Dear VSL Readers, Belinda and I clicked the final boxes and uploaded the long-awaited Novel, The Lisbon Portfolio, to Amazon.

The Lisbon Portfolio. A Novel by Kirk Tuck.

It takes about 24 hours for a book to upload and go through the Amazon process to become a Kindle book. We should see it show up on the Amazon.com site and on my Amazon Author's Page by tomorrow evening (Tues. the 17th of June). I'll post the link as soon as it becomes available.  The link is now live: The Lisbon Portfolio.  We are publishing it first as a Kindle Book and as soon as that goes smoothly we'll start formatting the printed version and get it up onto Amazon as quickly as we can. We'll branch out from there. 

Here's the elevator speech: Our hero, Henry White, has been earning his living for the past seven years as a professional photographer specializing in documenting corporate events and shows. In his previous career he was an intelligence field researcher, working for a government agency, until his anxiety got the better of him and he resigned. His cover as a researcher was: a corporate photographer. The difference now is that he needs the money and the assignments and--- there is no safety net.

While on assignment for a multi-national, technology company in Lisbon, Henry White gets pulled back into a web of danger and intrigue by his old boss from the agency. After stumbling into the middle of a bloody and dramatic confrontation between multiple bad guys he'll need all of his wits and training to make it out of Lisbon alive. And he'll risk life and limb to keep a terrible new technology off the underworld weapons market before it makes nuclear war a very local issue for everyone.

The story takes place in 1999, just at the moment when digital cameras started to replace film cameras in the weathered shoulder bags of the first few adventurous, professional photographers. Henry must balance his need for this paying job, and his need to keep a few demanding meeting planners happy, with his duty to help prevent an escalation in miniaturized weapons technology from hitting the marketplace. 

The story weaves a very authentic look at the everyday life of a working photographer, on an assignment in a foreign capitol, with an action-packed, fast moving, deep dive into a thrill ride of fictional action and adventure. 

The book will be available for only $9.99

I'm so thrilled that I'm finally able to share this story with all of my friends. Thanks to everyone who encouraged and prodded me to resist resistance and to finish it. And thanks to Steven Pressfield for writing The War of Art. His book made all the difference in the world to me. 

I hope you'll buy a copy of The Lisbon Portfolio, read it and comment about it. I'd love to hear what you think!

Best to all my readers, Kirk

edit 6-17-2014: We've been live on Amazon.com for less than a day and we've already cracked the top 10,000 books for Kindle. Thank you!

Packing for a shoot. Getting everything into two cases and a camera bag.

Noellia. Sony Nex-7. 50mm lens.

I have a fun job lined up this week. I'm heading up to Denver on Weds. and I'll be there until Saturday evening. It's a conference and I am one of the photographers who will document the people, the speakers and the events. Normally, I'd just head up with a small carry on case with some changes of clothes and a small tripod. That, and my camera bag. 

But this time we're replicating something we did last year when the same conference was held here in Austin. We're setting up an on-site studio with a nine foot wide canvas background, three lights and all the trimmings. We'll spend the first morning of the conference making portraits of organization officers, speakers and other event nobility.  Last year I was able to stuff as much as I wanted into the capacious back end of my Honda CRV, including my magic cart, and I could park directly under the hotel and drag up everything into the hotel meeting room. 

I brought four or five A/C powered, monolights, a posing stool, big light stands, a robust and intimidating tripod, and back up stuff for everything. When you can bring the kitchen sink why not also bring along the gas grill and the mini-fridge, just to be comfortable?  We had fun last year and we inadvertently trained the client to appreciate the fully implemented, studio portrait treatment.  

This year I'm flying up to Denver to participate and I'm bringing along a version of the temporary studio. But this year everything has to fit in two cases that weigh under 50 pounds and are the correct size for Southwest Airline's baggage restrictions. Oh boy! Condensation packing! How to do the same with less!

I immediately went into research mode and consulted the acknowledged expert in the field of Minimalist Lighting. In fact, I was able to pull down one of this books on the subject from my bookshelf and start wading into the information. 

Seems that with a little ingenuity you can put together a portable, battery powered system that will give you the same look as a monolight system with a few compromises. My portable system won't have modeling lights so I'll leave the room lights on while I shoot so the camera and I can focus. And I won't really be able to shoot through big modifiers and get f16 on a subject ten feet from the front of a soft box---but I never do that anyway. 

So here's how it's coming together on late Monday afternoon. I have a 48 inch long, 10 inch by 10 inch Tenba light stand case with wheels on the end and on the bottom. In that case I have two background stands and cross poles. Three Manfrotto Nano stands with cold shoe/umbrella adapters on the tops. A bigger stand for the main light and a back-up stand, must in case. I also have packed four 43 inch umbrellas. Two silver and black, two shoot throughs. 

Also wedged into this miracle case is a little Pelican sub-case with wireless triggers and receivers along with a "carefully folded" muslin background. The same one we used last year. Love the idea of continuity, right?

Well, what about the lights? I looked around to see what might be cheap and new and fun and I decided on the Yongnuo YN-560 II Speedlights. On the day I bought these flashes they were $46 a piece. I couldn't help it. I bought three. What are they? Basically they are fully manual flashes with built in optical slaves that have two modes. One mode is a straight ahead slave while the second mode delays the flash assuming that your on camera flash will do pre-flashes for stuff. I don't care anything at all about the second mode but I bought the units for the first mode.

The 560's bounce and they can be turned all the way down to 1/128th power. Did I mention that I bought them because they were cheap and had built in optical slaves. I immediately stuck batteries in and hit the power button but nothing happened. So I did what 313 reviewers on Amazon.com did not do---I sat down and read the manual that came with the units. Hey, guess what? You have to hold the button down for about four seconds as the flash goes through a start-up cycle. I can imagine this is a great feature which will prevent accidental ignition in the camera bag and the resulting battery drain. 

I tested the flashes in the studio and was happy with color and performance. I added a Sunpak flash which also has a built-in slave as well as my giant, ungainly and ready-to-shut-down-at-the-slightest-hint-of-heat, Sony HVL-60 flash (which I keep, stupidly, in case I need to use it with the Sony RX10).  Just to add a cherry to the top of the pile I added the little Panasonic DMW-FL360L flash. I figured this one would come in handy on the GH4 when I'm walking around taking spontaneous social images...

That's it for the lighting. And the camera packing is straightforward: GH4, GH3, 12-35mm, 7-14mm, 35-100mm, 45mm 1.8 (Olympus) and done. Five batteries and a charger. Two super fast 64 GB SDXC U3 cards (which give me 7,000 shots per camera --- more of less) and an iPad. 

The two equipment cases roll up to curbside check-in and are well under the weight and size limits. The camera bag is lighter than with any previous system. Now I just need to remember the deodorant and to trim the nose hairs and we're ready to party. 

Hope your father's day was great. I got to "snake out" the air conditioner condensation hose before we ended up with an inch of water on the floor. Much fun.

in other news: Belinda and I finished working on, The Lisbon Portfolio. The photo/action novel I started back in 2002. I humbly think it is the perfect Summer vacation read. And the perfect, "oh crap, I have to fly across the country" read. It's in a Kindle version right now at Amazon. The Lisbon Portfolio. Action. Adventure. Photography.  See how our hero, Henry White, blows up a Range Rover with a Leica rangefinder.....

Remember, you can download the free Kindle Reader app for just about any table or OS out there....

A very well done blog post (also available as a podcast) from Mats Andrén called "Five Thoughts on Being a Photographer.

http://the-walk.se/five-thoughts-on-being-a-photographer/

I liked reading this and enjoyed it even more when I went back and listened to Mr. Andrén present it via his podcast.

Andrén is a photographer and a walker and right now he's walking across the U.S. He should be in Austin by the end of the month and I am looking forward to having lunch, dinner, coffee or whatever he would like in order to spend some time with him and listen to his stories.

Andrén got in touch with me because of the blog and it's one of the wonderful benefits, to me, of throwing the doors of my mind open to the world. Sometimes (usually) you get some great stuff back.
I hope Mats has some images of the American South he wants to share with me...

Please enjoy his blog post while Belinda and I spend the day uploading the novel to Amazon.com and getting all the kinks worked out so you can really enjoy it.

Imagine shooting concerts at ISO 400 with a manual focus 50mm lens and no meter in your camera. Imagine it was more fun.

Alanis Morrisette at Liberty Lunch in Austin, Texas. Shot with a Leica M3 rangefinder camera, 50mm Summicron, on Tri-X. Nothing fancy. Just roll after roll of well exposed, in focus images. And, bonus: it's in black and white.  © 2014 Kirk Tuck, All Rights Reserved.

Random Image from a trip to Rome.

Everyone stood around waiting for the Ferraris to roar through town. It was the annual day when the Ferrari owners from all over the country converged on Rome to show off their cars and socialize with each other. I was walking near the Spanish Steps with a Nikon F100 and an 85mm 1.4. I clicked a quick shot onto Kodak T-Max 400 CN and moved on. The day was rainy and warm. The cars were beautiful. The people more so.

Fun with a Physicist. Michio Kaku at a Freescale Technology Forum.

One of the amazing fringe benefits of being an event photographer for smart technology companies has been an ongoing "ticket" to a front row seat at events featuring some of the smartest and most interesting speakers of our time. This is Dr. Michio Kaku and he spoke to our audience of technologists and engineers back in 2008. His lecture was loosely based on his book, Physics of the Impossible, and I remember how quickly and completely he was able to draw me into his vision of the future.

I shoot corporate shows mostly with available light but I do make a valiant effort to understand the nature of the light and to talk to the lighting designers to find out about the light sources and the filtration they'll be using during presentations. I remember being able to go to a lighting rehearsal the morning of this talk and take meter readings on the stage and to use a color meter to devolve the mix of lighting on Dr. Kaku. I was able to set the camera I was using (a Fuji S5) to a pretty exact color balance and it was very helpful in post processing. The lens was the old standby, the 70-200mm f2.8 used somewhere around f5.0 with a shutter speed of 1/60th of a second.

I understand that Dr. Kaku has written a new book called, The Future of the Mind, (#1 bestseller in the physics category) and I can hardly wait to get my hands on it. This kind of book straddles the divide between fiction and non-fiction. That should keep both halves of my brain happy...

For more information on Dr. Kaku see his Wikipedia Page.

Edit: Funny how memory works to put everything in such a vague folder. I was cleaning the studio after writing this only to discover my (non-virtual) planning calendar from 2007.  It tells me that I used a Nikon 55-200mm lens and not the bigger, 70-200mm lens. That's probably why I used f5.x. I also noticed (quite obviously) that I shot this Freescale Event in Orlanda in 2007, not 2008. It took place in late June and the day after I arrived home my first book for Amherst Media would hit its deadline and need to be sent out. I now remember spending late nights at the show double checking the manuscript. Always good to write stuff down...

Tip of the day: Defusing the indecision of art directors and clients.

Kinky Friedman. Writer, Musician, Perennial candidate for Texas Gov.

You are thrilled. You are a professional photographer and you've booked a good assignment to make some images for an advertising agency and their client. They asked you to bid on one final image with three models on a location. You figured out the time required, how they'll end up using the image and all the details and, miraculously, they approved your bid without much haggling. 

So now you are on the location, your lights are set up and the camera is on the tripod just waiting to take some incredible shots. The talent is professional, fresh and ready to work. You're already patting yourself on the back for the incredible job you and your team are going to accomplish today. The make-up person is ahead of schedule (fantasy) and the stylist has a rack of good clothing choices so the client and art director have the best combination of wardrobe to choose from. You're waiting for the client and art director to come to a consensus with the stylist over what the models will wear and you are having a cup of that wonderful Jamaican Blue Mountain coffee your assistant picked up as part of the craft service. Life can be so good...

And then it happens. The client says, "I can't make up my mind about Jeremy's shirt." Jeremy is one of the three models.  The client continues, "I like the blue shirt with the strips but I also like that yellow, retro shirt. And I think we need to shoot a conservative version with one of those button downs. Maybe a white one and a blue one. Can we just try all four?"

And that's how it starts. You know it won't stop there because there are two other models to dress and there are choices to be made (or not made) for each of them as well. My math skills are no longer amazing but if you shot all the permutations you'd have something like 64 basic combinations and something like thousands distinctly different variations. And that doesn't take into consideration selecting shoes and pants. Or accessories. 

All of a sudden the half day you thought would be a generous amount of time to shoot in is looking like a small part of a two or three day shoot. Or at least a one day shoot that goes really long.

Even shooting three or four variations total puts a serious dent in the post processing budget, not to mention the extra time on set and the possible overtime for models and crew. What's a photographer to do?

Here are my three basic tips for getting the job done and still making a profit:

1. My favorite argument goes like this:  Pull the art director aside and say, "Really good models are like top athletes. They have one or two really good performances in them. Those are the performances where you can really tell they are connecting with the camera and with the audience. We really need to take advantage of that great energy and make sure not to shoot them when they've already peaked. Changing costumes is going to sap the energy out of them and you don't want to end up with the right wardrobe but a shot of them run down and looking bored after they've peaked. The best option is that blue shirt with the stripes! It'll go perfectly with the other models' outfits."

If they don't buy this (real) argument we can move on to my second tip, bringing up the money.

2. Pull the agency person aside and explain to them that this shoot was bid, discussed and approved as a "prix fix" meal. One set up, one wardrobe selection and the post processing required to fulfill just those shots. Let them know you'd be happy to shoot variations but each additional variation will cost 1/3X the original budget. Pull out your "job modification agreement form" and make it seem all very business like. You need to let them know they ordered the steak but they don't also get a free pork chop, a free salmon fillet and all you can eat caviar with every project. Especially on one with a conservative budget. If they can't decide at least you'll be charging them for each change...

If these don't work you can go for the nuclear option. 

3. Pull the agency person aside and say, as nicely as you can, "Look. This is not what we talked about and I can't keep shooting stuff over and over again. You hired me because I know how to make decisions. We hired the stylist because she's an expert in making these kinds of choices. If you don't trust our decisions then we're not the right team for you and we should stop right now, send everyone home and let you and the client have the opportunity to hire a crew that's more inline with your way of handling these things. The blue shirt works. And the other shirts work. There is no "ultimate" shirt.  

Now, we can go back into the shoot and make a decision or we can shut it down and you can start over with someone else. I'll leave it up to you..."

If you go with number 3 you probably will never work for that art director again for the rest of your career. But would you really want to? Sometimes saying "no" is the best business decision you'll be able to make in a situation. This all presumes that you covered these issues during the bidding process. An ounce of prevention sometimes gets sucked dry by the best of intentions, or hammered into the ground by the amazing sense of entitlement some clients bring to the set. Managing unrealistic expectations is part of the job. The steps above are workable escalations.  But you always have to be prepared to walk away.