Football Life
I've been photographing my boy's football teams for the past six years. It's totally a labor of love. Watching them on the field is about as good as it gets!
I've been photographing my boy's football teams for the past six years. It's totally a labor of love. Watching them on the field is about as good as it gets! I try to create images that I wish I had when I played. My youngest son is in his senior year and the last season he'll play football in high school. I've really been trying to the document this season in different ways.
On a recent away football game, I rented a Sigma 24mm art lens from my local camera store (Action Camera). I really wanted to get into the boy's space and not artificially. What do I mean by artificially well we all have a personal space that's probably an arms distance from the other person. If you enter the space with the zoom lens from a distance it doesn't feel as intimate, when you physically move into that space something changes and the image has more connection. It's something I try to do in my portrait work and wanted to bring that over to some of my sports images. I think is something that has roots in my early days with newspaper photography.
I have to say the Sigma 24 mm lens was a dream to work with it was very fast and I'm extremely happy with how it rendered the colors and tones. I think it's a lens that'll add to my bag permanently in the next year.
Cars & Gels
I had a fun photo outing with a local group on Tuesday. The location had some vintage sports car. Now I am NOT a car guy and don’t really shoot many. My plan was to take 1 light and blast it from behind the car and see how the light played.
I had a fun photo outing with a local group on Tuesday. The location had some vintage sports car. Now I am NOT a car guy and don’t really shoot many. My plan was to take 1 light and blast it from behind the car and see how the light played.
For the lighting, I used 1 Phottix Indra 500 with a 7” reflector and a 20-degree grid which I had from my Paul C Buff lights. The gels are from the ROSCO “Photo Lighting Kit” #23 orange gel.
Portrait Shoot Progression
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
I receive many questions regarding my workflow in photographing new models and faces, so I thought I would address some of them. This post is only about photographing models from talent agencies or bookings directly with a model.
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
First image made with no makeup. For this I used the Sigma 35mm.
In the progression of Emily's images, I photographed her with no makeup for the first set. I loved how her freckles showcase the natural beauty she possesses. Next, I have the makeup artist add to her look while still keeping it simple. I work fairly rapidly throughout all the different looks. For each set up, I may only spend about 10 minutes. My goal is to get 3 to 4 really strong images from each look.
During last round of makeup, I normally let the makeup artist do something they've been dying to try. It's always good to allow collaboration with your team. Having the hairstylist or makeup artist use their creative juices can inspire me as well. There are times that this collaboration has produced some of my best images. All the looks put together in this type of session typically take about a three and a half hours.
For this image the makeup artist did minimal makeup. I want these as close to there real look as possible.
Finally, the equipment I use stays pretty consistent. I use my Nixon D4 & Nikon D810. The lenses I shoot with 85% of the time are the Sigma 35mm f1.4 Art Lens and the Nikon 85mm f1.8. For the lighting I use Phottix Indra 500 with various modifiers.
If you have any questions, I’m always open about how I do, what I do, so please drop me a note.
Happy Clicking!
Tim
Making The Most Out Of Your Location
For the past few years, I’ve been working with Sacramento Magazine photographing the area's top attorneys. This is a yearly supplement, and on average I have about 25 firms I have to photograph in a 45-day span.
For the past few years, I’ve been working with Sacramento Magazine photographing the area's top attorneys. This is a yearly supplement, and on average I have about 25 firms I have to photograph in a 45-day span. I genuinely enjoy meeting the different attorneys, and visiting their offices. There are several challenges that come with this type of assignment. If it’s a group shot, it’s very difficult to get everybody to one place at the same time for very long. Often I only get about eight to ten minutes with the full group. And in some cases, I have to photograph the group missing someone and add that person in later. If I know this ahead of time it is definitely workable, and I can leave spaces in the group for the missing person.
The location of choice..
Another challenge is to find the best location for my client. People are always looking to have a fresh image, and for years attorneys have used their libraries, and bookshelves as a background. This has been done time and time again. I try to steer them away from this, providing them with a background more suited for their personality.
When photographing individual attorneys I try to have two locations I can work with quickly. Again these individuals are extremely busy and I often only get between eight and fifteen minutes with them. You have to assess the environment, and lighting quickly to create your plan. A few years back I started having the images sent to my iPad as I shot. This has been a huge help in selecting the final image, ensuring my client is happy with the product that I’m producing.
This week presented all of these challenges. The attorney I was photographing wasn’t going to be available at first, but then found the time last minute, giving me only a short time to get over to the firm and determine my plan. It needed to be outside at twelve noon, which is difficult light to work with. After walking around the perimeter of their office I discovered a wonderful wall, that had aged black marks on it.
Using my scrim overhead I found it created a very nice light as my base layer. I then added in my Phottix Indra 500 light with the wide-angle diffuser and grid attached.
I got the exposure that I wanted on the wall first. Then I adjusted the output of the light to match the ambient exposure, giving me the illumination desired.
I was able to make 27 images in about five minutes. From an equipment standpoint, having my lights on my portable battery pack is tremendously useful. If I had tried to find plugs for my lights it would’ve taken me much longer, and I might’ve lost time photographing the attorney.
Here is the final image of Sacramento Attorney Eric Ratinoff
Afternoon At The Preston Castle
We had another wonderful outing at the Preston Castle last Sunday. This session was from 12 noon to 4 in the afternoon. During other sessions I found that the light streams through the windows, and is constantly changing. With midday light most of the windows act like large soft boxes. With the age and deterioration of the windows it makes for some beautiful light.
We had another wonderful outing at the Preston Castle last Sunday. This session was from 12 noon to 4 in the afternoon. During other sessions I found that the light streams through the windows, and is constantly changing. With midday light most of the windows act like large soft boxes. With the age and deterioration of the windows it makes for some beautiful light.
Window light: I used the Nikon D4 with a Sigma 35mm
For this session there were a few goals I set for myself. One was to work with existing light from the windows in different locations. Another was to use a strobe light in different areas in a way that I haven’t done before. And then the last goal was to use a strobe outside to balance the sun with high-speed sync.
I was very pleased with how the images came out. The light that I chose to use was is the Phottix Indra 500. I added the wide angle reflector with grid and diffusion attached.
I have been working with this light for about a month now and I am very impressed with its versatility as well as its ease of use. I’ve worked with extremely high end systems in the past, and these definitely are on par with those.
The last 2 images take full advantage of the Indra's High Speed Sync ability. It has been such a huge add to my kit!
Cannabis Czar Joe Devlin
Back in November I had the pleasure of photographing Joe Devlin for Sacramento Magazine . He is the chief of cannabis policy and enforcement for the city of Sacramento. This was a fascinating assignment and I learned a LOT about the new cannabis policy. I ended up using one light as a fill. The grow room already had really good light, I just needed to fill the shadows.
Joe Devlin in a new high tech grow farm
Strange Light
On the morning of 12/10, the light started to change dramatically. By mid morning a huge smoke cloud covered the whole area.
We rented a place on the beach a few weeks ago for my son-in-law’s and daughter's graduation from Cal Poly San Luis Obispo.At the same time the horrible fires were continuing to rage in Southern California. One of the fires was in Santa Barbara. On the morning of 12/10, the light started to change dramatically. By mid morning a huge smoke cloud covered the whole area. There was no smell or change in air quality at ground level. It was as if a big lid was covering us. It made for some of the strangest light I’ve made images in. The water reflected a golden color. These are a few images from that morning.
Panorama showing the smoke
