I wanted to use a somewhat hard light source with a noir feeling for this shoot with Wendy, to show the balance of her femininity and strength. This is just a barely cracked door with a light source behind it — f/1.2, 1/10th, ISO 5000 does the rest.
A slightly more risqué one behind the cut. So if you followed the direct link but can’t see a fully (but sexily) clothed woman … um … don’t scroll down.
A touch of freelensing, a touch of Nik Silver FX, a lot of passion between an awesome couple, and voilà!
I said in my very last post that I don’t do much boudoir … and then I set out to shoot some. But you can’t blame me; my muse was my wonderful girlfriend. She’s a professional dancer and skilled fitness trainer, but, like most of the people I shoot, has never thought of herself as photogenic. If a gorgeous woman with an eight-pack doesn’t think she looks good in photos, what chance do the rest of us have? So I rose to the challenge, and we had a great time doing (clothed) boudoir in a style sometimes inspired by the noir lighting you can create when you’re doing a portrait shoot at 1 a.m., and also by 1940s pin-ups. Not a bad way to spend an evening.
But what made it even better was the setting: The Mansion in Saratoga Springs, NY. We both fell in love with the place, through and through. With gorgeous Victorian styling and a large backyard for a party, I didn’t know if I wanted to shoot weddings at The Mansion or save it for myself one day.
More to come! (You’re welcome, in advance).
Every year I do portraits for the Catholic Guardian Society of the underprivlidged children and developmentally disabled adults they serve so well. It’s a fantastic experience and helps them raise sorely needed money. See some samples from this year’s shoot here, with lots of adorable kids.
A quick portrait with Mary before leaving for the ceremony.
It’s Wendy, and she’s awesome. And yes, Wendy knows how to fly.
This is how I do a vacation snapshot.
My great friend Missy, who married my other great friend John on Saturday, looks stunning in her birdcage veil and vintage-inspired dress.
Now to expand on yesterday’s picture…
Personal work is extremely important to keep a photographer focused and constantly improving. Even with my clients, who are amazing and more willing to experiment than most people, I can’t ever say “Hey, I tried this really cool thing and it didn’t work out. Can you get married again next weekend?” So I’m putting together a little project that should mean some envelope-pushing for me. It might take a little while because it’s busy season, but I’m very excited about it. All you get to know about it beforehand is that, for my main star, I needed more than just a model, I needed an actor with an amazing emotional range.
Luckily I knew just where to find one: My friend Kelly Denicolo. Kelly and I actually went to high school together in the frozen tundra of upstate New York. We didn’t know each other that well, because, let’s face it, I was much cooler than she was. My talent and fabulous singing voice made me the star of all the musicals, while she was more of the subversive class clown type, encouraging students to have disco dance-offs during class-time and thinking up new and creative ways to get detention.
No, wait, I got that backward. She had the amazing singing voice (mine has been outlawed in 43 states), and I was the one who wrote the president that I wanted to secede my room from the Union because I had always dreamed of founding a climate-controlled nation.
But it’s been … several … years since high school, and we hit it off as New Yorkers. She’s focused on her dramatic talents ever since, so I thought she’d be perfect for the project, but I wanted to do some test shooting to see her emotional range on-camera.
I thought she’d be good, but I was wrong. She was amazing. I told her to recreate emotions so complicated even I didn’t understand what I was saying, and she nailed every one with subtlety and seamless transitions from one to the next. Seriously, if there are any screentesters out there, call me.
I’m more excited than ever now to get this project going!
Something’s coming…
Speaking of other wedding photographers, here is a photo I took of Dallas/Forth Worth photographer Lynn Michelle at the Digital Wedding Forum convention in Nashville. Sledgehammer of Light behind her, two speedlights aimed back, one aimed at me.
I had a wonderful time in Nashville and wish them all the best in flood recovery efforts.
Saturday was an intensely, intensely bright day. For the geeks, it was f/32 bright. For the rest of you, that means eye-searingly bright, with hot sun and direct reflection off shimmering water. In other words, it’s not the kind of light that a tiny little speedlight can generally overpower.
But I have my ways.
From a session yesterday with Jaime and Phil. Methoded, 11 images with the 50mm f/1.2.
Immediately after February’s “Creativity on the Fly” workshop, I got lots of messages from people wishing they could have made it. Free weekends are a rare commodity for me, but luckily I had one more before the season exploded and got a bunch of great photographers together for a day of discussing advanced techniques to make the most out of bad situations. I figure any workshop can take you to a fabulous beachfront estate, but what happens when you come back to real life, and all you have to work with is five minutes and a parking lot? I am lucky to work with Philip Stark in his studio, which is a great place to meet, but it’s almost TOO fantastic, so we spent the day looking for the least photogenic parts of the building and discussing what we could do with them.
Again, I want to say what an honor it is to have people come from across the country and the world to hear me prattle on for a day or two. Some people have asked me why I’ve started to do workshops when I have some rather well-documented gripes with the photography workshop industrial complex. First, it’s really, really fun. Second, it lets me try to address those problems by simply doing things the way I want. But lastly, the more I teach the more I realize that it is going to make me a much better photographer. I do so much client work that sometimes I don’t get the chance to step back and look at what I do from a different perspective. Teaching forces me to do that, to break down what I do and why I do it instead of just, you know, doing it. And by making me put this in some sort of sensible framework so people can reliably see whether a given workshop will be helpful for them or not, it has made me think about exactly the message I want to put out in the world, what things are valuable for me to teach.
Few things break my heart more than hearing people say “I wish you’d taken my wedding photos. We hate ours.” I think that wedding photography is important, and I want as many people as possible to love their photos, whether or not I took them. And I want as many people as possible to stay in love with the process of photography. And so, whenever I can find time within my packed photography schedule, I teach.
Here some of the workshoppers gather for the day. None of them seemed to need nearly as much coffee as I did to start at 9 a.m. Hmmm…
I always want to do these with people I’m comfortable with, so the day was filled with people who have been featured on this blog before, such as my friend Rochelle, who made a fabulous model. On the left she is looking cheeky for a Brenizer Method demonstration (I took the class through the whole process, from visualizing to stitching and output) and on the right we are mixing ambient and off-camera flash.
It was brisk, but much warmer than February, so we headed outside for some flash composites. This is three frames used for stark contrast with the ambient light.
And here is our “wedding party.” Flash composites are great for group shots, and here it wasn’t used as starkly, just to provide attractive light and better contrast. Again, I took the class through everything from pre-visualizing to the (very fast and easy) photoshop output.
Here I was doing a quick demonstration of Auto-FP flash, using 1/8000th of a second to bring the room ambient to blackness.
Then we moved on to couples, including my intern Isla and her husband Dan. I put them in the only part of the studio you would never want to photograph in — the kitchen we had just made dirty. To bring down the background, I stuck three flashes outside the window, mimicking bright daylight and getting interesting textures from the bars on the window.
Our next couple was the amazing Kindiya and Thomas, otherwise known as “The Couple on the Rocks.” Now we went to the ugliest part of the whole building, a nasty stairway where, Thomas noted, it looked like they were about to conduct a drug deal. Although, I said, it also looked like a place where a couple might actually make out. I don’t know anybody who spends a lot of time making out in front of gazebos. Off-camera flash and some movement to blur the shadows brought the effect here.
Here we used a very warm tungsten video light to cool the puke-green ambient into a nice turquoise. And you can see all the voyeurs in the class.
The sun came out and I showed the class how to kill it dead. f/22 wasn’t nearly dark enough for the effect I want, so we used the Sledgehammer of Light and Auto-FP to shoot at 1/8000th, f/6.3. That sky is straight out-of-camera. No HDR here.
Then we used the dramatic effect with flash compositing to light the couple from the left.
Then I wanted to show how to work when you had very, very little time, such as when you are holding an elevator. Yes, the “shaft of light” from the last post is an elevator shaft. The important thing here is pre-visualizing and then working quickly. We tossed three flashes in the reflective elevator at half power to turn it into a glowing room of white and positioned them right in the doorway. We also had a second, safer shot using video light inside the elevator.
We had a session of free shooting so everyone could work through some of the things they saw, and I took another Brenizer Method shot of Kindiya and Thomas, as well as showing the effects of studio lights (not shown).
Group shot! One of these days I’ll remember to do a group shot at the beginning, before many of the workshoppers leave.
Thanks so much everyone! This is probably the last weekend workshop I can host for a long time, but I’ll put together a weekday one aimed squarely at wedding photographers, covering business as well as wedding-specific issues, in the mid to late summer.
I was again honored to have a great bunch of photographers attend my workshop on Saturday, and everyone seemed to have a great time. The full wrap-up is coming later today, but first I want to see if any non-attendees can pick apart the lighting here. Look for clues.
The workshop is going really well, and, being the technophile I am, I’m using the lunch break to post a quick picture. Here we used flash composites to create a quick “wedding party” photo. If only more brides wore leopard print dresses like Rochelle.
