7.12.2011

I love Central Austin. No matter where you look there's something funny and happy.


I love living in Austin because there are people who make their lives into art, don't care what the people in the suburbs think and take pleasure in living large.  How else do you explain an upscale trailer park in the middle of the most expensive and desirable property in the city, occupied mostly by people with a flair for fun?  I've seen this mannequin on top of this RV for months.  It's been dressed up in Christmas costumes and lights, Valentine's Day finery and sporty Summer outfits.

I always mean to stop and go introduce myself and thank the person for helping to stave off the growing menace of mediocrity and group think.  I want to thank them for keeping Austin Weird, which is synonymous with keeping Austin fun.  Even the most curmudgeonly church goer probably understands on some level how important it is for society, culture, technology and even business to have a cadre of people who are still capable of thinking outside the box.

I finally met Jim.  I was doing a photo assignment across the street at Barton Springs Bike Rentals and I'd parked down the block behind the original Chuy's.  On the way back to my car I stopped to chat.  Jim was fun, smart, and happy.  And he does art all the time.  But he doesn't do it after work.  It is his work.  And there is no stop and start.  He lives it.

I think the name of his RV sums it up best.  On the top, over the driver's window there's a logo.  It says, "Flair."


It's stuff like this all over Austin that reminds me that life is short and the real goal is to have maximum fun without hurting anyone else.  I think of displays like this as reminders to me not to get too serious.  The pathway to serious is lined with migraines, ulcers and, eventually surrender.

Let's not just shoot more fun stuff, let's participate and do our share to keep all of our cities weirder and more creative.  After all, the wealth of the 21st century goes to the culture who creates content.  And I would conjecture the funnest kind of wealth goes to the cultures who create the funnest content.

7.10.2011

Sometimes lighting up a room takes some real power.

Power cables running from four diesel, truck sized generators into a 20,000 square foot ballroom.

You think professional photographers are insane about back-up and the need to prevent failure at all costs?  I recently did a corporate show in a splendid new hotel that was still working out a few kinks.  I am good friends with the production company that turned a bare exhibition space into a high tech wonderland for a week.  Acres of computer controlled, color shifting LED accent lights.  Computer controlled moving lights.  Hundreds of pedestals with tech products and demos as far as the eye could see.

They did due diligence months ago to make sure that the hotel was wired with enough juice to handle everything but that was all...........theoretical.  The day before doors opened they brought up all the lights and in a few minutes the exhibition space went dark.  Everything shut down.  The hotel worked on it.  The production company immediately got on the phone and arranged an alternate source of power.  No questions asked.  No prayerful hoping.  All business.  All on.  All the time.

Turned out to be a programming glitch and the hotel ended up having more than enough power on tap.  But the generators stayed in place.  Just in case.  The production company's motto?  "When the credits roll make sure that heads don't."  And that motto is trademarked.  They don't have shows go down.  It doesn't happen.

Hundreds of thousands of dollars, millions over the years, are at stake thru reputation and word of mouth.

Next time someone tells you that you don't go on a job without mission critical back-up please remember how the big boys roll and save yourself from that possible career ending failure.  Pack twice as much as you need.  Make sure it works.  Get ready for Murphy's Law.  

7.09.2011

Additional information about my Elinchrom lighting adventure....


The last time I wrote to you about lights I'd just dumped a two decade accumulation of Profoto lighting equipment and ventured toward the cheap side of the lighting universe.  I started out with one Elinchrom D-Lite-4 IT monolight and I decided that I liked it.  Pretty well.  It took a while to get used to handling a lighter and less robust lighting machine but the upside was the novelty and the digital controls on the back.

On friday I did my first corporate portrait with three of the D-Lites.  I used one as a main light in a 28 inch Fotodiox Beauty Dish, covered with a diffusion "sock" and feathered quite a bit.  I used a second light into a 60 inch Photek Softlighter with it's diffusion cover and, I used a third light with a couple layers of diffusion over an 8 inch, 50 degree reflector as a background light.

I had all the modeling lights on full and things were zipping along well.  I was shooting quickly and banged off about 35 frames over the course of five minutes.  That's when the fan came on in the fill light/Photek box.  A few minutes later the fan came on in the beauty dish assemblage.  All the lights kept banging away until we finished frame #110.  Then I was done.  The fans ran for a minute or so more and then stopped.  I looked at the frames on my monitor.  Even though I was shooting quickly I got into the pattern of waiting for the recycle "beep" to sound before shooting each frame.  The frames on the monitor were absolutely consistent.

The optical slaves worked fine on the two flashes not connected to the sync cord.

I'm using them again on Monday to make portraits of fourteen people at a medical practice here in Austin. I'll have them up and running for the better part of the day.  That's about it.

7.06.2011

Random Portraits.


Renae G. Hblad.  150mm.  Film.


Renee Zellweger.  Canon film camera.  135mm soft focus lens (Canon) Panatomic X


Sweetish Hill Bakery.  Mamiya 6 with 75mm lens.  Tri-X



Kinky Friedman.  Writer.  Musician.  Perennial Gubernatorial candidate.  Hblad.  Film.  150mm.


Mike Hicks.  Brilliant designer.  Leaf 7afi 40 megapixel camera.  Schneider 180mm f2.8 lens.


Renee Zellweger. Pentax 645.  120mm lens.  Tri-X.  


Belinda.  Canon TX film camera.  Bulk loaded Tri-X.  Canon 135mm 3.5 lens


Mousumi.  Hblad.  180mm f4.  Tri-X.  



David Yarritu.  Yashica TLR.  Tri-X or equivalent. 


Rene N.  Leica R8.  90mm Summicron.  Agfa APX 100.  Scanned from a print.


Renae G.  Leica R8.  80mm Summilux.  Black and white film.


Rene N.  Leica R8.  90mm Summicron.  Agfa APX 100.  Scanned from a print.


At the Mean Eyed Cat Bar.  Nikon D700.  85mm 1.8.


Ben.  Olympus EPL-1.  In b&w mode.


Renae G.  Hblad Superwide.  Tri-X.  Fun stuff.


Dad.  EP-2.  60mm 1.5  b&w setting.


Sarah S.  Hblad.  150mm.   Agfapan APX 100.


Me.  With some sort of Canon contraption.  Looks like a 7D with a 15-85mm.


Old Hasselblad.  Film.  Zeiss.  Belinda.


A young Ben systematically destroys, but does not eat, a cheese danish from Sweetish Hill Bakery.

Fuji 6x9 cm rangefinder camera.  Kodak T-max 400 CN film.  Scanned.

Lots of cameras.