. Just the subtlest attitude changes make dramatic difference in the vibe of the image. The tiniest corner of a smile ... the teensiest tilt of the head ... imperceptible things are completely perceptible. No, they are more than perceptible. They change the mood of the image completely. I realized that the only way to get what I wanted wasn't to think about the mechanics - the where and the what - but to relax and take on the attitude I wanted.  Now for secret confessions - I like to watch "America's Next Top Model" - and this exercise gave me a deeper appreciation for the special talent that it takes to be a model ... or an actor, for that matter.

This is just more proof (to me) that great portraits come from great photographer-client relationship and the inner emotion of the client gets amplified on film.

Ok ... see for yourselves.

PS - I plan to use this with my clients as a tutorial on what NOT to do.

One of the few reasonably natural poses of the morning.  There is a 580exii behind a shoot-through umbrella just out of frame on the right.  I tried a color treatment on this.  Sort of a cross-process vibe.  Why do these treatments always look good in LR but never when I post them!?

What up!?  The Eminem version.  Gleninem, I guess.  Experimenting with some lyrical lines to break up the angular background.  Interesting how it lengthens the neck.  My ears are hidden in shadow which gives the effect of a hat.

Just for reference, this is how the morning started.  Pretty humorous.  This is just to illustrate the difference the better lighting and clothing can accomplish.  No detail is too small, really.

Head tilted back.  "Aloof me".

These next three are just examples of how the slightest head tilt dramatically changes the attitude of the image.    That's why good models are hard to find.  For editorial, that is.  For the rest of us, I realized how true it is - just relax and be yourself.

Head tilted to the side.  "Relaxed me"

Head down and forward.  "Stern me".

Amazing what a difference this little tilt of the head made.








The human face is so amazingly expressive.  That's why I love love love to photograph them.  Except of course when it's mine!

Peace,
Glen

PS - as I study these, I realize that using an umbrella was a poor choice here.  A softbox would have been smarter to keep the spill off the background and keep better separation.   What a great learning exercise this turned out to be!

PPS - I was shooting my backup camera (Nikon D80) in JPEG with a Sigma zoom.  I'd like to repeat this with my 5Dmkii and in RAW.

Canon 35mm f/1.4 Impressions

So MJ, David and I went to Israel on vacation.  This image is from the ampitheater at Caesarea.  What a great trip, btw.  Our guide was a blast ... and so so knowledgeable.  We decided he was a mix between Marty Feldman and Yoda.  More on that next post.

Before the trip, I really struggled with what kit to bring.  In the end, I decided to go light and brought my trusty 85mm and a rented 35mm f/1.4.  I brought the 35 because I was in this crisis of decision for a mid-range prime ... 35mm or 50mm?   I wanted a lens that gives us some context.  A lens that tells more story.  But I also want it to flatter my brides and grooms.  I was afraid the 35mm would make for some big noses.

So what's the verdict?

I loved it.  Totally.  The image at the top shows that this lens has the "magic".  Color, bokeh, sharpness, perspective ... all beautiful.  The size is that perfect feel of not too big and not too small.  I will say that the the vignetting can be a bit pronounced.  But I like that.  I usually add vignetting in post anyway.  If I had anything at all bad to say it might be that the bokeh can get just a bit squirrely.  But in a way that is still visually appealing.

I came back from the trip with credit card in hand and placed my order.  Weeks later ... no lens and no availability date.

Now what?  So I took chance and purchased the 50mm f/1.2 instead.  Did I do the right thing?  Jury is still out.  I'll post a few more from each lens and we can decide.

What do you think of this 35mm?

Peace,
Glen

Bounce Flash Woes in Concert

I was recently hired to shoot some art for Wendy Schettig a local musician now cutting her second CD.  She had asked if I might come and shoot a concert she was giving at a nearby coffee shop.  The coffee shop was quite dark but the challenge with concert photography is that you can't easily setup the kind of lighting you might want.

Here I chose to use some on-camera bounce flash with a Honl hood to narrow the direction a bit more.  The venue was very small so I used a 70-200mm and shot from the sides.  The obvious problem ... STUFF!   Music stands, mic stands, guitar heads and tuners ... grrrrr.   

All in all, the bounce flash seemed to work.  There is a bit of shine on Wendy's face but that can be easily fixed.  Fortunately, I kept the overall level low enough that the overheads acted as weak rim lights and added some highlights to her hair.

Lesson - remember to use the CTO gels!  As you can see here, I didn't blend the light color well enough so white balance was a nightmare.  I had to try to adjust for skin tone but it left the very yellow light in her hair.

Props to those concert photogs out there.  It ain't easy, that's for sure.  But it is definitely fun.

Peace,

Glen

Brianna Graham and the Big Gun

As promised, here is another sample shot from the new Canon 70-200mm f/2.8L USM IS II.   These were backyard shots.  This one of my wife with ambient light at 200mm and f/2.8.  There is a bit (too much) of photoshop work here but you can see that the lens has nice sharpness and blur and is certainly a good portrait lens.  The more I use it, the more I like.  I still tend to just leave it at 200mm and use it like a prime because .... well ... that's how I roll.



I recently got turned on to Brianna Graham through Professional Photography Magazine where they posted this article written about her by Stephanie Boozer  - "Color Theory".  It is filled with luscious images of vibrant color and texture and some tips from Brianna.  Well worth the 10 minutes it takes to read it.  She is clearly an advocate for good strobe lighting and lots of post-processing but her color and texture sensibilities are outstanding and inspiring.

Until later - peace out bean sprouts,
Glen

The Canon 70-200mm f/2.8 USM IS II ... Hold Still You!!!

Ok, I violated my own rule and now I'm wondering if I am going to have to kick my own butt.  After weeks of research into the best telephoto lens to use for weddings, it came down to the prime 135mm f/2.0 or the brand new 70-200mm f/2.8 USM IS II zoom which just got released this month.  I've always been a "prime-guy" for a lot of reasons so this would be a violation of my "prime-cipals".

On my way down to New York Camera on Saturday, I made a deal with myself.  If they have the 70-200mm in stock, knowing how popular and hard it is to get, I'm going to get it.  When the salesman returned with a box and a smile - I looked down and somehow my credit card had mysteriously appeared in my hand.  The rest is a blur.

Fast forward - now I have this lens and it is BEAUTIFUL!!  No doubt.  But it is LOOONNNGGG!  No, really.  I mean it physically extends out a long long way from the body.  Wow.  It is exquisitely crafted in metal and has an almost mystical feel.  I love holding it.  Well, except for one thing.  It is stinkin' HEAVY!!  Maybe I'm spoiled by my 85mm (which I thought was heavy at the time).  Dunno.  Maybe this is what separates the pros from the amateurs - shoulder strength.

In an effort to tame this beast, I've begun research into the best way to hold it.  I am typically a natural light photog so I generally run slightly longer exposures.   And weddings don't typically afford the opportunity to let you rest the lens on anything.  The IS (image stabilization) is killer on this lens but not quite enough for me unless I can find a way to hold this bazooka still.  If not ... well ... anyone looking to buy an ever so slightly used 70-200mm USM IS II??

So ... here are some tips I've uncovered for holding a telephoto lens.

Boxer stance
I read a comment from "neonzu" that I found interesting.

I find shooting left-eye-to-the-viewfinder allows me to comfortably assume a stable “boxer” stance i.e. left foot forward,left elbow in to my left side where there’s less movement from breathing, and hand on the zoom ring when appropriate (especially when panning on a subject that’s moving closer or farther).

Joe McNally - "Da Grip"
Joe illustrates his version of the "boxer stance" with a twist or two.  My problem is that I'm a right-eye dominant shooter.  Hmmm.  Maybe it's time to change?



Advice from a Rifle Sniper
I also found some advice from a rifle expert (Costas) where he points to some sniper primers:

http://www.ultimatesniper.com/
http://www.snipersparadise.com/

So really, none of this is new.  But now that I actually have to wield this hairy beast, these tips suddenly take on a whole new importance!  Thanks to Joe McNally and everyone.   You may have saved my butt from my own boot ... hmmm ... or else I'll realize I was right all along.  Stick to primes.  More later.



PS - if you're curious to see some example pics from the big gun, here are some quick shots in the back yard.  No post processing on these samples so you can see what it does.  All of these are at f/2.8 at varying focal lengths. The image at the top is also one. Perhaps I'll do an informal review, or at least some impressions of this lens. We'll see.





Peace,
Glen

94 A Short Side-Track

For the former few weeks, I've been recounting my journey of website development exercising my marginally coherent babbling skills which is appropriate as it reasonably reflects my normal stream-of-consciousness. And, before things get too comfortably linear and predictable, let me take you on another completely off-track and unnecessary rabbit trail.  The trail is short but the place you find will absorb you for hours.   It is a collection of thoughts and thinkers that I find disconcertingly addicting - www.TED.com.  Or, even more specifically:   TED Gallery.  Even if you don't agree with what they say, it challenges your preconceptions at the very least.

BUT WAIT ... before you go ... take a quick listen to this.  Hopefully it will encourage you as much as it does me.  Turn it up!

Jeremy Riddle - Sweetly Broken

Peace,
Glen

93 Blogger Tip - Adding a Flash Slideshow Header

I'm really excited about the new "Blogger in Draft" features that Google have released.  If you are a Google blogger, you really should try them.  Simply go here:  http://draft.blogger.com.   There are two really cool features that I've begun to explore - Advanced Templates and CSS.

Hopefully you may have noticed that I now have this rad slideshow header.  Previously, the editing tools didn't allow you to insert HTML or javascript references into the header banner.  The best you could do was an image and a simple line of text.  That's why most blogger sites have the same vibe.  Along with that annoying blogger strip at the very very top.  That's my next project - getting rid of that thing somehow.

Once you're in draft.blogger.com, navigate to the template designer, pick your template and then move to Layout (as above).   You'll see that you now have a banner below the header (yay!).  You'll have to leave template designer to update that widget.  At the top of this screen is a menu item:  "Back to Blogger".  Use that and then go to Customize -> Layout.  There you will be able to add script to your banner.  It should look something like this:

Now you can edit each section.  If you are a SmugMug user like me, you would add script like the following (sorry for the small type):

and VOILA!   All I have to do is add images to a particular gallery and they get fed to the banner.

Peace,
Glen

PS - I've started a new site aimed at brides and wedding planners.  Let me know what you think of it.  http://glengoffin.blogspot.com