Sunday, November 27, 2016

A visual comment about coffee in mainstream America.

This is a large, illuminated sign on the edge of the parking lot for a 7-11 store on 
North Lamar. Blvd. The "sell" is for the cup, the "closer" is the 
description of the coffee.

There was a time in Austin when the best cup of coffee in town was at an all night diner called, Holiday House. The large and dowdy restaurant was just on the edge of the UT campus and served as a respite from days and days of bland, dormitory/cafeteria food. At least at the Holiday House you could get reliable eggs and pancakes. The coffee was more or less the American standard at the time: almost "see through" and with all the punch of a loofa. The nice thing about American coffee in the 1970's is that one needed to drink lots and lots of it to get any sort of adrenal buzz and that prodigious intake kept most college students well hydrated... But the real reason it was "the best cup of coffee in town" is that it was the only cup of coffee in town. At least at the odd hours of the day.

Since that woeful decade we've mourned the demolition of the Holiday House and most diners in our town but we've seen a blossoming of coffee shops, coffee houses and coffee kiosks everywhere. In my neighborhood there are two Starbucks facilities in one shopping center. And both are always busy serving increasingly strange coffee drinks that are moving further and further away from the pure idea of coffee as I know it. They offer a wide assortment of sugar-rush caloric time bombs, laced with espresso coffee shots. Where Starbucks fails mightily is in their interpretation of drip coffee. Traditional coffee. They've developed a new science of consumer coffee addiction. They roast their beans for their primary drip coffee offerings for too long. The "burnt" beans increase the flavor load to the tongue (and not in a good way) while actually decreasing the caffeine content of dark roast coffees. The lower dosage of caffeine builds traffic and sales as the serious coffee drinker must ingest more and more coffee to get the same attentive buzz we got from more artistically roasted beans.

Most of the coffee shops provide a good service; a place to park and relax while compulsively checking e-mail and one's favorite websites. I see them as rest stops for the trendy and consumers who believe they are buying a more sophisticated and higher quality cup of coffee. 

In my same state of anthropological delusion I always thought of Starbucks as being the coffee of pretension and relative affluence and, in constrast, always thought of coffee served at 7-11's, convenience stores in general, gas stations and McDonalds to be the coffee of the working class. People who, by necessity or choice, wanted decent coffee but at a more affordable price. I presume that this segment of the buying population were habituated to the taste of a more traditional, American style coffee. But now my universe of imagined, coffee drinking gerrymandering has been turned upside down by this sign I stumbled across yesterday. 

The cup is nice, I am sure. It's good to keep coffee hot. Most addicted coffee drinkers prefer it that way. But I fail to understand where styrofoam has failed in that endeavor. The real story is contained in that round ornament just to the left of the cup. "Nicaragua Single Origin Coffee." And its additional message conveyed in the green logo at the bottom of the ornament: "Rain Forest Alliance Certified."  

Since when did "budget/convenience" coffee drinkers become discriminating about the source of their coffee? Since when did mainstreamers develop a realization about single origin coffees? What is next, Kona coffee at McDonalds? Jamaican Blue Mountain coffee at Exxon? Have we hit a tipping point at which we, as a nation, are hellbent on upping everyone's game when it comes to coffee?

I'm curious to know if this is trending in other regions. I understand that most places have a wild surplus of coffee shops and most cities of any size have somewhere within their borders that just nails good coffee, but is an elevated coffee awareness becoming as universal as the cellphone? 

Please report sightings of coffee appreciation mutation in your region. Document it, if possible. 

What will Starbucks do when they lose their "hipster/trendy/first arrival" status? Their latest remodels have made the stores louder, meaner, less well lit and less comfortable (the LED pinlighting is egregious...) and I wonder if this will push customers toward more welcoming competitors. 

I think Michael Johnston has the right idea. Become your own master brewer. At home. But it's kind of nice to see that, when on the road, there are more and more chances that a good cup of coffee is on the route.


Friday, November 25, 2016

R.L. Color Portrait. Sony+Rokinon

©2016 Kirk Tuck.

You never stop interpreting your files. What you see the next day is colored by whatever you did and thought in the intervening time. I come back to files again and again, not to build to the "ultimate" image but to see how life changes my perceptions of what makes a strong image and what doesn't. Every image is a moving target.

Rebecca on location.

©2016 Kirk Tuck.

Sony A7Rii + Rokinon 135mm t-2.2

Wednesday, November 23, 2016

Thanks for reading! Have a great Thanksgiving and use your weekend off to make some great art with your camera.

©2016 Kirk Tuck. From Zach Theatre's Production of, "A Christmas Carol." 

click on the photograph to see it bigger and nicer.

Workflow from last night's shoot.


I shot on three different cameras last night. I was testing the limits of the RX10iii and keeping the A7Rii + 70-200mm f4.0G close at hand to shoot vital group shots that are so popular for theater marketing. Then I filled in around the edges with the Sony a6300 and its companion, the 18-105mm G lens. The photographing was a straightforward as I could make it. I shot raw not so much for post shooting color correction but in order to lift the shadows and have fine control over the noise reduction settings. As usual, I shot too much but I have been working on "speed-editing" so the final count for post processed files was a little over 500, which meant I had achieved a 3-to-1 reduction in files shot versus files finished out. 

I've been getting more mercenary as the size of the raw files continues to grown. I flagged all the images I think are best, select the flagged images in Lightroom and then inverse the selection and throw away all the non-flagged photographs. And when I say "throw away" I mean that when the little box comes up and asks me if I just want to "remove" the images from the catalog or if I really mean I want to delete them from the hard drive I summon up my courage and dump them. It's actually a nice feeling to see the file folders shrink in size. 

After I ingest everything into Lightroom and do my edit (which means "keep or throw") I then go to the files that survived and start to post process ( which means to color correct, enhance, crop, sharpen, etc.).
I work from the top down in the menu system. I start with color, move on to exposure then onto shadow and highlight protection and so on. I shoot a bit on the dark side so I'm generally adding +35 to +50 to each file. In situations where my main subject is in spotlight and the rest of the cast or background is darker I routinely pull the shadow slider up to 50-70% to get some detail in there. There is a certain balance between the exposure setting and the shadow and highlight settings. If I have time I work the relationships a bit to find an optimized combination. 

I shoot in single frame burst of 10-12 shots without changing camera settings so if I like a series of images I need only work the first one diligently and then the rest are sync'd to the first file. 

Moving further down the menu we get to sharpening and noise reduction. Depending on the lens in use I might need no sharpening and usually just a small amount if I do need to add some. I like big percentages as small radii. I'm equally conservative with noise reduction because I want to see detail everywhere. +20 is generally the sweet spot for images shot just above the ISO comfort level (for instance, ISO 4,000 for the A7Rii or ISO 1250 for the RX10iii...). 

Once I get everything applied the way I want it I select all the files and output them into a folder as low compression (92%) Jpegs and I fix the image size at 6000 pixels wide for the theater. Too much bigger and it slows everything down, too much smaller and I get nervous about posters and print magazines. I do have a close working relationship with the in-house art director so if she is making huge lobby posters I'll go back to the files and output her selections at the full file size. 

Once I have all the images output they get uploaded to Smugmug.com. Today's upload of Jpegs was just under 6GB. Once they are on Smugmug I set the gallery controls accordingly. With the Theater I want to make sure everyone on the marketing team has access to what they need so I make the files individually downloadable if the person has the password. In this way they can share the gallery with the actors and crew but have control over what ultimately gets downloaded. Smugmug makes it easy for me to select an entire gallery and send downloadable (and expiring) links to clients who need access to all the high res files. Doing this saves me the cost of a memory stick and a trip in the car. 

With a non-profit client like Zach Theatre social media can really make or break goals for ticket sales so we allow the principal actors access to the images for Facebook and Twitter, etc. We might lose some individual sales but actors generally don't have much budget to buy production stills and if we didn't allow social media use we might win the battle (short term, small income) but lose the war (sustaining productions with marketing allowing us all to continue to work together and get paid). 

Uploading to Smugmug also gives me one more place to archive files. At $150 a year for unlimited storage, and convenient retrieval as well as display, the service is a bargain. I have the files on at least one hard drive and generally write them also to a DVD (I know, old school). Then I send along a bill and I'm done. Just thought I'd share my process. Everyone has a different way of doing this work.



RX10iii at near full lens extension.














Tuesday, November 22, 2016

A Black and White Photograph of Jack.

©2016 Kirk Tuck. All Rights Reserved.

My Favorite Portrait of Boston Actor, Jack Donahue.

©2016 Kirk Tuck. All Rights Reserved.

Jack came to Austin to join the production of Priscilla, Queen of the Desert and I found his performances to be really wonderful. When the play finished its run I asked Jack if he would be willing to sit for a portrait. He was. We shot on a nice, sunny afternoon. He's got great stories to tell and I had a blast.

Lit with two LED lights lighting up a 50 inch, circular diffuser. Camera: Sony A7Rii. Lens: Rokinon 135mm t 2.2 Cine lens. Tripod: The good one. 

I am currently post processing and retouching a bunch of selections for Jack. I'm very happy with the results of our session.

Testing. Always testing.