Aren't you a little short for a stormtrooper?

Actually, i'm just about the right height. Not that I'm considering a career change or anything, but being the goon in full armor is pretty cool. Figuratively at least, because plastic armor and a full body suit make for one sweaty photographer. But I've never had more fun on a shoot than with this. More after the jump.

Costume rentals are starting to be the dominating feature of my budget when it comes to doing my independent shoots. But wardrobe has always been a hard to find item, and is usually the one thing I've had to rely completely on my models to provide for themselves.

But rental shops can be hard to find sometimes. One that was very close to where I work went out of business years before I even picked up a camera. Now, my nearest reliable source is a 45 minute drive each way. Worthwhile for big concepts, but combined with the price (stormtrooper armor is $100 for up to a 3 day rental), it's something that needs to be planned out a bit more in advance.

But as you may have seen, I sometimes neglect to plan things entirely out. Like the fact I was lacking both a blaster and the right boots. I ended up wearing some Nike's (ironic since Adidas made licensed Star Wars shoes) and ski boot liners. Neither was a perfect match, but the ski liners ended up being acceptable. Improvisation is an important skill in photography, and I seem to inadvertently test myself rather frequently.


But mismatched shoes aside, there was one major issue in shooting this piece specifically. It's white. All white. And I wanted to shoot it on a white background. Holding the edges on the lit side proved exceedingly difficult, the thigh and calf nearly disappeared into the background.

I did get to try a light modifier I under-utilized at school and never had the chance to use at home. The PCB Parabolic, basically a giant 6' odd silver bounce umbrella with a giant diffusion panel. Huge, soft light close up look absolutely gorgeous, and nothing is bigger than this. It's super even since it's bouncing from the light to the back of the mod before it hits the diffusion, unlike a giant softbox which has a hotspot and quick falloff. This is definitely a great mod to use for full length shots.

My old modifier of choice was the PCB Giant softbox, which you could fit two or three people standing up inside. But with the aforementioned hotspots and falloff, it made full lengths difficult sometimes. Light would falloff at either the head or feet, and since an unlit head doesn't do a portrait photographer any good, legs and feet were usually neglected and shifted in color temperature. The new PCB Parabolic doesn't seem to have that problem as much.

I do still miss the Profotos a little bit, especially for commercial work, but now I'm finding that I'm also missing the C-Stands we kept in the commercial bays. They're ultra-sturdy, stable, and support a lot of weight. Even my heavy duty stands bend when they have a boom arm and a small softbox, and I've had two try to take a dive already. But no more new equipment till the big move to LA.

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Level 26-Video on the 5DmkII

If you're interested in shooting high quality video on your DSLR, check out this post from Anthony Zuiker's Level 26 blog where they discuss using the 5dmkII for filming, and give me a little shout out for my behind the scenes work.
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Photoshop-How to

Giving the video tutorial a try here, check out how I did some of the editing and arrangement on the mock poster I made for Joan of Arc.



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HOW TO: Make a movie poster

Sometimes, inspiration (or a lack of laziness) hits right after you could really use it. It's never a bad thing to have it come, but if it had just been a little sooner, maybe you could have turned in a really cool, full blown movie poster for your final portfolio review.

My lack of laziness came two days ago, when I decided that two weeks without shooting and nearly a month without blogging was getting to be excessive. Sure I had things to do, packing up to move back to Michigan, looking for a job in California, but I go a little stir-crazy when I'm not shooting or editing something

And sometimes 'something' turns into a project a little bigger than you imagined. I had just rented a bunch of costumes (King Henry VIII, a chain mail jacket and hood and a full suit of plastic armor) when I decided a movie poster for the non-existant summer blockbuster release of "Joan of Arc" would be fun to make.

See the lighting diagram, photoshop hints and more after the jump.

Unfortunately, that's about as far as my planning went. I shot two models as potentials for Joan, a friend for King Henry, and myself as a knight in shining armor. The armor may have been plastic and not very shiny, but I can work around that.

The 'How To' portion of this starts with some advice on movie poster lighting. It can be any lighting, obviously, but consistency is going to be key. I shot myself and my friend Laure with two different light setups, making it look really weird initially. Keep the lighting the same when the situation (layout, theme, etc) calls for it.

Everyone was shot on a black background with the same lighting-beauty dish main, high up, no fill, and a striplight kicker on the back for some rim and separation light. It's very simple, dramatic lighting. The pattern on the face is Rembrandt-triangle of light under the eye, heavy shadows without fill. All the pictures were shot on a medium format Leaf digital back.



The next part was editing each individual picture in photoshop. I wanted dark, dramatic and a little grungy. Desaturated layers with different blending modes along with some high pass and just a touch of dodge and burn gave me the effect I wanted. It's almost simple enough to make an action and save myself some time doing it.

With each person shot on a black background (which may or may not have been a mistake) the next part was the arrangement and masking of each person. A bunch of different layouts were tried, changed, and altered as three more people were added into the shot to fill in some negative space. The masking was mostly done by pathing people out with the pen tool when edges permitted, with a little bit of a feather to soften their transitions.

Hair is the trickiest part about something like this. I relied on the background to cover up most of the places where I couldn't accurately mask out long hair, which is where the black background was a good choice. It was still difficult in masking out Laure on the bottom right, as her head is right over Lena's armor. That section took a little more tweaking to get it to flow correctly.

Once everyone was in position, text was chosen and blocked out. I'm lucky enough to have a teacher who specializes in typography and designing layouts, so with her assistance we spaced out letters, centered everything to the middle of the frame, and chose an appropriate design for the title. The title font is "northwood high' and the credit text is 'sf movie poster condensed', both of which are available at Dafont.

The shooting itself took only a few hours, with a re-shoot to match all the lighting patterns and fix some costume errors, and editing the pictures themselves was only ten minutes apiece. The layout tweaking and typography took the rest of the two days this poster took from start to finish.


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Level 26

I'm writing this from the set of Level 26 on the CBS lot in Hollywood, CA. I was brought on to do some behind the scenes stills and video for them, and it's been a blast so far. We're working on the actual sets they use for CSI NY, so it's pretty cool.

Anthony Zuiker is directing the cyber-bridges that get linked to from the accompanying books, and this one is due out in october. I got a chance to read book one after wrapping the first two days, and it's a really intense crime novel, definitely worth checking out. See some behind the scenes pics after the break.

Michael Ironsides as Tom Riggins


Daniel Buran as Steve Dark


Steve Dark's murdered foster family


The crime scene was one of the first we shot, and the makeup guys did an awesome job making everyone look appropriately dead.



We're shooting straight through till thursday, so there's going to be tons more pics to follow.
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LA-in brief

Pics are being sorted and edited from today, over 400 frames of behind the scenes from something I'm not sure I can talk too much about. Suffice to say it's probably the coolest thing I've ever worked on, and despite 7am calls and wraps at 10pm, I'm having a blast. Pics and info coming as soon as I make sure it's all cool. ____________ Follow Me on Twitter|Be a fan on Facebook|Tumblr|Ustream

Wheels Up

'Wheels up' seems to be the appropriate title for this latest set and for the mentality of Hallmark as we hit the three-weeks-till-portfolios-due mark. People are finalizing plans for after school, and shooting, editing or printing every day. When I was told by former students that they 'lived' at the school, I have to admit I didn't think they really meant it like this.

These two pictures took two full days to shoot, composite, and edit down. After the results I got from shooting the small-sized cars, I realized that there are lots of really cool models out there. This 4th fighter group P-51 Mustang model, courtesy of Len at p51mustangmodels.com is so realistic its crazy.

I had originally wanted to build a set to show off this plane in the hangar for a still life, but finding a suitable replacement for hangar doors and concrete floors led me to source images from an actual hangar and create a composite instead.

It took a lot of trial and error with scaling, faking depth of field using blur, and creating studio lighting to mimic the conditions the plane was actually shot under, but eventually it all came together. A vintage look completed this picture, something I don't normally do but it seemed to fit well with the feel of the whole image.

While about 8 hours of composite work and tweaking went into the hangar shot, the flying shot up top was much simpler. Matching the feel of a huge light source is as easy as putting a softbox over everything. I threw in a bare bulb camera right to give it a little edge, like sunlight coming through the clouds for just a second. I'm not sure I really got the propeller quite right yet, but I love the yellow circle from the cuffs.

While I'm not quite sure I want to shoot miniatures all the time, it's a nice substitute until I can get my foot in the door to shoot the real thing.


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Built to Scale

I'm a camera collector, and a bit of an everything else enthusiast. I like planes, fast cars, gadgets, you name it, and I probably have at least one piece of it. The one thing I never really got in to though was models. I suppose a model meant to me that I was never going to have the full size one, and since I strongly disagree with that, I've never made an effort.

But after our open house at school where a few of my friends brought in a hot rod and the necessary 40 foot scrims and thousands of watt seconds, I had a hankering to shoot a car. And while getting a cool car isn't difficult at times, getting those expensive scrims and the space to hang them is pretty hard. Check out how I managed to pull it off, after the jump.

Like I said, scrims costing $2,000 apiece and a car-sized studio aren't easy to come by. But a very elegant solution was presented when I stopped at home and remembered the wall full of scale model cars sitting there. I fit three of them in my carry on luggage, and shot them all in one day. I even learned about lighting large objects at the same time.

Now I know someone out there is going to be wondering how you learn about lighting a car from shooting a model smaller than a foot long. But the lighting principles are the same, no matter the size of the model. It was easy to see the mechanics at work, so now equipment aside, lighting a car is something I'd be comfortable doing for a client.

The first thing to remember about cars is that they're shiny. Really, really shiny. And rounded. They reflect *everything* they see, just like metal. And then they're big. Not in this case, but a real one is.

So when you have a big, shiny, round reflective item, you need a huge light source. Here's where you're learning on small scale for real life. A 10" model that represents a 14' car needs a similarly scaled light source. That 40' scrim suddenly shrinks to a 3x4 softbox, and it's a whole lot easier to move around.

The last thing to consider is the height of the softbox in relation to the model. Remember, that 10" is now 14', and we all know that the closer the light source, the better the light will look. Here's the real world scaling problem. The softbox needs to be about 4" away from the car. Closer if you can manage it, but my diffusion material was sagging in the middle.

Your camera, on the other hand, did not shrink with the car. So now you're jamming a full sized lens into a mini car studio. That front element is now 10' tall, comparatively, and unless it's really long, it's going to be like using a wide angle lens, which can distort the lines of the car.



I had a lot of extra material around all the cars I shot. You can see the softbox in the top, and even the tape holding down the gray seamless I was using. That led to some interesting editing choices, between cutting, stretching and blurring the floor to cover the bottom of the frame, and blacking out the top using the gradient tool.

I did two edits of three shots with each car, a fully revealed side, a concealed side, and a concealed 3/4 view. I like the concealed view because it just shows the lines of these gorgeous tiny cars, a la Ken Brown who was definitely the inspiration for these pics. He's got this down to a science, and I'm just playing with toys.

Still, working with something on a small scale and working up to the big league sounds like the way to go for me. And if you don't tell anyone it's a toy, I won't.

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Back in Gear

Being a photographer 24/7 sounds like a great job, and trust me, it is. But it's still easy to burn out when you're constantly shooting assignments without time to explore and create images for yourself. Having to follow a set of instructions from a client or instructor can really suck all the fun out of shooting, and even if you're happy with the end result, getting there just wasn't a great experience.

So thats why despite having a vague idea to re-shoot some material for school, I blew all that off, created pictures the way I wanted, edited the way I wanted, and came out feeling like a load of bricks was lifted off me creatively. I saw light on my subject clearer than I have in days, and I knew how each frame would turn out before I even saw it on the monitor.

More about funks, getting out of them, and this one cool kid after the jump.

Felixx Ray (myspace) is a Massachusetts based R&B artist that had his manager contacted me to shoot a few weeks ago. We came up with a date and promptly did no pre-production. I was supposed to give him a general idea of wardrobe, but when I talked with Felixx to confirm the booking, I guess it slipped my mind. Bright orange and blue shirts weren't at the top of my list, but then I realized.

I was shooting for myself.

And for a client, but a client who wanted me to do what I think I do best. Just make a cool picture. Not worrying about lighting ratios (not that I worried much to begin with) or separation lights (which are evidently there for a reason), I had an idea of how I wanted the light to be, and I ran with it. I wasn't going crazy and making something selfish, Felixx and I had some good dialogue on which pictures we liked, which poses worked, and he seemed to really like the raw pictures on the screen.

While editing them, I even fell into a few old comfortable habits that I had left behind when I came to school. But they were different, a little better, and still me. If you looked at my old work compared to my new, you can tell it's me, but a more refined me. And that was one of my major goals in taking this year off for school.

When I book musical talent, I usually don't listen to their music before we work together. I'm not sure if that's a good idea or not, but I like to hear about their career right from them. Felixx and I didn't even get around to talking about his music, which I finally turned on while editing. And he's good. Real good. Get this kid a record deal good. He only has two songs on his myspace right now, and they're both Grade A awesome.

Check out the music portfolio on my site for pics from the shoot, and sign up for the mailing list to see even more.

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Deerfield Academy

I spent today shooting with one of my friends, Laure at the Deerfield Academy in Massachusetts. They have an awesome sports program and an amazing track and field, so pulling off some portfolio-worthy shots was all on me, no backgrounds to blame this time.

I'm usually known for my lighting or photoshop, and these pictures lack both of those. All natural light, not even a speedlight to pop some fill in, and post was done almost exclusively in lightroom, except for removing some errant tree tops and the like. Check out some more after the break.


Sports photography relies on long, fast lenses, the most popular being the 70-200 f/2.8 IS, the quintessential lens for nearly any type of photography. While I did run into an enthusiastic parent with a 400 f/2.8 IS and a 1DMK4, the 70-200 covered most of my focal lengths. The 100-400 f/4.5-5.6 IS is also a great lens that I used early in the day, before switching to the 70-200 as the light fell off.

I'm of the opinion that sports photography, whether high school or pro, relies a lot on luck and good timing. The skill is in knowing where to be and when to be there, but if nothing is happening in front of you, all the equipment in the world can't save you. I spent a lot of time walking back and forth to events for practice runs, where I got my own practice in. This shot of the long jump is where all the luck came in. Getting to the end of the sand pit was no challenge, and getting that awesome spray of sand was pure luck, made slightly more difficult by the slow framerate of the 5DMKII.

The 5DMKII is a great portrait camera, but not necessarily good for sports. the 1D series (no S) is renowned for its speed, and users complain more of having too many good shots to choose from rather than a lack thereof. the 5DMKII shoots at less than half the speed of the 1D, so timing, even for multiple frames, is important, as many great shots can get lost in between one frame to the next.


Typically, the longer the lens in sports, the better. Unless you can get on the field. And unless you can get right next to the crash pad, so close in fact that you have to dodge the occasional pole vaulter landing. While I didn't go as wide as my camera bag allows me to, the 24-70 f/2.8 is an amazing lens, and is probably my most used. At 24mm there's a little distortion, but not bad at all, and the quality is tack sharp.

Shooting up into the sky has become a bit of my trademark, though I usually do it with a few hundred wattseconds of light hitting my subject. Putting the sun to my side with a still bright early afternoon sky in front gives me that look of balancing the ambient with flash, without having to worry about slow sync speeds. A speedlight would have been great to put a little fill into the bottom of the athlete, but I was traveling light for the day.

While I'm primarily an advertising photographer, being able to do the candids out on the field is a much better way to spend a day than in a studio. I'm starting to balance out my portfolio as school comes to an end, and there may be a few surprises left yet.





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