I mini-celebrated my birthday last night at midnight+1 by having a Jack Daniels over ice on a JetBlue flight flying through a wild lightning storm somewhere over Arkansas. And I celebrated the hunting and pecking that created the 1700th blog post of the Visual Science Lab by making a nice cup of Jamaican Blue Mountain coffee. And by typing in a more leisurely fashion.
This is an in front of the scenes shot of my model in NYC. Nick and I both got to choose one model. I chose Gloria from a stack of head shots and Nick chose Naomi. I'll show you here image in a later post. Didn't really matter who picked whom as we switched around and took turns photographing each other for all three days.
I am one year older today. No wiser. No richer and no less happy. It was a great trip to frenetic, exciting New York but it was even greater to get back to the laid back quiet and lush and ample personal space that Austin affords.
Please stayed tuned to VSL for loads of opinions on new gear, big changes and a week long analysis of the world of photography. Spoiler? It's changing all the time. And so is the market.
In the next few posts well talk about my hands on evaluation of the new Sony A7 and A7r cameras, the Panasonic G6 camera and the Olympus em1 camera. I'll also talk about an interesting monolight I played with and some direct cheap soft boxes. All fun stuff.
I will readily admit to being a spoiled photographer. I like working in a studio with lots of space and lots of quiet. I like being able to work uninterrupted and at a leisurely pace. And I love having everything set up just the way I want it. When I imagined going to the PhotoPlus Expo in NYC I imagined that all the exhibition spaces would be enormous and we'd have lots of space to spread out, create majestic lighting designs and work at a tempered pace far from the retail excitement of the show.
When I got to the Samsung area the first day I was pleased by the general design of the booth until I saw the tiny area in which Nick Kelsh and I, along with our models, Gloria and Naomi, would be working. The actual lit space couldn't have been more than ten by ten feet and the lights were attached to a truss frame and could only be moved by union electricians. The glamorous Swiss flashes I'd imagined turned out to be very inexpensive Photogenics and the 4x6 foot softbox that I imagined would be the Nexus of my lighting demos had been shrunk down to about 24 by 36 inches. We had a background light with a scoop and two small strip lights on the sides, each with their own Photogenic monolight.
I was a bit dismayed (because I am so spoiled...) but it never seemed to slow Nick down and so I took my cues from him, bucked up and worked with what we had. It was part of a re-learning experience. By working with smaller, less expensive lighting (and a lot less control over the atmosphere) I had to push myself to work in a different style and with a much different cadence. It turned out to be quite refreshing and even.....fun.
The image above is one of my favorites from the show. I'm wedged against a counter and the counter is covered with sample cameras. On the other side of the counter are clumps of photographers who are alternately watching what I'm doing, shooting their own images of Gloria with any and every camera brand under the sun, and asking questions of the booth staff and of me. One gentleman had parked himself to my right and was demanding that I immediately stop what I was doing and shoot sample video for him to evaluate on the spot. The noise level was amazing as every booth doing a demo was using their own portable PA system to amplify their presenters (as were we). The idea of working under these conditions had never really occurred to me before.
The way we had the Samsung Galaxy NX camera configured was to enable it's wi-fi capabilities and send the images, as they were being taken, to a 60 inch, 4K television screen above the booth. That way everyone in the crowd could watch my every fumble and misstep. But they'd also see, honestly, how the process of taking portraits might work. The camera would do three things simultaneously: It would write the files to the internal microSD card, write the files to a group Dropbox account for easy access by the client and also send a full res, clean screen file to the television monitor.
All my photographic life I've looked through a viewfinder and composed and shot. With this camera I spent the three days doing portraits by looking at the big screen and using the on screen touch controls to focus and take the actual exposure. It's a different way of looking but it works really well when your preview screen is a 60 inch, super high def TV instead of a three inch LCD on the back of the camera. I don't need my reading glasses to see the menu on the 60 inch screen....
It's also a great way to review images you've shot with clients, or, in this case 50 or so of your new friends who you are demo-ing for. I'd shoot for a few minutes, review the images, make my selections of ten or so and then configure a slide show on the camera which would wirelessly play the images on the big monitor. If someone had a question about sharpness or wanted to look at the shadow detail of Gloria's jet black hair I could touch one image, bring it up full screen and using my fingers in the cellphone squeeze or separate method, enlarge the image to see parts of it. What a quick way to dispel a preconception about sharpness of noise in the shadows....
In any case I am proud of the image above, done in the chaos I've tried to describe. While I am sure Samsung would like for me to make the case that the camera was the linchpin for the image it also showed me that the tools are secondary to the intention. Our intention was to make the best portraits we could with the tools at hand. I don't need to hedge about this one. I really like it without equivocation. More so because it was created in such a wild (for a quiet portrait photographer) venue.
In the end good portraits are much more about a collaboration between photographer and sitter than anything else...
More to come.
Photographer, Nick Kelsh.
photographed at the Samsung booth with the Samsung Galaxy NX Android camera and the (incredibly good and drool-worthy) 60mm f2.8 macro Samsung lens.
I didn't know what to expect. Nick and I were thrown together by the public relations agency. But I quickly came to understand that I had been given a really nice gift.
We were in NYC to promote the new camera which we've both been using for a while. I got to the Javits Center quite early the first day but Nick was there before me. He was fine tuning lights and getting stuff ready. He's tall, thin, wiry, happy and intense all at once. And smart. I liked him from the moment we shook hands.
At 60 Nick has been living photography nonstop since his early teen age years. He is masterful with people. He's the kind of guy who does a quick demo for an eager crowd, makes amazing work look easy, and then he literally wades into the crowd asking, offering and inviting people to come up and shoot the camera for themselves. He helps them get oriented. He guides them gently. He makes them feel comfortable, smarter and more courageous and by the time they hand the camera back to Nick they feel like they've made a friend and learned from a wise mentor. And for a short spurt, they have.
Nick went on first of the first day of the show and I stood by and watched and I learned more about lighting and posing portraits in a short, concentrated burst than I have in years. I like tripods, Nick tossed his away. I like to be in control. Nick likes to collaborate. But he never relinquishes the artist's final say.
By the end of the three day show I felt as though I'd made a friend for life. We're already planning future projects and I came home encouraged, inspired and buoyed up by his example. Wow.
Go see his work: http://www.nickkelsh.com
And look at his teaching website: http://howtophotographyourlife.com
I thought I would be enthralled by the new cameras or the new lights at the show. I had no idea the best feature of the show was the guy I shared the Samsung demo stage with...