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The Shooter > Did Digital kill the Photo-Star?

And to beat the aberration of the Buggles ’79 hit right away with one breath to death: No, definitely not! Digital didn’t kill the Photo-Star! So if you’re one of them, don’t bother reading further, your status quo is secured! Take a break and enjoy the park!

I have had several talks recently during which I was told that the time of the high rollers were over particularly taking into consideration the omnipresence of the internet and the economic realities. I don’t believe it. There are always going to be shooting stars. We want them, we need them, and they are the lighthouses of our industry.

It is intriguing that the guys on the top are almost always the first in line who adapt new technology into the field. This doesn’t just happen because the high-rollers have better means or that they are favored in their exposure to the latest. At the end it is simply intelligence and vision, motivated by whatever brought them up-front in the race!

So what is the rest of the crowd doing? How did working-life for photographers change in general since the color-pixels kicked the silver-grains butt and how can we live positively with these changes?


Changes have side effects; the dinosaurs could play a great tune on that theme.
What also happened to the profession of the photographer during and with the digital revolution is that it has indeed lost its power (assuming that it ever had some).
Nowadays a lot of people who love photography (and I am the first to admit this) have a nostalgic look back. In the past more money was spent on actual photo-production; in today’s world budgets tend to shift into post-production. Common knowledge dictates that if you want to control your “look” and your “end-product”, you better control the post.
A lot of shooters have to bargain for this control with “free” retouching and to make a long story short – often our profession replaces the work that was executed by photo-labs back in the good old celluloid times.
Also, the “oh, we fix it later”-mentality is not just encouraging a drop of the involved crafts-levels such as lighting, make-up etc.
It degraded the photographer’s position. If the person at the camera doesn’t know how to rule the digital technology the art-director might as well direct the talent while watching closely the computer-screen. We all have seen it: Entitled or not, suddenly everybody who can grasp a look on the screen comes up with a judgmental opinion which doesn’t necessarily always have a positive, constructive effect on the work-flow and focus on set.
It might be a little bit too rough to say that our profession is in danger to degenerate to an armada of botton-pushing space-monkeys whose raison d’être is limited to the production of page-filling content. But it is more obvious than ever before that more and more “content over quality” can be found in all media-outlets.


In his teaching on Samurai Philosophy Miyamoto Musashi explains very diligently that they are TWO ways to look at every situation and that the same correct principle is valuable for both “Small Scale” and “Big Scale”. Neglect of these principles will be punished with defeat; it is that simple!
As an example for “Small Scale” the ever-so popular look for reassurance on the screen of the digital backs comes to my mind. It has already changed the instinctive “shooting-with-the-guts” approach. The number of “magical mistakes” is reduced.
Plus – with digital a lot of photographers really mutated to machine gun shooters and tend to produce higher quantities of images. Why? Obviously because the first superficial thought is that pixels cost less money and naturally everybody, young or old, grace to the boost of inexpensive photo-Viagra loves to keep the finger on the trigger while the model is doing her job! More and longer is better! Well, at least the probability to catch one good frame is bigger!
Maybe I am getting hold of the wrong end of our stick. So let’s swing over to the “Big Scale”.


First, let’s be honest the popularization of photography to the masses through digital didn’t help us to conserve our “special” status.
Secondly on broadband the smaller quality requirements of the Internet combined with the fast development and pushing of ISO numbers over ONE HUNDRED THOUSAND still appeals utopist but in reality it represents a threat to artificial quality lighting. Why spend money on lighting equipment rental if we can shoot available light and anyway the photographs are so small on the internet-page, who cares?
The next photographer who intends to light beautifully with Strobe, HMI, Tungsten or Flourescent must be a master-hustler or has to own his own equipment which sets us back to the cave-days before rental.
Beside this I believe firmly that we will see a stronger polarization of photography in the future; the writing is on the wall! Much more fast food for the majority of photographers and just a smaller number of us will have the opportunities to dine in wonderful French Restaurants and enjoy the exquisite privileges of great productions.
On a side-note: Will printed paper/magazines as THE most important outlet die and disappear?
I am not convinced that this is the case but before its total extinction paper will certainly take more and more hits – the closing of magazine titles of the leading publishing-houses during the last month is the best witness.
The newspaper industry, as we knew it, is certainly dead – tomorrow’s paper with today’s news has no chance to compete with the instant gratification of the electronic media.
It might be right that very specialized magazines on paper will still continue to exists and sell well but I myself know for a fact that my fashion-shots will be used for the ecommerce-business of on-line-magazines.


The deadly sin that we creative people commit, is that we see ourselves as far too important in the general commercial view! Bitter truth is that at the end of the day it comes down to business. Numbers talk and decide our faith!

Are your feelings hurt? Harsh words? Too hard? I don’t think so! A taste of sarcasm and exaggeration could help for once, no? Absolutely!
Please, show some self-irony and gallows humor, nobody else than a handful of other shooters are reading this blog anyway, so it stays between us.
Recently I was confronted with a situation where I had to give away all my photo-files right at wrap-time on an editorial shoot. Total loss of my editing/postproduction/“director’s cut” privileges.
All I can say is that it all worked out to my advantage. There are always ways to turn a bad situation into a good. Read Doctor Wayne Dyer.

It does not help at all to digress into some “in the old days everything was better” talk – if you want to do this on an exhibition opening night with a glass of champagne in your hand, be my guest and know that this will only gain you some false compassion from your competitors.
If you want to survive in the jungle of the competitive New York photo-industry you have to be part of the evolution.


Let’s face it – the way that we photographers were sold on digital was a big mind-blow. Our life didn’t become easier; it became more complicate and complex, even more expensive! If you want it or not – we are slaves to the machine!
That’s why it is imperative to find the right balance with all the other side shows and to stay in the loop BUT it has to happen intelligently, efficiently – knowing where the state of the arts is, how to adapt it to your personal needs and not taking every technical progress as a “Do or Die”, that’s amateur.

Last November I assisted a great Seminar featuring the Canon 7D presented by Jeff Fuller of Canon at Fotocare on West 22nd Street. I was particularly curious about the video-capacities of the new body.
It is amazing how fast the developments run but what I find more relevant regarding the new video-capable camera-systems is the question what affect the overwhelming hype around video for photographers, particularly for the Internet, has on our work.
Is it really true that photographers must provide video in the future or is this just another way to sell me a feature in a camera that I don’t really need? As a war correspondent in a conflict-zone it becomes handy not having to carry around both a stills and a video camera, but how about the advertising-battle-field of Manhattan?!
What makes us believe that video is the savior of our hurting profession?
What makes photographers believe that they could save their skin with video after the inflationary appearance of images has devaluated the stock-image market for example (there exist also other reasons for this development but that’s a different story)?

One day when I picked up some gear at T.R.E.C. Rental, I discussed the issue briefly with Ken Kobayashi, a great guy and one of the best veterans of the Rental-Industry here in New York City. He showed me some little video on the website of a big retail fashion-brand where jeans were featured with a model’s 360º-turn.
Ken’s point made sense! Why hire a separate video-crew if it is more cost-effective to let the still-photographer shoot both?!

The moral of the tale is that Video most definitely has to be part in the package of any successful commercial photographer in the future. Why not – who knows what’s waiting down the road!


Which finally allows me to close the circle:
Even though with digital our photo-life has become more complex we have no choice, we need to stay in the process of development, creatively and technically!
Plus there are so many strategies and tricks to regain control and make you important as the leading man/woman on the “Small and Big Scale”.

If you are getting tired of spending so much time in editing because you over-shot just let it be a lesson and fall back again on your shooting-instincts. Shoot less but better!

If the focus of your team is sabotaged by its own curiosity, choose to shoot into card or hide your digital technician and computer in a corner or behind a V-Flat (if the situation and your client allows it).

If the photography-market will polarize more and more between fast food and fine dining and you don’t like to eat at McDonalds you better develop a distinguished photography-style that makes you out-standing and recognizable. This will make the negotiations around post-production much easier. You will have much more clout to place your editing and your preferred retoucher on the job!

And to summarize > Let’s not cry about past glory! Like a prize-fighter we are only as good as our last fight. In commercial photography, whoever wants to be successful has to be part of the technical and creative evolution. And if you don’t want to make the extra effort, somebody else will do it and fill the gap you left. Rule the technique so your creativity can unfold!
Because that’s what the big boys are always doing . . . and at the end, remember – that is why Digital won’t kill the Photo-Star . . . and that’s what you are . . . 😉

Thorsten Roth’s website: www.thorstenroth.net

Photos: Editorial “Bare Essentials” for WhatsWear © 2009 All rights reserved by Thorsten Roth

An Interview with Miami Photographer Andre Rowe

How did you become a photographer? Describe your career development?

My father was a photographer, a commercial photographer in fact. He did weddings as long as I can remember, but it was his portraits that interested me most. I sort of “tripped” into photography with all the photographic gear that surrounded me. What started as an ongoing hobby, turned very serious in high school when I was brought on to the Correspondent Staff of the Sun Sentinel, a major newspaper in the South Florida area. It was there that I saw my future, and paid keen attention to my desire to create images.

2. More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?

I had two muses from high school who from their abundance of images came an abundant flow of requests from people in their network. A network that grow to over hundred individual “models” durning my five year wedding spree. And “that” is where my creativity grew.

3. How do you learn your techniques?

The answer to that question both plain and still PRICELESS. I’ve learned virtually EVERY technique from actually making mistakes. Real mistakes that ended with me posing the questions: “Why did that happen?” and “What should I do instead?”. The latter question leads me to trial and error. Trial as in “intentionally” re-creating the mistakes (and any variance on them), and taking the time to identify the circumstances. Error as in directly avoiding the mistakes by doing perhaps the opposite when the circumstances arise once more.

In essence, my techniques come readily, easily, and successfully from a wealth of understanding “what not to do”.

4. Who are your photo heroes? Or who has inspired your career?

Easy – Patrick Demarchelier. His work is uncomplicated and beautiful. His images are achieved seemingly without effort. He seems to quickly establish a rapport with his subjects and is blessed with their best moods at the time of shooting. The end results are as minimalistic (in terms of editing) as the original state to begin with.

5. What is the worst part about doing what you do?

Editing. Yes, I could share my workflow with a retoucher, but that often means that the last hand to touch the work is not that of the original photographer. I have always questioned the merits of that. None the less, I do edit my own work, and because I dislike it so, I have developed several methods for streamlining my work flow so that I take equal to if not less time at the computer than during the actual shoot itself.

6. What is the best part?

The best part is either my actually “seeing” the image in the seconds before touching the camera, or “seeing” the reaction that the subject(s) have afterwards when showing them why I was so happy in the first place.

1. What are we going to shoot today?

Four poster images over two days for SR Perrott, Inc. who is the distributor of Miller Lite and Coors Light beers in the Daytona Beach, Florida area. The posters are promotional pieces for the 2010 Daytona 500 NASCAR event of which SR Perrott is also a sponsor.

2. How did you learn how to do what you are about to show us?

The simple answer is that I learned through years of experience. The more creative answer is that I learned through patience and the basic premise of focusing the lighting and camera on only what is important to the client, and leave the rest to the viewers imagination.

3.What tools are you using to make this image?

*Nikon D3 with a 24-70mm f/2.8 lens
*Verso A4 (x1)
*Topas A2 (x2)
*Pulso G2 lampbase (x2)
*Ringflash C
*Beauty Dish with diffuser (x2)
*Para 220 Soft with Ringflash P
*RFS Transmitter
*Sekonic L-758dr lightmeter
*Gitzo Systematic tripod
*Really Right Stuff Ballhead with bracket & various plates

4. Why did you choose these tools?

Because I don’t yet own any Scoro packs! The Ringflash C was essential to give me even light coverage across the surface of the image, with emphasis on the areas that the models encompass. Also, in order to remain softly lit throughout the image area, I had to use the beauty dishes in relation to the PARA 220 Soft. The reason that I chose the PARA 220 Soft is because despite the nature of the poster, the main subjects are the models of which are on a large canvas (the NASCAR). Otherwise, I would have used a greater number of heads with P65 reflectors to compliment a single Ringflash C as my my main light.

5. What features of the equipment that you use make it easier to do your job?

The PARA 220 Soft has a distinctly wide spread of light that works favorably with wide-angle lenses. The Ringflash C is just one of my favorites as an all-in-one light source. I love the robust nature of the Verso A4 and if only by appearance & audible sounds, lends itself to establish the feel of an intense photoshoot.

6. Did you use competing products in the past? What made you change?

This could lead to short novel. Yes, I started with Norman (over a decade of use and familiarity), then moved over to the Pro-7 line of Profoto (six solid years of use), before switching vigorously to Broncolor. I really would need a great deal of time to explain the decisions and nuances as to why I switched, but to sum it up – drawing from my years of experience and knowledge, Broncolor offered a superior product, and NOT by a marginal amount.

Andre Rowe
www.rowephotographyonline.com

Andre divides his time between NYC and Miami. Andre kicks off a traveling seminar series starting in the North East this month. For more information please email us at events@bronimaging.com

Speaking with broncolor user Colin Anderson about inspiration

Perhaps the most common question l get asked as a photographer is “where do you get your ideas from?” Often, it’s not an easy one to answer with my usual response being locations, props and models etc. But on a recent trip
along The Great Ocean Road in Victoria Australia, a rare opportunity arose where l was given an entire series handed to me by this amazing stretch of coastline also known as the ship wrecked coast. With no real idea of what, or how l was going to create the final imagery and no models or props with me l just shot everything that caught my eye with the plan to fine tune all the elements once l returned home. Back at the studio l began processing all the shots out and planning the next stage on how l would incorporate the model, props and feel to the series. Wanting to give the images a high end fashion feel was the first step to establishing the stylistic direction l was going to take. Also the series would take on a narrative approach which would help to tie everything together with a start, middle and ending.

For the image shown here, “Salvage”, the idea was to have her finding washed up treasure from the ship wreck itself. As the treasure chest was fairly heavy, we propped it up so the model could retain an elegant and relaxed
pose to keep with the style of the shot. Lighting wise, l placed a Broncolor soft box with a diffusion panel to the side of the model and a silver umbrella to the left. Two 5ft white bounce boards were placed in front to
provide some fill to the model and treasure chest. All the elements were then brought together and combined in Photoshop to achieve the final image.

What started out as a personal series has since been picked up by a new client who we will be reshooting the entire series for a campaign launching in 2010.

Colin Anderson is a photographer specializing in conceptual and narrative based imagery. He also co-founded blendimages.com.

www.andersonproductions.com.au

Tye Studios Shooting broncolor on the Beach

Andre Rowe at TYE Studios in Fort Lauderdale has been making a series of awesome videos about how TYE uses broncolor in the studio and on location for serious professional strobe lighting. TYE is a full service studio with a good supply of broncolor on hand.

In this video, Andre demonstrates setting up a large Para FB focusable light shaper in high winds on the beach. Dave McRitchie of Sinar Bron steps in for an excellent anchorman cameo.

Broncolor and TYE Workshop Weekend – Para on the Beach