This small tutorial has little to nothing to do about camera gear. I’m on a bit of a rant these days about photo forums. The inane banter that goes on there does little to help photographers who wish to improve their craft. In most cases I find the loudmouths are have to be right trolls and there simply to be….right. At least in their own minds.
For seven years I taught men and women how to navigate their motorcycles around California racetracks. I’d hear similar things like “Oh if I buy these pipes/Powercommander/520 chain/blah blah blah it will make me faster.” Invariably those same individuals would leverage their credit cards to buy the latest titanium bits to lighten their bikes. Did their lap times fall….uh not much if at all and why? Because they’d rather BUY and brag about their gear than learn and practice. How about getting in better cardio shape and losing 15 pounds instead of spending thousands on titanium parts to save 5 pounds of sprung weight? How about listening and implementing what your instructor/coach is telling you instead of justifying why your BIKE is holding you down? Oh well….
So if you’re looking for the latest MTF chart or DxO results here, do yourself a favor and close this browser window now. Occasionally I may mention the type of camera I was using and WHY, but beyond that this article is all about improving your imagination and ability to improvise at will. And in my work, that’s what separates the men from the boys. (No offense to women, you often already practice those qualities…but like most things there are exceptions!) There’s a big difference between TAKING or CREATING a photo…
David Allen Cooper, Principal Horn – Dallas Symphony Orchestra.
David commissioned me for a two day portrait session and although he resides in Dallas, TX he agreed to travel to San Francisco along with his manager to conduct the session. I was free to completely art direct his imagery. His only request is that they were different than traditional symphonic musician portraits and conveyed a younger more relevant look.
I am easily bored. After falling in love with the light characteristics of a new modifier I want to move on, at least until I want the same look a specific modifier gives me. I like having different looks for my images and as such I often combine modifiers. In the images for Emma I wanted a more surreal or ethereal feel for her portraits so I combined a standard projector to fill in the background seamless with a variety of images. I found some of my cloud images read best for this session.
Photographers often ask, “Mark what’s your favorite modifier? Is it a softbox, umbrella, shoot through or bounce?” My answer is always the same – My favorite modifier is what I think is the best one for a specific job. Sometimes it’s a softbox, sometimes it’s an umbrella, sometimes a cone or in quite a few cases it’s a combination of several.
As I often like to do, let’s go back a few years. One of my teachers, actually the man who taught me about using artificial light was thankfully VERY hard on me. No namby pamby talk it was mostly, “You must not be listening to me because that looks terrible, here’s why!” And he would go over EXACTLY why it was bad and he was always right…..back then. After a bit my photos moved from terrible to a preverbal “Nice” which in Greg’s speak meant crummy but not horrible.
Just this week I was scheduled to shoot a publicity session for one of my regular clients. As I was setting up Dan said “Hey Mark, did you bring your IceLight and barn doors?” I thought to myself Huh? I had used the unit about two months prior on a different shoot, how could he even remember what lighting instrument I used? My clients seldom if EVER mention what I’m using for gear. (well except when I use my little Fuji X`100S affectionately named by my clients as Mark’s Little Instamatic) More on this later…
Let me ‘rewind’ about one year, maybe a bit more or less. Tracy, my partner in business and life read some information about something called an IceLight and was quite excited. She loves working with constant light especially since she was developing her skills in film making. As usual I was a bit hesitant about purchasing something new so I suggested we rent one to try. What I initially found was the lumens were not quite what I was accustomed to since I normally use 640ws strobes, Einsteins to be exact. She loved the unit, but of course my comment “Babe the retail on those things is the same as the retail on our Steins which we use all the time. I don’t think we’d have much regular use for those, let’s wait.”
Later that year I was reading Gregory Heisler’s book “50 Portraits” and was completely captivated by his work using constant light sources. So like the fool I am I announced to Tracy “Hey babe, let’s try using constant light for some of our work. I think it has real application and I think it would be best if we buy two. One is fine if we did this for a hobby, two would give us a lot more flexibility. “ Now for anyone who has a wife, girlfriend or significant other you will completely relate to the body posture, tone and statement which was uttered through clenched teeth as a result of my spoken ‘revelation.’ Enough said and I’ve never pretended to be smart….
I’ve used the IceLights as a key light, fill light and when anything that flashes would just be out of the question. Case in point. I was asked to photograph Jaap van Zweden the world famous conductor for the Dallas Symphony Orchestra and I was allowed to sit IN the orchestra, dead center during a rehearsal. The lights in the Meyerson Auditorium are great for viewing but absolutely horrid for photographing a conductor. Directly overhead and without any fill, Jaap’s eye are completely shaded by his brow line, making his eyes appear dead and lifeless.
Some may ask themselves “Why not use a reflector?” Great question except with a conductor who MOVES passionately while conducting keeping the sweet light where you want it is impossible. Plus one MUST consider that a reflector is going to obstruct the view for some of the orchestra members who must watch the conductor. Because the form factor of the IceLight is so thin, none of those issues were a problem and made it the perfect light instrument for that job. I combined Westcott’s tungsten gel and barn door with just enough of an opening to cover his movement and not obstruct the view of the violin players since the light was placed camera right, right where the concert masters sit.
I sometimes use a Fresnel 1000w spotlight with a gobo for some of my sessions. Such was the case with Laetitia, a Cirque hoop aerialist during an action portrait session. Again a reflector was out of the question since she’s moving. I used one IceLight to fill in her face since being backlit by the Fresnel with haze rendered her face too dark without the IceLight.
There have also been times when I’ve used a projector on the talent to place graphics either in the scene or actually on him as in the case of this violinist. Due to the very low lumens afforded by a projector sending a graphic blowing out the graphics is very easy to do with a strobe or hand held flash. Only highlighting his face was my goal for this shot using a single IceLight.
What do I love about them? Portability, ease of use and its slim profile. What would I change? I’d like to have the intensity setting kept in memory so when I turn the unit back on, it’s in the same lumen state as when I turned it off. I’ve also noticed that although you can use the units plugged in, it appears that the battery is used first and then it recharges itself. So if I need to unplug the unit and use it without power I’m sunk if the battery was run low.
What do I hate? Not having two more! Is it the perfect lighting instrument? Oh hell no, but what is a perfect lighting instrument? Is it perfect for the right application? Absolutely!
I said at the beginning of this article that Dan remembered the IceLight which in and of itself was remarkable. But what was more striking is his memory of how the image I created looked using an IceLight. I really think he just wants one for his own iPhone shots!
Today while I was conducting a commercial session I decided to run a quick test. I wanted to compare my work camera, the Canon 1DX using Sigma’s new Art 50mm Lens against my Fuji X100S with the TCL X100 teleconverter attached. Both images were shot using the same studio strobes and modifiers. Camera settings on both units was ISO 200, 1/160th shutter speed, f6.3. Obviously both focal lengths were 50mm.
For those who may be sneaky, I’ve removed the EXIF data. It’s quite remarkable what the little Fuji paired with the TCL X100 can do. After all it’s only about a $6,049.00 difference at suggested retail! Smile or no smile, which is which?
In January 2014 I photographed publicity imagery for Village Theatre‘s 2014-15 Season Brochure marketing materials. Some was done against seamless, others done on location. We were able to collaborate with the Company’s principles on concepts and messaging prior to beginning the shoot which made a huge difference in consistent messaging and impact. This was a wonderful experience of complete collaboration.
Dallas Symphony Orchestra’s 2014-15 Season Brochure
In order to put an entire marketing campaign together it first takes vision. The Marketing VP at Dallas Symphony Orchestra had a very specific vision for his 2014-15 Season Brochure. His concept was to carry a “Date Night” theme throughout his brochure, creating an experience which would attract new as well as existing patrons. He also wanted a theatrical and dream like quality to the individual performances, one that matched each symphonic piece.
Keep in mind that whenever you’re hired to create commercial imagery there is quite a bit at stake. Beyond your own reputation, there’s the talent, scheduling, venue logistics, graphics gurus, administrative help, travel, blah, blah blah. And although an Art Director may have a specific shot they have in their own minds, it’s up to the photographer to execute that vision, one that often only exists in the AD’s mind.
Publicity photography for Oakland School for the Arts – Dance Emphasis. These images feature seniors from their 2014 Class. This is my third year working with this remarkable company. They are choreographed and coached by Reginald-Ray Savage and Alison Hurley.
Mark Kitaoka Photographs has been contracted as the Dallas Symphony Orchestra’s publicity and production photographer