Creating portraits is an interesting occupation. So much depends on the kindness of strangers---and on your kindness toward them.

I love portraits of young people because they keep my own connection with the joy of my own youth strong and present. A portrait of a young person can seem filled with promise and energy. But then so can a good portrait of someone at any age.

I did this image of Victoria in Denver a year and a few months ago. I was using a Sony a99 at the time and almost certainly shot this with a 70-200mm Sony lens. I've moved on since then but it was a camera with a lot of promise. As was the lens.

For me the camera was less important than the realization, even as I was shooting, that the image needed to be in black and white. I could see the tones in my mind as I set up the lighting and looked through the finder. The rest of the process was just going through the steps to get what I could already see onto the sensor.

I find a big, soft, directional lighting design so comfortable...

Aida. For Zach Theatre. Classic studio lighting.

All material ©2014 Kirk Tuck and presented exclusively at www.visualsciencelab.blogspot.dom  If you are reading this on another site, without proper attribution it is not an authorized use of the material. If you are reading this on unauthorized site DO NOT CLICK on any links in the body copy as it may infect your computer with serious viruses. Sorry to have to put this warning here but a recent search turned up dozens of similar infringements. Thanks for your authentic readership. 

©2014 Kirk Tuck, All Rights Reserved.

I've been cleaning up the studio/office and throwing stuff away like crazy. I've tossed out white formica and endless worn frames and pounds of shredded old invoices and correspondence. As the studio becomes less visually cluttered my desire to do more portraits seems to grow. Clean slate syndrome.

I was heading out the door to buy another roll of seamless just now. A light brown. Kind of a burnt sienna. But I detoured to Michael's art supply store instead and bought a tube of acrylic paint that matches perfectly. I'd rather paint what I need on the endless sea of white seamless I already own. Seems more fun and wastes less paper. Also saves me a long drive through our "treacherous" arctic conditions....still 26 degrees here in Austin.  Now, where did I put my paint brush?

The above was shot in the studio against a black background. Main lighting is a medium octabank while the backlight and side light are both small soft boxes used in close and at very low power. Shot on a Kodak DCS 760C camera with a Nikon 60mm micro lens. f 5.6-8  

All material ©2014 Kirk Tuck and presented exclusively at www.visualsciencelab.blogspot.dom  If you are reading this on another site, without proper attribution it is not an authorized use of the material. If you are reading this on unauthorized site DO NOT CLICK on any links in the body copy as it may infect your computer with serious viruses. Sorry to have to put this warning here but a recent search turned up dozens of similar infringements. Thanks for your authentic readership. 

Portrait of Suzie on the Barton Creek Greenbelt. Past.

Suzie. 

I really love to make portraits. How much do I like the process? Well, after a hard day's work in the studio, making portraits, I love to unwind by heading out of the studio and making some more portraits. This is an image from long ago. Suzie was an Austrian make-up artist that I used to work with. While her expression in the image above is a bit severe she was a warm, happy and thoughtful work friend. The kind of person who brought you herbal tea when you came down with a cold. 

We both had some time one day to just go out and shoot, and even though it was the middle of a hot summer we trudged down some thin trails to the slow flowing water of Barton Creek. Suzie brought along a couple of outfits and I brought along a Pentax 6x7 medium format camera, a tripod and a pocket full of Kodak T-400 CN film. Interesting film. It was basically color negative film that yielded a black and white negative with a very, very long tonal range. The advantage that I saw was that my lab could process it in C-41 chemicals thereby freeing me from more time in the darkroom, swirling chemicals around in a metal tank. 

We shot until the light evaporated and then we trudged back up the trail in the semi-darkness of the sunset's afterglow. 

It's not an amazing portrait or much of a fashionable image but it reminds me of the sheer immersion with which I lived photography at the time. Hardly a day would go by without me somehow going through four or five rolls of film (on a day off) and thirty or forty rolls of film on a work day. I still shoot a lot. Mathematicians might tell us that the act of creating so many "data points" probably increases my chances of getting something decent more often than if I'd have stayed home and watched TV. 

I loved that particular time period of photography. Everything was transiting in my business from large format to medium format. The feel of the backing paper wrapped around the film. The little strips of adhesive paper with which one sealed the finished and wound off film. The quick glance at a Minolta incident meter to make sure your brain's internal meter matched reality... The cameras seemed like magic back then. And the mirror slap of the Pentax 6x7 was legendary. I used the mirror lock up for nearly every shot. Why not when you're on a good tripod?

I've been away from photography since last Friday and I feel deprived. When I finished the clerical work and accounting work I have at hand I'll head out for a stroll with a camera in my hand. But not a Pentax 6x7. Those were just too damned big.

Monday Morning Portrait. It's 50% lighting. It's 50 % engagement. And it's 100% collaboration.

Heidi.

I loved photographing Heidi. She came to my studio at the suggestion of my assistant, Amy. We were doing a book project and we needed a beautiful person to photograph so we could illustrate what I was writing about lighting. I lit her in what I've come to know as "my style" of lighting. It's a really big umbrella (could be a softbox if you prefer) used over to one side and fairly close. The other side gets a black blocking card to control the depth of the shadows. The little glimmer of backlit hits the top of Heidi's check and adds and inference of shaping to that side of her face. The grid spot on the background creates a vignette effect on the background.

We were using an Leaf/Rollei Aptus 7 back in the studio at the time but I found that I preferred a regular Nikon DSLR and a medium telephoto zoom lens instead. The files on the bigger camera might have been easier to work with but the smaller camera was 95% there on the quality and much more fluid with which to work. A variation of the image above appeared in the second book; the one about studio lighting.

I came across this image because I'm preparing to give three day, concentrated workshop on portrait lighting and portrait creation for a private company. I've looked through over 900 digital portraits I've made in the last decade with nearly 40 different digital cameras. My take away? All the files look nearly the same as artifacts because lighting and aesthetic attention trump the somewhat benign differences in cameras. Shop all you want but whatever you shoot with you shoot with your own brain first. Hard to overcome that hurdle, if you consider it to be a hurdle. On the other hand it certainly speaks to a triumph of purpose. Go with your flow and you'll drag whatever camera along with you....

Happy monday. Hope the week treats us all well.

At some point it's really all about having fun with photography.

Renae (on the right) was my assistant back around the turn of the century.  She was amazing and brilliant.  And when we finished long shooting days on location she'd invite a friend or two over to the studio sometimes and we'd all share a bottle of good wine and set up lighting gear and make portraits.  Kinda weird when you consider that most days we'd just spent eight or nine hours setting up and taking down equipment somewhere in or around Austin in order to make portraits for work.

But shooting portraits of people like Amy and Renae was the perfect way to wind down a day and leave the studio on an art note.

We had just finished shooting an annual report for a dot com company whose stock had gone from a dollar a share to fifty four dollars a share, overnight.  (A few months later it made the round trip back to a dollar when the market popped...).  We invited Amy over, uncorked a St. Emillion Grande Cru Classé and started playing with cameras and lights.

I used a 35m Leica R8 film camera with a 90mm Summicron lens for this shot.  At the time I was happy using Ilford's Pan F, 50 ISO film.  The light of the day was a four foot by six foot softbox used in close and just to the left of camera. Powered by a Profoto box.  A small softbox slapped a little light on the gray, canvas background and we fired away.  We probably shot ten or twelve 36 exp. rolls of film that night and shipped it off to the lab the next day without a thought.

When the film and contact sheets came back I took a cursory look through and ordered a few favorite prints from some individual portraits we'd done.  Today I was looking through this work box of film and contact sheets and this time around it was the shots of Renae and Amy together that caught my attention.  I grabbed a strip of negatives that looked promising and put them on the scanner.  This is what we ended up with.

It's instructive to me that somewhere in the last five years we started doing just what we needed to do to survive.  And the art got lost.  But the magic is that with a little elbow grease, some heart and some imagination, we can get the art back.  It's a process of reaching out to people and fighting the entropy that whispers in your ear, "you've already done this.  Why do you need to do it again?"

But the reality is that even though I've made portraits before, each new person in front of the camera is different and interesting in their own way.  I'd forgotten for a while just how satisfying the process of making a portrait is.  Doesn't matter if you're playing for happiness or playing for the money.  The important thing is to play well.  And play often.

I saw that bumper sticker again yesterday.  It said, "Bark less. Wag more."  I like it.

An interesting portrait starts with the eyes.

I went for a walk and ended up on Congress Ave.  I saw this small boy sitting in a milk crate attached to his dad's bike.  I stopped to photograph the little guy.  Of course I asked his father's permission first.  Why make people uncomfortable?  He looked right into my camera.  I like the image a lot.

I was using a Panasonic GH2 with the Olympus 45mm 1.8 lens attached.  I have no idea what the exposure was and I used face detection auto focus to get place focus.  The original was a Raw file but it needed no intervention so I guess a Jpeg would have been just as good.

Two snaps and we were done.  Love the yellow sunglasses.

Man with Sausage in Elgin.

36, originally uploaded by kirkinaustin.

Tough to find sausage in Elgin? I don't think so. And everyone is opinionated about who serves up the best. Nice thing is that there's no bad sausage in Elgin either.

I did a profile story on Elgin for Texas Highways Magazine and BBQ loomed large. It was an odd magazine story for me because it was the last story I did using predominately 4x5 inch sheet film. And boy did I have a good time. I was using a Toyo field camera and the usual trio of lenses: 90mm, 150mm and 240mm. I hauled around three or four Profoto monolights but can't recall using more than one.

Nice to see a story run more than two or three pages. Still like sausage. Even after I saw it being made.....