Let's get this party started! I'd love to have you in my Facebook group, focused mostly on on-location portrait lighting. At this point, it's brand new, so it's small. But it'll gain momentum so join us in the party as we grow... in many ways.
Looking to slim down my arsenal. Selling my Canon 200mm f2. I don't use this lens often, and certainly not as much as I should have. But when I did use it... wowzers! I'm selling it for the steal price of $4000 (plus shipping/insurance). These sell new for $6000, so this is a heckuva deal! Here are some samples of the gorgeous images it produces. Oh and it's super tack sharp.
Contact me if you're interested. firstname.lastname@example.org, or 262-338-2779
Maybe because of my melancholy nature, I enjoy the beauty in the browns that we have right now (and have after the snow melts in spring). So I love the chance to create art in what others think is drab.
If you know the next word in the question, you're too old. But that type of question is the basis for today's thought. More and more I'm seeing photographers assembling photos in Photoshop. I understand that we are all entitled to our own interpretations of art and how we choose to work. But it concerns me that so many photographers are dropping in digital backgrounds purchased from other photographers behind the subjects, dropping in skies and sunsets, and putting all kinds of elements that were photographed elsewhere into their photos. Again, it's a free world and anyone can do that. But is that REALLY what you want your portraits experience to be about? Do you really want to be photographed on a green screen and then the photographer create an otherworldly portrait in a computer? Do you really want a virtual portrait? Wouldn't you rather it be real?
While I don't deny many of those images are fantastic, they also leave me cold. Once you find out an image was assembled in a computer, how impressed are you?
When you come to me for your portrait, you can be assured that your experience will be a real one! While I use Photoshop to tweak an image to perfection, the essential truth of the image will be there. I don't do faked photos.
All the following photographs were done this year and other than complexion retouching and minor corrections and enhancement, they were as they appear. It's not easy to do this. It requires a mastery of lighting to be able to bring into proper exposure both the sky, the subject, and the surroundings.
You'd think that in my 39 years of in photography I would have done it all... lighting-wise. Well today I did something I never did before! I was photographing some teacher headshots for a local school, and I wanted the portraits to be fairly consistent with what I had done in the past for the school. But the outfit this teacher had a strong-colored scarf that wouldn't look quite right with the painted blue background I had been using.
I then picked a gel to change the color of the blue background to match the scarf. By keeping main light off the background we can color it to just about anything. I learned that technique from by Dean Collins in the 1980s. The result was OK, but I knew that bright color in the background would overpower the other images that will be next to this one.
I needed a way to lighten and bring out some of the color of the blue background. Basically I needed to "wash out" some of the color. I couldn't use my side-positioned main light because it would be uneven from one side to the other.
So... I grabbed another light (it pays to have lots of lights), and placed it on the floor with its bare bulb aimed at the blue background. I metered it for the same incident reading as the colored gel. I nailed the look I was after!