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Category : Publicity

27 Aug 2019

Glow EZ Lock Parabolic and ARC in combination

If you’ve read my review of the Glow EZ Lock Deep Parabolic you already know I find it to be a remarkable value in modifiers. I’ve also done a preliminary review of the Glow EZ Lock ARC strip box. So for this post I wanted to show how I combined both of those modifiers in two of my recent client sessions. I was asked by one client to create portraits of 21 individuals and then an overall group shot of the entire team of talent. For the portraits I used both the ARC and a 48″ Deep Parabolic. The Parabolic was the key light and the ARC was the rim/hair light.

My configuration for the portraits. AD600s were used for both modifiers. The Glow 48″ has the inner diffusion disk and inner baffle only along with the grid that comes with the modifier. The ARC has the inner diffusion disk inserted along with the outer diffusion panel.

I’m very pleased with the quality of light from both modifiers. The wrap and contrast on faces is just delicious.

Due to the curvature of the ARC it acts as both a subtle hair and rim light. Because of its curve I really love how close I can move the ARC strip light to the talent for subtle light.

The subtle wrap of these when used in combination is really flattering for portrait work. For the group shot below I simply used a single Glow EZ Lock Deep Parabolic 48″ with both diffusion panels inserted, but without the diffusion disk. A 600 was my light source. Wonderful coverage and quality of light.

Next up was my dance session for a long time client…I used two Glow ARC modifiers, one Glow Deep Parabolic 48 and one Saberstrip v2.0. All three Glows used 600 lights. Prior to this configuration I utilized three Saberstrip 2.0s, but since they are not available I wanted to see how the ARCs would fair in my use. I had tested the quality of light prior to the session and was pleased with the results. My client commented, “Man you bring new toys every time you come here!” LOL 

My lighting configuration for the dance session. The light on the right is a gobo projector where I use an AD200.

Glow Deep Parabolic with grid was used to focus on Alison’s face. Two ARCs as lateral rim lights and one Saberstrip v2.0 as the top rim light.

Two ARCs as lateral rim lights and one Saberstrip v2.0 as the god light were my configuration for this shot of Sky.

Gobo light modifier using a single AD200 as the key light and one ARC strip modifier was used as fill for this shot.

Two ARCs as lateral rim lights and one Saberstrip v2.0 as the top god/rim light.

When used in combination I cannot stress enough how elegantly these modifiers produce in terms of quality of light. When I consider the ease of set up and strike along with their inexpensive price points there’s not anything to bitch or argue about! Incredible combination I’ll use when it’s the right tool for the job.

25 Aug 2019

Anatomy of a publicity session

Whenever I am hired by a client to create imagery my first question is always “What is the mood you’d like me to create for this session?” Sometimes they have a mood board established, sometimes not. The reason I tend to shy away from mood boards, meaning photographs; it is human nature to get a specific shot stuck in our heads. Much like those crazy M.C. Escher drawings where there are two distinct images, but once you see one, you have a hell of a time seeing the other. And since the client wants their marketing to stand out from what has been done in the past, photocopy photography (my term) just isn’t something I’m hired to do, nor do I want to do that type of shooting.

My beloved Mole Richardson Fresnel that I converted into a strobe is one of my most treasured light modifiers.

I almost always assemble all of my modifiers prior to placing them. Space as you can see was tight on this space.

We let the MUA borrow one of our LED lights and modifiers so she could apply makeup in the temperature of the light we were using.

General blocking of a shot is time consuming.

So the stage play “Nine” is based on the 2009 movie of the same name. The client wanted a Vanity Fair look and feel to the images which would all be in black and white….my favorite color btw! Since this is a new client for publicity I did not ask questions like, “How do you want the imagery to smell, taste and sound?” Crazy imagery questions right? But imagery, much like music is just the catalyst to begin a sensory process that takes the viewer into feelings, dreams and memories of their own. It is the reason why I judge imagery by how I feel when I gaze upon the vision. A pretty picture without feeling is just a pretty picture for me.

Poster for Nine the 2009 Movie

Although I would be creating imagery of each individual character, the money shots would be of the group together, nine people in total. For anyone who has shot groups, you know very well the challenges it produces. My situation was no different. Sculpting light for a group of people takes finesse and planning.

So here are the items I chose for this session:

Light modifiers

Strobes

  • All strobes used are Flashpoint 200s and 600s – a combination of pro and non pro I do not use TTL on any of them.

Camera

Atmospheric

The Glow Grand Para 70 is a REMARKABLE modifier. It has taken me six full months to begin to understand how to effectively use this beast. Unlike other focusing rod modifiers its most compelling use is not for the faint of heart, just like the Bron 133 Para line. BUT once I began to understand the nuances of its characteristics it has become my go to modifiers for many, many sessions. In its fully flooded focusing rod position it easily covered the entire group of 9 people. And unlike normal diffused soft or octa boxes, the color punch and contrast is delicious. My client base has been convinced of focusing rod modifier results.

With a group this large and arranged in the way the client wanted, a very large fill/rim light was needed. This is where I used my Elinchrom 69” with my focusing rod fully flooded. For directional fill I used the Glow EZ with the inner disk/diffusion panel and the grid to direct the fill to where it was needed.

The ability to focus or flood the Glow Grand Para and the Elinchrom 69” is wonderful. Focusing rods replace my need to haul and lug many different sizes and types of modifiers to obtain the characteristics and feeling I am trying to achieve in light. And as I’ve stated earlier, the light they produced when used properly is just exquisite.

As just an example:

This shot of Steve was created with the Glow Grand with the rod in its fully focused position. His ‘scream’ needed to have a spotlight affect the client desired. So instead of having to change the modifier to a ‘spot’ type or apply a grid I just adjust the position of the strobe in the modifier.

In using the Eli 69” as a fill I was able to either fully flood the modifier or use more of a spotlight fill in the situation where I wanted more of a pinpoint for fill. With a group this large that is a godsend. I also used my Mole Richardson as a subtle hair light in those instances where I wanted a glow on the person or persons hair.

The Saberstrip v2.0 which uses an AD200 rather than a speed light is just as remarkable as either a key light, rim light or both. I’m still not sure where Scott is in offering these to the general public, but if and when he does BUY some! LOL I cannot speak highly enough about these unique and incredible modifiers paired with an AD200.

I often find that using gobos to project light patterns on a wall, ceiling, floor or drapes adds more texture and mood to a shot. In this case I asked the client to pick the window gobo she wanted for this mood.

I used a light amount of cold haze to soften the light and the complexion of the talent. Subtle haze is something often used in film and I love how it affects the mood of a shot as well. It adds a very cinematic feel to the shot. I use a cold hazer rather than one that heats the fluid. I find the particulate much more fine than heated haze fluid.

14 Aug 2019

CononMark 120cm – Glow EZ Lock Deep and Mole Richardson 412 on location

I was recently hired to create some publicity imagery for the stage performance of “Anything Goes.” Since the location of that play takes place in the 1930s aboard a luxury vessel the client wanted the mood to reflect that time and space. So we chose a local theatre’s upper balcony to shoot some of the scenes along with the doors leading into the lobby. The windows are round like portholes so they’d give the correct mood and story to the shots.

The interior of the theatre as it is normally lit. You can see the strobe pointing up I used to illuminate the ceiling for my shot in the upper balcony area.

Upper balcony area where we found the best mood feeling.

Both my client and I wanted an old school Hollywood glamour look to the images and using a large Fresnel would produce just that sort of light. I chose to use my Mole Richardson 10” Fresnel spotlight I have converted into a strobe as the key light for the indoor shots.

Mole Richardson 412 with barndoors is my keylight. Above it is the Bowens gobo projector. Just below is my CononMark 120cm used as my focusing fill light.

The upper balcony of the theatre’s lobby does not have any windows, so I used my Bowens Universal Spot Attachment for Gobos to give the illusion of a grand framed window on the wall. I used my CononMark 120 as the fill light since a focusing rod modifier can be subtlety focused to highlight the area I want filled.

In this light test show you can see no ‘window’ appears.

Two of the final upstairs shots.

On the walls of the theatre balcony are very elegant sconces and I did NOT want to overpower their illumination with my strobes, so using barn doors on the Mole Richardson Fresnel was necessary to prevent spill. I also used a 20 degree gridded Aputure Fresnel to illuminate the chandelier closest to the talent and finally an 8” coned strobe on the lower level to illuminate the ceiling. All strobes are Flashpoint 600s. Once those shots were created and the client was pleased after viewing them in real time on my iPad we moved to the outdoor area with the circular windows in the doors.

I chose to use three bare bulbs to throw light out through the windows toward my lens to create a very Hollywood look and feel to the images. The tiled patterned floor of the entry way is old school in an elegant style from the era we were trying to replicate.

In this instance my key light was my Glow EZ Lock Deep Parabolic Quick Softbox (48″). I only used the inner disk and baffle as diffusion. I find that for my work and client’s taste that configuration works best 80% of the time. In my personal view that modifier is a wickedly good value and produces excellent quality of light. And man is it ever easy to setup and strike! A little tip, I carry a short piece of ½ PVC in the bag about two feet long. I simply place it over the shaft of the octa and push down until the thing locks in place. SO convenient, no trying to maneuver myself as I am trying to push the dang center shaft locking collar down. BOOM, done! LOL

Key light was the Glow EZ Lock Deep Parabolic 48″

The client hired my partner to create a promotional film of the show and some of the processes I’ve described above are included. That film can be found here.

It really pleases me when my client is very happy with one of the executed concepts!

 

 

03 Aug 2019

The Wonder of Water

Someone recently requested that I post some behind the scenes shots of my water shoots. These are NOT underwater sessions. To date I am not skilled enough in the nuances of underwater shooting. Lighting and its color are very different, radio transmissions don’t work underwater, the equipment needed is different. But I have done quite a few sessions involving water, just not UNDER water….

I really love the organic nature of water and the story and drama it can add to the right project. So this first example involved quite a bit of engineering to set up the mood of rain. First off the restrictions were as follows:

  • The talent could only be at a specific location at a specific day and time. This prevented me from scheduling the session at a time when the sun would be in the optimum position so I was not fighting its influence.
  • The location where I was able to shoot must be at the client’s venue. So I could NOT rent a studio that allowed me to use water.

I scouted the client’s building area two weeks prior to the scheduled shoot and determined the best place to conduct the shoot would be the enclosed area where they keep their dumpsters! On one side was a chain link gate, the right and back wall were part of the building and the left wall was 20 feet high. The entire area had no ceiling. Shooting inside of their building would be impossible due to the water damage that would occur. Pushing the dumpsters out of the area and washing the concrete was first. The next thing to do was to rig up a sprinkler system to shoot water up and in front of my black drape. I rigged two garden sprinkler heads onto the top of the background crossbar and ran garden hoses to the outdoor spigot. Figuring out how to prevent the sprinkler heads from rotating in the Super Clamps once the water was turned on was another challenge. They naturally wanted to rotate back away from the forward direction I needed the water. If they did that while the strobes were firing the bulbs would explode from the temperature difference.

Then of course there is the issue of power and I needed to wrap my strobes in plastic so no one would be electrocuted including me! In order for water to show up in a photograph the way I wanted it to, it must be lit. In this case backlighting of the water was necessary.

I along with my clients prefer to NOT create elements in post processing, but in camera. First of all doing so adds so much authenticity and also excites the talent which then adds even more real emotion to the shot. My work IS NOWHERE NEAR THE LEVEL OF GoT’s not even close but, David Benioff’s comment about shooting on location versus graphic treatment is so spot on (at 2:19 mark in the video).

You can see the two garden sprinkler heads at the top of my backdrop crossbar. I had to consider the weight of the water as it runs up through the hoses. This is a test of fabric, the water and lighting. Two strobes were required to illuminate the water.

Testing the water pattern and illumination of the water. It was necessary to have a wind protected area to keep the water droplets from becoming uncontrollable due to wind. ALL OF THAT MUST BE CONSIDERED WHEN WORKING WITH WATER.

Another test of lighting and fabric flow.

A final light test with water raining down along with the key light and ground reflections.

One of the final shots for these costumes.

This next example was to shoot dancers with water trails. These are high school dancers so the restrictions were:

  • Photograph them immediately after school, two hours maximum time
  • The session MUST be held on school grounds

So I selected a wall that runs around the perimeter of their school’s pool area. Because the sun was high in the sky it was very difficult to find and area that I could shade just a bit. So I extended my background stand as high as it would go, about 12 feet. I then asked the student’s dance teacher to ‘douse’ the dancers with a bucket of water from the pool! As SOON as the students were wet they MUST perform their dance routine otherwise the water would dry and not be sufficient to leave water trails.

Again all strobes were covered in plastic.

Some fun antics after the shoot was over was called for!

This final example took one year of planning. YEP one full year. I’ve worked with these two Argentine Tango dancers for a number of years. They are the only tango dancers to have ever appeared in Cirque du Soleil, they are that skilled and beautiful. One of the main barriers was to pick a surface that would afford them traction in water and contain the water, so plastic was eliminated. It was very difficult but I finally figured out what to use, textured rubber. The other aspect that I didn’t anticipate is the timing of the shot. I am very accustomed at photographing dancers at the apex of their movement. But what I discovered is once they reach that apex, water trails are gone!

The momentum necessary to carry the water in an arc stops when a dancer reaches their apex. So I had to retime my shots, which took a bit of effort, but I was able to time my shutter press appropriately. 

The room was VERY small!

Getting the water into the area was accomplished using a garden hose from the building’s restroom located 75 feet away!

The couple practicing their dance moves.

Once we finished the clothed shots we moved onto the nudes. Keep in mind that this was shot during winter in Seattle. Because the water was cold and the room has one heater near the ceiling we pumped up the temp to 95 degrees! I wanted to be nude! Oh and ask me how we got the water OUT of the room! Can you say towels and buckets! Yep, we had to soak up the water, wring them out into a bucket, carry those buckets to the restroom and do it over and over and over….UGH! I kept reminding myself that the shots we got were worth the effort!

Whenever people ask me about what camera I use, what modifiers, what this or that I tend to ignore those questions. Why? Well because those are NOT the elements most important in what I do. Sure the right tool for the right job helps, but CONCEPTS ARE THE MOST IMPORTANT and EXECUTING those concepts well are key. I sometimes think that people believe they can buy their way out of poor imagery creation by purchasing expensive gear. A crappy photo can be created by a 50k camera as easily as it can be with a phone camera. And the inverse to that is also true.

A big part of my job is to figure out how to create unique and emotive moods and stories for my client’s imagery. A pretty picture without emotion or a story is just a pretty picture. One of the most challenging part of the job is to come up with a COMPELLING concept and then determining how to execute that concept with the restrictions I know I must face. In truth my client base could care less what gear I use. What they care about is if the product I produce for them evokes emotion, is unique and contains a story which will help sell their product. Can I CONSISTENTLY produce compelling imagery and does the talent enjoy working and collaborating with me? Can I overcome impediments to a shoot on the fly and quickly? If not I can expect a one in a row job from that client. Not to mention my reputation would suffer in this very close knit community.

Imagination and working around restrictions is the most challenging part of my job. And I would not have it any other way.

11 Feb 2019

Dance lighting setup – UPDATE February 11 2019

UPDATE February 11 2019

I realized I had posted some of my lighting techniques under a different blog heading about the v2.0 Saberstrip modifiers, which I consider to be a revolutionary modifier, but had not updated this post. I do so because I find the v2.0 Saberstrips to be almost invaluable for me in creating dance imagery. In some cases I have used three of them to light dancers in studio. As an overhead light on a boom arm and two on each side of the dancers as rim lights. It creates a very dramatic sculpture of their forms as they move. I have also taken to using my 10″ Fresnel to light dancers. I love the light produced by a large lens Fresnel. A hard contrasty light that is unlike any other modifier.

In this image you can see the three v2.0 Saberstrips, my Fresnel (a Hollywood spotlight I converted to a strobe) and my 69″ Elinchrom I converted to a focusing rod modifier.

One of my v2.0 Saberstrips which uses a AD200 as the light.

The following images were all created with three v2.0 Saberstrips as shown in my photo above.

 

The following were shot with a backlight with a cone, three v2.0 Saberstrips and the Fresnel as a fill light.

And finally two v2.0 Saberstrips and the Fresnel as a key light.

For me experimenting with light is one of the most exciting parts of dance photography. Don’t be afraid to experiment, otherwise all of your images will begin to look the same. And what fun is that?

UPDATE October 12 2017

In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view that post here.

Original Post

I was recently hired to do an annual studio dance session by one of my long time clients. I’m posting this to show how I use xPLOR, eVOLV, Cheetahstand, CononMark, etc lights and modifiers in a session. This was an all-day session lasting approximately 6.5 hours of nonstop shooting. I had charged both the Xplor and eVOLV lights to full the day before. I never even ran close to running out of battery power on any of the strobes. All of the strobes showed half full at the end of the day. My Canon 1DXII showed 25% battery life left at the end of the day to give you some reference. I was using the WFT-E6A wireless transmitting dongle on my camera to wirelessly tether my rig to my iPad so the client could view the images as they happened. Using the transmitter uses more battery life than without.

There seems to be quite a bit of ‘talk’ that certain brands of modifiers/lights/etc. must be used in order to ‘be a pro.’ Nonsense. How one uses gear, how one engages with the talent and how one uses their imagination are the most important part of imagery to my clients. So I post this in hopes that it will help other shooters who are interested in multi light set ups, but not hung up on brand names or scientific theories about what makes a true parabola or other talking points. When people ask me what is the one thing I would have for gear over everything else, I always say your imagination. Years ago I was blessed to be able to spend time with Annie Leibovitz and I asked her “How do I shoot more like you?” Her response? “Don’t shoot like me Mark, shoot like you. It’s the only way to develop your own style.”

I used a four light setup most of the day. My key light was the CononMark 120cm inverted octa using an xPLOR600 with a remote head. I opted to not use my Parabolix D35 because the size I needed for the day required a larger modifier. And I’ve been very happy with the quality of light from the Cononmark. My two rim lights are Cheetahstand Quick Strip lights using xPLOR600s and the top overhead light is an eVOLV200 mounted into an AD-B2 housing. The modifier is a Fresnel adjustable head. For dance I always use a 140″ wide seamless. In this case I’m using black to give a grittier look to the imagery.

I use children’s ABC flash cards to help me know what light is in what group.

The great thing about battery powered strobes is I can roll the key lights or others wherever they’re needed when I want a different look for light

I had to be creative in sandwiching my eVOLV200 against the ceiling!

Some of my final images.

  

23 Sep 2018

Seamless need not be boring!

Occasionally my clients ask that I shoot in front of seamless. Most of the time it is because they have a graphic artist add treatments to the shot. In other cases they don’t have the time or budget to go on location. Shooting in front of seamless is my least favorite type of shooting, but sometimes it’s necessary. In a recent studio publicity session for Noises Off the client asked that I shoot in front of white seamless due to actor scheduling issues preventing an on location shoot. In addition he conveyed to me that no graphic treatments would be added to the final image. The Director of the play sent me a photograph created in NYC by another theatre company for the same play, Noises Off. They had shot their publicity image on location. It conveyed the mood of the shot to me very well.

So my challenge was to recreate that mood in front of seamless. No room, no textures of walls, just plain white paper is all that I had. So after giving it some thought, I decided to combine three different light sources to create the shot within the Artistic Director’s confines, but give the Director the mood and story he desired. I asked that some furniture be used to create levels between the seven (yep 7) different characters in the shot. It would also provide a much less sterile feeling of the seamless. A chair, a small table and I opted to bring a prop lamp I had purchased from a theatre company long ago.

So here’s what I used to create this final image:

Testing my speedlight/Fong concept at home in the lamp before using it on the client’s shoot. I wanted to ensure I could balance the light with ambient light.

Setting up the ‘room’ with the lights and props. The talent found this very entertaining to see me flashing the lamp and gobo strobes while all of this was going on! LOL

It was at this point I opted to change from my Glow Grand Para with focusing rod to the PLM 86″ I was not content with the light I was getting for this session with the Grand. Right tool for the right job is my motto.

Key Light was a PCB legacy 86” Soft silver umbrella. I had intended to use my Glow Grand Para focusing rod modifier, but found that PCB worked much better for this shot. Camera left was its placement. I cannot vouch for the newer version of the PLM soft silver umbrella as I have not purchased or used one. The strobe I used for the key light was the Flashpoint 600.

Here you can see that I started off using the Grand Para. I use my Pentax 645Z for all of my publicity work.

 

Here you can see that I’ve switched from the Grand Para to the PLM 86″. In the lower part of this shot you can see that I always shoot tethered to my iPad so my clients can see the shots in real time. Saves a lot of time.

The lamp was lit using a Flashpoint Zoon R2 Manual Flash with a Gary Fong Lightsphere placed inside the lamp shade. Because I was using strobes, any normal light bulb would have been completely overpowered so I needed to illuminate the lamp with a strobe. It just added the authenticity of light that I wanted for the shot.

The ‘window shadow’ I decided to add was created using a Flashpoint XP600 Pro attached to a Flashpoint XP600 Pro Portable 600ws Extension FlashHead using a now discontinued Bowens Universal Spotlite Attachment with a Rosco window gobo. I wanted some visual interest and a cue to the interior of a grand room to add mood.

Just one of the best aspects of the new 600Pro is the intensity of the modeling light. Because of this I am able to accurately place the gobo light without any issues. As you can see I have the remote 600Pro head attached to the 600Pro on the lightstand. It acts as a great ballast weight too! I do wish the cord on the 600Pro remote head was longer…. It’s shorter than the 600 remote head.

Part of the story of the shot is the ‘butler’ dumping a tray of appetizers on one of the other characters. So in order to time the shot, I asked the ‘butler’ to nod when he was about to dump the tray. The tumbling of the items off of the tray was not done in post, but in camera. It’s just my workflow.

As professional shooters we are so often asked to create a mood and story out of nothing. It’s just the nature of the job. Using your imagination and different light sources/modifiers can do things that one can only imagine.

02 Aug 2018

Evolv200s, Xplor600s, 600Pro, Saberstrip v2s on location

People always get so nervous when they see how I hold my cameras! I hate straps. LOL!!!

Shooting as a pro means there are times when you have to prove yourself once again with an established client. Not doing a great job either in the finished product or through your service simply means you’re not used again. One of my long standing clients, Village Theatre recently changed Artistic Directors. Jerry Dixon, their new AD planned to attend two of the three on location publicity shoots all to be held in different cities in greater Seattle area. The first session for the play Curious Incidents is also the play he is directing. No pressure eh? LOL

The second aspect of this day that is always a bit concerning was that I NEVER SAW ANY OF THE VENUES IN ADVANCE of the day! Sure the Marketing Director sent me some camera phone photos and links to the MOPOP (Museum of Pop Culture) areas where she wanted to shoot, but I had never been there. Nor had I been to Spangler Book Exchange/Reread Books, the quaint bookstore where we were to shoot the Matilda publicity or the alley in Everett where I’d shoot the Howard Barnes publicity. Add to that the additional element of time. For each venue we were limited in time based on either the schedule of some of the talent or due to the venue’s prior commitments.

The only element I ever insist on from clients is to answer; “What is the mood you want from each session?” Why? Well because the expression of the talent(s) and the LIGHT is something I have to plan for BEFORE I hit the job….which leads me to….

The Marketing Director kept asking me “Mark, I need to know your power requirements for each venue so I can work with each of the operations managers to plan power for your gear.” Since I exclusively use Flashpoint strobes, guess what….they need no outside power!!! SCORE! I hauled seven, yes seven strobes from SF to SEA in a small Pelican case. 49.5 pounds…just UNDER the 50 lbs. limit! Three Xplor600s, one 600Pro and three Evolv200s! I split the four 600 batteries between me and my partner’s carry on camera bags instead of inside checked luggage to save weight (btw I always put gaff tape over the contacts of the batteries just in case…). All of the stands were rented in Seattle and for the smoke I advance shipped smoke grenades to the Marketing Director. It takes planning folks….LOL

For modifiers I took three v2 Saberstrips which use Evolv200s with their Fresnel heads. I cannot speak highly enough about both the Evolvs and the new Saberstrips. Together they create what I view as a revolutionary combination in camera lighting. Yeah they’re that good. I knew that both the MOPOP and the bookstore sessions would be VERY CRAMPED in terms of space. Using “traditional” modifiers or strobes would be a total pain in the ass. Sure it could be done, but would easily have been a 10/10 on my cussing scale. I knew I wanted a softer light for both the MOPOP and bookstore feeling, but a hard light in the alley. So I took three Fresnel modifiers for that session. All of my modifiers fit into my SKB hard sided golf case which I use to transport my light modifiers when traveling out of town.

So here’s how it all worked: (All of the BTS images are by my partner Tracy Martin)

Session 1, Curious Incident shoot at MOPOP

The Marketing Director wanted an image in MOPOP where the talent appears to be ‘inside’ a dream. So placing modifiers INSIDE this structure for the style of light I wanted to achieve would have been next to impossible without the Evolv200 and the v2 Saberstrip.

One of the final images before editing.

Using the Evolv200 and the Saberstrip to create the feeling of an overhead light source WITHOUT the need for a boom arm is wonderful. Almost all of the other modifiers I own would need to be tilted at an angle to face toward the ground without a boom arm. The Key light is a the Explor600 Pro with a Fresnel head modifier to my right next to the tower structure.

Final shot. Balancing the light to not overpower the hand held flashlight was key for this image. Had I only used the Fresnel pointing at the talent it would not give the impression of an overhead light which was key to this shot.

Session 2 for Matilda at ReRead Bookstore

About 20 people were in this tiny quaint bookstore just for this shoot! I think the actual customers were highly entertained. (They were taking iPhone photos of us! LOL) Here the Marketing staff and the talent review some of the images on my iPad.

Marketing looks over the shots in real time. As you can see the Saberstrip was invaluable in this session. Soft light, yet so good in tight spaces! I love it!!!

Jerry the AD attends to the details. I feel we made a great team since I sometimes miss the small but so important details when I’m in a session.

Ah I cannot say enough about the value of the Evolv200s paired with the v2 Saberstrips!!!!

A few of the Final Images

Session 3 for Howard Barnes in an alley in Everett WA

I laughed as I watched people walking by! They had no idea what to make of what was going on. Oh and that puppet freaked me out!

The Director of Howard Barnes is my light test fella. This is the alley in ‘natural light.’

The talent just yucking it up while I balance the smoke lights. Oh and if you’ve ever worked with smoke it’s great when there’s no wind…..LOL

A few of the Final Images

So cool that wind was coming up from that ground grate so her tail would fly!

Four Xplor600s and two Evolv200s lit this shot. Whew!

I was so shocked to see an article written by James Spangler the owner of ReRead Books where we shot the Matilda publicity! All if not most photographers know that getting feedback is rare so this was both a nice and humbling surprise. My whole point on this post is to highlight the incredible leap in technology and innovation in the field of photographic lighting. Sure all of us can figure out how to do something even if it’s tough. But to have others who are helping to ease the stress of creating beautiful light is wonderful!

24 May 2018

Flashpoint 600 on location – Antoine Hunter in CalArt’s Magazine “The Pool” Updated May 24 2018

UPDATE May 24 2018

CalArts has placed their entire Summertime Issue 2018 #3 online.

Original Post

In January 2018 the Editor of The Pool, an alumni magazine for the California Institute for the Arts contacted me about a feature they had planned for their 3rd edition of the publication. CalArts was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and performing arts. It offers Bachelor of Fine Arts, Master of Fine Arts, Master of Arts, and Doctor of Musical Arts degrees among six schools: Art; Critical Studies; Dance; Film/Video; Music; and Theater.

The publication wanted to feature one of their alumni – Antoine Hunter a deaf dancer, choreographer and educator. The editor informed me that Antoine had specifically requested that I create the imagery for his feature which prompted CalArts to commission me for the honored task. I met Antoine when he danced for Savage Jazz Dance Company of Oakland where I created publicity imagery for their troupe.

As with all creative endeavors my workflow was to meet with Antoine over coffee to discuss the mood he’d like to have for his imagery. Once we had our meeting I contacted the editor to discuss his wishes and we scheduled the session in and around iconic San Francisco landmarks. He wanted the imagery to reflect the majestic flavor of Antoine’s home. Beyond that, the artistic elements were left to my discretion which I always appreciate.

In March the editor flew up for the day and we began the session. Even though there was a chance of rain I was confident that the areas I had selected would be shielded from rain if it occurred. As luck would have it, it was a glorious day with wonderful clouds in the sky that I adore. Antoine brought his 6 year old daughter to the event along with his ASL interpreter. Even though we had not discussed shots of him and his daughter, I took them anyway as a memento of that day which he could have for his own memories. I too have kids and having imagery of them never gets old. In the end the magazine used one of the photos which I felt added much to his story. I’ve often found that the images created outside of an assignment are often used and enrich a story.

I didn’t expect the magazine to use this photo of Antoine. I took it and converted it to black and white out of my own preference. I’m really happy they chose to use it as the opening image for his article.

For all of the images I used a two Flashpoint 600s with extension flash heads to keep weight on the modifier end to a minimum. The modifier I used was a PCB Omni reflector which is my go to outdoor modifier. I had written a blog post about how I converted it to accept a Bowens mount. It is great in wind which is always a concern with my on location shoots. I planned to utilize two of these and had both with me during the sessions. All of the images were created using HSS between 1/1000th and 1/2000th of a second depending on my location and the sun’s intensity at the time. Generally the aperture was f2.8.

My plan was to NOT make the images appear lit, but balanced in natural light yet with a high production value. The only exception was when I created his portrait in a tunnel that is very darkly lit. In this instance I used two of the lights, one as a backlight to rim his figure and the other as a key light. The back light modifier was a simple 7 inch cone on a Flashpoint 600. The magazine ended up using that shot for the cover and I’m really pleased with the results.

I continue to be impressed with the performance, flexibility and quality of my 600 units, both as a monolight or  with an extension head. They are key to my work and the innovation in their ability to convert from a monolight to a pack/head or 1200ws head offers me options other manufacturers don’t offer  or match at the price point. I often chuckle when I read others who are so concerned about a 1/3 drop of power when using the extension heads. I guess increasing their ISO 1/3 of a stop doesn’t occur to them! LOL!!!! Some people will bitch about absolutely anything rather then spending their time on creating.

Gallery of images. Not all were utilized in the publication.

25 Feb 2018

On location with the AD200s and AD-B2s

I was asked to create some trombonist’s imagery for his upcoming Fall 2018 CD release. I’m not a fan of doing classical musician’s portraits simply because most of the time they just want a head shot with their instrument….YAWN! I often refer them to other photographers as I have little interest in that type of photography. But both the musician and his marketing director agreed to allow me the freedom to art direct the shoot so I agreed. 

Having worked with a number of symphonies I am well aware that there is a good natured (sometimes not so good natured!) rivalry between strings, percussion and brass players. So I thought that creating his portrait on the beach over a string instrument bonfire would be so appropriate and fun! Most important – it matches his personality! I had an old cello I had cut to photograph the interior for a different shoot years ago along with a prop violin that I was willing to burn. They flew into San Francisco from Nashville and we were off to the beach!

My decision for photography gear was to use my AD200s and the AD-B2s I own. Plenty of light and easily transportable since I had to lug all of the gear onto the beach. (I HATE lugging!) For the modifiers I used Aputure Fresnel heads as I love their focusing ability and those modifiers would match the style of light I wanted for the session. They’re also dead easy to gel and grid too.

How the scene appears just before sunset in natural light.

Quick light test before all the fun begins. His marketing person was going to eat all of the marshmallows before we began! She apparently LOVES them! 

It’s always fun to let the talent look at my iPad which is wirelessly tethered to my camera. I find it helps relax people as I’m setting up the session.

Yet another light test to ensure the marshmallows are well lit! Hahahahaha

Ah the smell of burning string instruments! What could warm a brass player’s heart more than that?

A fun shot for the back of the jewel case.

The AD200s mated to the AD-B2s are remarkable pieces of gear. So portable and so versatile. I love the flexibility they allow me both in studio and on location. Why not use my AD600s? I believe in using the right tool for the right job. The 600s would have been overkill from a power standpoint and much heavier to lug onto the beach.

26 Jan 2018

5 Different Modifiers, 2 Strobes over 2 Days

A trombonist and his PR rep flew in from Nashville, TN to conduct two day photo sessions for his upcoming CD release in the Fall. We had spoken over the phone and via email about the theme for his shoot. I didn’t feel that a traditional musician with instrument would suit his personality. Nor did I believe it would show any creativity, so we agreed on two separate sessions. One on location and one in studio.

Day one was conducted on location at Ocean Beach in San Francisco just before sunset. During his trip it was the only day when rain was not forecast which meant IF the weather people were correct, the sky would have wonderful clouds, one of my favorite elements for outdoor sessions. As luck would have it, the sky and weather were perfect…whew!

BTS shot. Here I used one AD-B2 with two eVOLV200s shot through an adjustable Aputure Fresnel Lens as the key light. Another single eVOLV200 using its included Fresnel head was used to augment illumination of the fire/cello/violin fire.

For each shot on both days I used a total of six different modifiers, but only two different strobes. xPLOR600s, and eVOLV200s. Using AD-B2 and 600ws extension heads gives me flexibility like no other system. It’s one of the big reasons I have switched over to this system.

Two eVOLV200s mounted in a single AD-B2 shot through an Aputure Fresnel modifier was the key light. A single eVOLV200 using its native Fresnel head and barn doors with gel was used to augment illumination on the fire/cello/violin bonfire. Canon 1DX Mark II 1/400th.

Canon 1DX Mark II 1/400th using two eVOLV200s inside the AD-B2 shot though the Aputure Fersnel head.

Day two was shot in studio using four different modifiers on four xPLOR600s, two using remote heads. The modifiers were:

  • An Elinchrom Rotalux Deep Octa using a DIY focusing arm in its fully flooded position as key light
  • An Adorama GlowPop 38 with both inner and outer diffusion panels as a rim light
  • An Andoer Metal Conical Snoot on a boom to illuminate the martini glass with mini trombone
  • A Cheetahstand 40 inch (100cm) QS40 Silver Beauty Dish with diffusion panel installed as the model’s leg light

Although I use a wide variety of modifiers from many different manufacturers I only use Flashpoint/Godox strobes. Why? Well because their performance, value, quality and flexibility gives me options that I’ve not been able to find anywhere else. The battery life of either of those units is incredible. I have yet to exhaust the battery during an all day session.

20 Oct 2017

Why I Love What I Do

For about 38 years I was a ‘suit.’ A pure corporate guy whose career started at the bottom and worked its way to COO of a Fortune 100 company. But now having been a small business owner running a full time commercial photography firm I can safely say that even if I had the chance, I’d never go back. I say that I photograph just to meet people and it’s true. My camera is just a convenient excuse to meet and befriend other artists.

One of my clients is a symphony in Dallas, TX. And over the years I have become friends with many of the musicians in the orchestra along with people in Marketing, Development and many other departments. Just recently I was tasked by the VP of Marketing to create an image of 90 of the musicians in the lighting style of the Dutch Masters paintings.

While doing so the two co concertmasters, Alex and Nathan began fooling around during a toast by intertwining their glasses and arms like newlyweds! Of course the whole orchestra HOWLED with laughter and no photographer would pass up that decisive moment to capture it on film. Ah the blackmail leverage I now possess!

Then during the creation of another part of the marketing collateral I was asked to do a portrait of several of the senior members of the orchestra.

But during that time two of the video team from Genius House Media were there filming their version of James Cordin’s “Carpool Karaoke” by having Alex, Nathan, Erin, Lydia and Kara ride through Dallas playing their instruments. So often there’s friction between photographers and videographers, but in the case of Adam and Darren from Genius House, they feel more like just collaborative creatives. I so enjoy working along side them when our work intersects I just had to create a photo of them goofing around.

My whole point to this post is this; what good is life without the camaraderie and companionship of other creatives? Like I said, my camera is simply an excuse.

04 Oct 2017

Fathom Entertainment

UPDATE November 8 2017

My client has used several of the publicity imagery in and around the greater Seattle area on billboards and bus banners.

My partner Tracy Martin completed and the client has released the film she created for their upcoming fall production of Holiday Inn. The film is a behind the scenes look into the making of the production which includes my publicity photo shoot for the show. This film will be shown nationwide through Fathom Entertainment in movie theaters. In the film you will catch short glimpses of the gear I used which includes xPLOR600, eVOLV200s, Parabolix 35D, Cheetahstand’s Quick Lantern among other items.

11 Sep 2017

Using the Godox System

UPDATE October 2 2017

I have written a post about a dance session I conducted that uses these items. You can view that post here.

Original Post

I recently created a dance session using a wide range of the Godox strobe system:

My goal was to create the illusion of a stage, a grand hall using light, shadow and atmosphere. This was the very first time I used every single Godox light I have including a speed light. What is wonderful is how seamlessly all of the lights integrate into a system. I could not be happier with this line of strobes.

All shot with a Canon 1DXII, EF24-70 II. Most images shot at 1/500th at various f stops, ISO 100. I have quite a few reviews of the gear I sighted above. The purpose of this post is to simply show how I use the gear rather than update each review. I find actual usage much more helpful for me and hope this helps you as well.

The warehouse where I ran this session. The chandelier was borrowed from a theatre company. It is lit with an xPLOR 600 using a PCB Retro Laser modifier (no longer made) which is out of frame. The light to the left is to illuminate the talent using a 1200ws head and a Fresnel modifier.

Four xPLOR 600s, two powering the 1200ws head, one placed into a Parabolix 35D and one in the PCB Retro Laser modifier.

Cheetahstand Lantern as top light using two eVOLV200s in an AD-B2, Parabolix 35D camera right. Speed light rigged into the umbrella.

You can see how I rigged the speed light into the umbrella. I fabricated the handle since this is just a cheap photographic umbrella.

My fantasy composite of combining her image and a shot I captured along the Oregon Coast. When I created her umbrella image I had planned on working it into a composite, so I knew how I wanted the light/shadows to match the scene.

Two Fresnel heads. Parabolix camera right, low and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Oops, forgot to turn off the smoke machine again!!!!

 

 

05 Sep 2017

Why I use: xPLOR/Cheetahstand/Parabolix/Cononmark/etc

UPDATE December 9 2017

I recently conducted a two day session using two eVOLV200S mounted to an AD-B2 unit shot through a Cheetahstand Quick strip box. The strobes were used as second key lights combined with my xPLOR600 with remote head shot through a CononMark 120CM focusing octa modifier. The units performed well and the stopping power of the units is excellent. I shot all sessions using a Pentax 645Z whose sync speed is limited to 1/125th of a second. During jumping action shots the strobes froze the action of the talent jumping. I’m continually pleased with the performance of both the eVOLV and xPLOR  units. It should also be noted that I was able to complete two full days of shooting without charging either the eVOLV or xPLOR units.

The two eVOLV200s in the AD-B2 can be seen behind the Cheetahstand Quick Strip box in the center of the seamless.

Full body shot of the talent as she performed a leap into the air.

Full crop of the necklace to illustrate the stopping power of the strobes.UPDATE October 20 2017

My client has incorporated some of my publicity imagery into their marketing campaign.

UPDATE October 12 2017

In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view that post here.

UPDATE October 2 2017

I have written a post about a dance session I conducted that uses these items. You can view that post here.

UPDATE September 8 2017

In my post about the Parabolix 35D I have some of my recent client work which was just released.

UPDATE September 7 2017

I wanted to illustrate how I add lights during the session below.

First I see how I want the exposure using the Cheetahstand lantern as my overhead light.

A reluctant assistant stands in while I balance the overhead light. I find that the lantern is much more to my taste for an overhead light.

Then I add the rim lights using the new gridded Cheetahstand Quick Strip Boxes. I am only using the inner diffusion panels.

At this point I add my key light the Parabolix Deep 35 in its mid focused position.

And finally I move my camera right gridded rim light to illuminate her downstage leg to my taste while using the Parabolix in its fully focused position to capture her face.

Original Post

I want to make this simple. The ONLY reason I use a piece of gear is because I have found a piece of gear which works for me. I have long given up on most review sites with the exception of three I trust. I do listen to other pros I know personally if they find pieces of gear that work for them. It doesn’t mean those items will work the same for me, or vice versa. I am LOYAL to companies that service/warranty/customer service the products they carry with integrity.

I was recently hired to create some promotional imagery for a dance troupe. They have an upcoming performance this Fall and wanted me to create some marketing imagery. For this particular shoot I am not tied to an NDA so I am able to use some of the images and BTS shots I created, providing I don’t mention the troupe’s name. This posting is part review, part explanation as to why I choose what I choose for my work.

Cheetahstand

I often chuckle when I hear/read folks discount or complain about items “Made in China.” Sure I would love to purchase items made in the USA or specifically California, but this is a century which is global where items are made everywhere. Apparently innovation is now global….. (LOL) I remember the day people use to tease me that “Made in Japan” meant the items were ‘cheap’ and poorly made. Well guess fucking what? Times have changed….

Cheetah 12″x55″ Quick StripBox 

Well made, easy as pie to erect (versus put together), wonderful light, what’s not to love?

I HATE putting together softboxes, HATE IT. So when I read that Edward had designed and manufactured a ‘quick’ softbox I was skeptical. You see I have used Westcott’s Rapid Box line and although they are fine, I never really like the design. So I ordered one of his Quick Stripboxes and was duly impressed when it arrived. I especially like how he includes a fabric grid with his products. The mechanism that expands the four captured rods is genius. And the material he uses is of good quality.

You can see the Cheetah 12″x55″ Quick Strip Box in the background. The lantern is on a boom and I’m using an old PCB umbrella to control spill. My Parabolix Deep 35 was my key light.

The pair of Cheetah 12″x55″ Quick Strip Boxes in use. Those are symphonic musicians and a composer….Hahahahaha

Lit with only two Cheetah 12″x55″ Quick Strip Boxes.

Cheetah 26″ Quick Lantern 

I only wish I used a lantern earlier!

It’s no secret that one of my favorite lighting techniques is rim or back lighting the talent. Normally I’ve used gridded strip boxes, but when I happened upon the Cheetah 26″ Quick Lantern I thought it may solve one of the issues I have with strip box overhead lighting. By using an orb the light would be more evenly distributed on my subjects. Photographing dancers often means they MOVE around and are often out of the sweet spot of a strip light. The light produced by the Cheetah 26″ Quick Lantern is smooth and more natural looking for my work. To keep the unit’s light from spilling onto the background I cut an old PCB umbrella and use it to drape over the lantern. When I want to direct light other than straight down, I simply use some wooden clothespins to roll the material up to expose the lantern. Works great! Oh and assembly of the lantern is so easy. Love omnidirectional light when needed.

Cheetah 26″ Quick Lantern and two strip boxes used.

Cheetah 26″ Quick Lantern as the key light for this shot. The even light distribution is what I love about his orb!

This illustrates how I’m using the Cheetah 26″ Quick Lantern.

Cheetah 26″ Quick Lantern as my key light and two strip boxes.

Parabolix 35 Deep Package 

So well designed and manufactured. Beautiful light.

On a different post on my site I’ve done an initial review of the Parabolix Deep 35. I was not yet able to display any photos due to NDAs, but am able to do so here. I will simply repeat that the modifier is very well made and the focusing arm and pivot is top notch. The light produced is wonderful. Is it three times better than my CononMark 120? For me not three times better, yet it is wonderful.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Parabolix used as a key light fully focused. Lantern overhead and both gridded strip boxes used as perimeter lights.

My point to this post is I’m not influenced by brands or theoretical ‘views’ by other ‘photographers’ who love to spew out their views without any imagery. I try to find what works best for me and presents a good value. I value my freedom above all else.

Three of my fellow pro shooters are sponsored by photographic house hold names. In each case when I’ve said “Hey have you tried XYZ’s new lens/strobe/etc?” they respond with “Ugh I can’t because having agreed to be sponsored by ABC Company means I can’t use XYZ’s stuff.” I get it though; getting expensive gear for free is cool. But for me the freedom to use what works for me, means a ton more than free gear.

In the end it’s what I produce that’s more important than what brand of this and that I use. If people believe that a specific brand or model of anything is going to make their work better, then they need a reality check. HOW YOU USE any tool and HOW YOU USE YOUR IMAGINATION are the most valuable assets you can own.

And since I just received an email from a client I consider quite a hard ass who SELDOM hands out ANY compliments which said, “You my talented bad ass brother…is the man…” after viewing some of the shots, I’ll stick to my own methodology.

25 Aug 2017

Traveling with STUFF

About 50% of my work takes me out of state for client work. I believe many people view that as ‘cool’ and in many ways it is. BUT hauling gear to and fro on airlines is NOT so COOL. Because of the number of miles I travel each year I have top status on several airlines which is a godsend. I’m allowed 3 bags free as is my partner so between us we can haul 6 fifty pound bags without being charged. And thank goodness! This does not include gear we rent on site either! 

Waiting for our hire car to pick us up at the end of a very long two days. Ah the glamorous life of living in an alley!

Yep a Parabolix Deep 35 using two eVOLV200s mounted into a Flashpoint AD-B2. One with a silicon cover. The two old USB receivers are so I can do HSS with my Pentax 645Z.

Pres eetup for a three light shot. 1 PCB 86″ umbrella, one Parabolix 35D and one Phottix Luna folding beauty dish with an eVOLV200 mounted into a Flashpoint AD-B2.

This was my first commercial shoot using Cheetahstand’s lantern. In this shot I’ve modified the lantern by cutting out an old umbrella so I can control spill when needed. I use wooden clothes pins to roll up the ‘curtain’ to my needs. I’ll be doing a full review later.

The most important thing on this table is my water bottle. I love ice water on set!!!!

  

Won’t be able to share any of the images from this shoot for about two months…NDAs….

16 Jul 2017

Xplor/Godox – How it has changed my workflow

UPDATE January 26 2018

I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.

UPDATE September 10 2017

I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.

UPDATE September 8 2017

In my post about the Parabolix 35D I have some of my recent client work and how I used the xPLOR/eVOLV units during the session.

UPDATE: July 29 2017

I have written an article about how I achieved using the Xplor/Godox 600 and 200 strobes in HSS with my Pentax 645Z. You can read that article here.

One of the Xplor/Godox 600 strobes using an 86″ PCB PLM modifier on top of a Flashpoint Junior Steel Wheeled Stand – 12′. Those stands were a lifesaver since I needed all 12 feet of height!

Prior to using the Xplor/Godox line of strobes I shot exclusively with PCB Einsteins. Paul’s t:1 performance combined with his Vagabond line of batteries, the Cybercommander controls were bulletproof. Combine that with his customer service and well….for me it was a winning combination. But with Paul’s unfortunate passing years back, PCB’s innovation has lagged behind other strobe/modifier manufacturers. I adored Paul and I was so fortunate to have him as a sponsor for a short time. In my mind he was a true genius and yes, a bit of an eccentric fella, but geniuses are so often an ‘acquired taste’ but thank gawd for them.

Paul’s Einstein line never included HSS so for my outdoor workflow I simply used ND filters of various brands and types when I wanted to reduce ambient light. Variable ND filters were convenient, but I found that the color shift took a bit of post processing to reduce. I did find nanotec’s ND filters to be the best for my needs, but by reducing the ambient it also reduced the power of my strobes.

So I was an early adopter of the Godox line of strobes starting with their 360 line, moving onto the Flashpoint Xplor600/AD600 line and finally to the eVOLV200 units I found my niche. Having all of the units that communicate from one trigger along with the flexibility of combining several strobe bodies to create higher WS output…..gosh what could be better? The innovation of Godox combined with the service in the US of Adorama or Cheetahstand is a wicked combination. There were two instances early on when I purchased Godox AD600s on eBay when I could not get any service. But when both Cheetahstand and Adorama started rebranding the Godox line under their own names, well customer service in the States changed for the better.

I certainly realize that every photographer’s needs are different and mine differ from job to job. Sometimes I may use only two lights, sometimes three and sometimes 7 or more. It always depends on what my clients want for the mood of the shot. By having the ability to combine two lights into one, or to change my Xplor strobes from a monoblock into a pack/head design is so innovative. I have read opinions that other shooter’s clients ‘insist’ on specifying brands of strobes/cameras/lenses, but I have never encountered that situation. My clients care primarily about these issues:

  • The concept of the shoot.
  • The quality of the image
  • Does the image convey the intended mood?
  • Will the image help sales?
  • Does my demeanor keep the talent engaged, thereby obtaining the expressions needed for the shot?
  • How easy am I to work with?

Not ONCE has a client asked me about what brand of gear I plan to use. Nor do they ask me about the brand/model of vehicle I own. Or the brand of clothing I wear. My client’s jokingly say “Oh Mark is using his little magic Instamatic..” whenever I decide it’s the right time to use my Fuji X100T. The reality is I find photographers seem more concerned about what other photographers feel/say about gear than how their clients feel about their product. In my business I’m only as good as my last session. And if my clients don’t like ALL ASPECTS of my work, then I’m not asked to return to shoot another session.

I had a client who I shot four years ago ask me to do another shoot for his cover band. I delayed answering simply because I felt they wanted a typical band shot, which I was not willing to do. As we talked he said “I want you to shoot whatever and however you want to do the shoot.” So we began. And in this case I knew I was going to use multiple lights of varying power, with multiple modifiers. And guess what? The Xplor/Godox line of lights could not have been a better combination. I literally used every Xplor/Godox light I own for this session. The smallest number of lights used at one time was four and the most was nine.

My whole point to this post is to say that the Xplor/Cheetahstand/Godox line of lights is the most valuable lighting system I’ve ever owned and used. In my mind innovation in lighting is moving much faster than camera bodies and I love that! Find what works best for your style of shooting.

For this job I needed to use both my Canon and Pentax. The XT32C on top of my 645Z is my favorite trigger.

My original Godox purchases,two 360s, yes the old original one that use their USB receivers plugged in. Like I said, for this session I needed all of the lights I own.

Shot with the 1200ws head that combines two 600s into one head. Shot through a gobo attachment using a window gobo.

Six light shot using Xplor 600s, eVOLV200S and 360s. Smoke was created using a smoke machine. Fans used to keep smoke off the faces of the talent.

Shooting groups is not easy and this one took seven lights to get right. Set needed to be illuminated without taking away from the focus of the talent.

Nine light shot. Thank god for those 12 foot stands! Finding the right set for this shoot was fun.

It’s all fun and games until one of the lead singer’s head starts smoking! LOL. Using smoke is great, but it CAN be a royal pain in the ass too…..

10 Jul 2017

2017-18 Season Brochures

My clients have released their season brochures so I can now share the final results along with a short BTS video of the Hillbarn session. All of the images were shot using the Flashpoint Xplor 600 and Evolv 200 line of strobes using various modifiers and gels. All shot with a Pentax 645Z utilizing a 45-85mm MF lens.

Hillbarn Theatre

Brochure Cover

One Xplor600 and one Evolv200 used in this shot.

Second curtain sync used with the Xplor 600. Two light shot.

Five light shot with various gels. Smoke machine used for atmosphere.

Village Theatre

 

10 Jun 2017

Seattle Times June 9 2017

My shots often appear in print, but today was special and unusual. On the front page of the Seattle Times, my publicity image for Village Theatre’s 2017-18 Season Brochure appears above the fold. Then two of my publicity shots for 5th Avenue Theatre’s world premier of Romy and Michele’s High School Reunion – the Musical appears in the entertainment section. Fun!

27 Nov 2015

Light and Atmosphere on Location

I was recently hired to do an on location session for a Seattle Theatre company which needed publicity photographs for “Assassins” which is a play about those who have attempted or succeeded in the assassinations of US Presidents. My primary questions whenever a client asks for imagery is always “What is the mood I’m to create?” In this case the client’s response was “gritty and dark.”

All of the ‘assassins’ in their group photo. Smoke machine behind the talent with one coned strobe behind to illuminate the smoke. Key light is a 64″ parabolic umbrella high camera left.

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26 Jul 2015

On Location with Avant Chamber Ballet

In May 2015 I was asked to photograph the Avant Chamber Ballet in Dallas, TX. ACB is the only truly Dallas based chamber ballet. Their Artistic Director, Katie Cooper resides in Dallas and has turned the ballet community on its ear with her innovative and critically acclaimed ballet creations. Katie Puder (Cooper) danced for years with Arlington’s well-respected Metropolitan Classical Ballet. One of the many aspects which sets ACB above other dance companies is their use of live world class orchestra musicians in their performances. Many are working musicians with the Dallas Symphony Orchestra, which is a double plus. We work regularly with them on both production and publicity imagery for their marketing campaigns.

MKitaoka_150601_9614-Edit-Edit

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