Archive for August, 2014
This past weekend, Joe Torre’s #6 was officially retired at Yankee Stadium. He rightly took his place among the pinstriped legends. I worked with Joe a number of times over the years, and he always proved to be an affable subject. I wrote about the above snap in The Moment It Clicks.
I shot it in the aftermath of Frank Torre’s heart transplant surgery, performed by the famous Dr. Mehmet Oz. Frank and Joe were not only brothers, but also one of those rare tandems of siblings who both made it to the big leagues. I was assigned to shoot the trio, at Yankee stadium, for a story on alternative medicine. At about noon, on a sunny day. As I think I asked in the book, “What do you do with three relatively lumpy guys who are waiting for you to tell them to do something interesting.?” In five minutes or less. In bad light.
The answer, as it often can be, was a big, single blow of light, in this case a 74″ Octa. One light, full power, open up the faces, and beat back the sun. The operative thing that goes through my mind during a session like this is always “KISS!” Keep it simple, stupid. No time for anything fancy.
But, if you leave these guys alone and don’t direct them, all you got is three different head shots, only all in the same picture. So, you gotta have an idea, and venture it, at the risk of hearing no, or even worse, being ridiculed for suggesting something outlandish or stupid. With Joe and Frank, though, I knew I had a couple good guys who had spent enough time in locker rooms to respond to “How about giving Dr. Oz a big, Brooklyn smooch?” Which set the doc to beaming. Three minutes or so, and I left with a picture for LIFE.
Shot Joe and his equally famous golf buddy Rudy Giuliani for the cover of Golf Digest, also at the old Yankee Stadium.
We shot this in the left field warmup area, hence the rumpled seamless. The biggest problem I had was that as soon as the team got wind that the skipper and the mayor were doing a photo shoot, they started pulling home run balls over the left field wall during batting practice, hoping for mischief, or perhaps to see one of my lights explode. One ball was a screamer that might have done some damage, but we were saved by Mo Rivera, who Joe described as the best pure athlete on the team. Rivera made a helluva grab, and the set stayed safe.
Congrats to Joe, who always made my job easy. More tk….
I recently was fortunate enough to be allowed to play with a beta version of the Profoto Air Remote TTL-N units. That means, in short, the Nikon version of controllers for the already renowned Profoto B1 units. The Canon models have been out for a while, and now the remote for Nikon hits the market on Sept. 15. Hit this link for the complete skinny and specs. Read the rest of this entry »
As I usually mention when teaching flash lighting, the most important light to observe and work with is not represented by that carton of flashes in the trunk of your car. It’s the ambient light level you encounter on location. Even if you go into a coal mine, and there is no light, that lack of ambient illumination becomes the driver for your flash solution. Likewise, outside, on a sunny day, that nuclear blast of photons up in the sky pushes you to light…or not. So, ironically, when you go on location as a “flash photographer.” no matter how many watt seconds you are packing. the ambient light is the key light to observe and react to. Read the rest of this entry »
A bright light just went out. Robin Williams could speak faster than most of us can think. And when he spoke (often in tongues) we laughed, long, hard and well.
Only photographed him once. Typical of his irreverent whimsy, he walked onstage to rehearse wearing a “Forty F%&*$#&G Niners” t-shirt, and dared the assembled photogs to take his picture and put that in your “family f%$*(**&^%g newspaper.” Had to bring my timing to get a publishable snap.
We were all lucky to get anything sharp. He kept it lively, doing his routine, and riffing here and there. His pinball wizard brain kept us anywhere from chuckling to outright howling. I know I missed a bunch of pics just standing there, slack jawed at the pace of it, camera in my hands and not to my eye, giggling like an idiot. Old style chrome, EPT pushed one stop. Radio City Music Hall, 1982. Long time ago, and lots of laughter since then.
Thank you….Godspeed…..more tk…..
It’s been a busy year, so much so, I didn’t get around to doing a KelbyOne live seminar until late June. They are fun to do, and it looks like I’ll do a few more as the year progresses. The Kelby folks actually changed the name of the tour in the middle of things (thanks guys:-) so it is now called “The Power of One Flash.” Good example below. A very patient lady helped me out by coming out of the audience in San Jose for this one flash snap.
It’s a one flash deal, but the flash is ping ponged off a white foam core board. It faces away from the subject, hits that board, enlarges and softens dramatically, and then hits a 3×3 Lastolite Skylite Rapid Diffuser, which is very, very close to her face. When the already bounced light translates through that, it gets really glowy and soft. It’s basically a home made soft box I make on stage.
At the top of the blog, the pic is three flashes, but I don’t get to three until the fourth hour, and only use the that many for about 10 minutes. The rest of the day is pretty much one flash treatments, which I regard as a serious act of restraint on my part.
The gentleman in the hat is lit with two rim lights, off to the sides and behind him. I shot in tungsten white balance, so the white light SB-910 units go blue. With a little underexposure, they get dramatically blue. The front light is a little beauty dish that used to be made by Flashpoint. Sadly, they don’t make it anymore, but I loved the controlled snap of the light, especially when used, as it is here, with a honeycomb grid. It’s tight, and really pops the subject, but let’s the other lights do their thing, as it’s overall field of coverage is really defined and narrow.
Also experimenting with a new style of umbrella. It’s big. (Called a 4 in 1 by the Lastolite folks, it is 51″ so the coverage is excellent.) Used in reflected fashion, it easily drapes Brad and Jan here in rounded, soft light. (This big source gets trotted out in the last hour, where I show some Profoto large flash units, and contrast that approach with multiple speed lights into one shaper.)
Then, with the addition of a tri-grip silver reflector, and some banter, we ended up here. These lovely folks have been together a long time, over 20 years, as I remember. Many thanks to them for coming onstage.
But turn the umbrella into a shoot through, firing only through the center port, you can make it a character driven light, such as the treatment here of Chet, also a wonderful volunteer from the audience.
The above pix are shot with the exact same light source, the 4 in 1, but configured in a different way, which yields decidedly different results.
Next one of these stops is Cleveland! Having fun doing these, and many, many thanks for all the gracious folks who come up onstage and help me out during the day. Most people don’t imagine at the beginning of the day that they will end up with a photo session in front of 300 plus people, but for a few, it works out that way. Hey, I get a great subject to work with, and they get a new Facebook profile picture. All good……more tk…..