photographing shadow and light: inside the dramatic lighting techniques and creative vision of...

Copyright©2012byJoeyLawrence

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PublishedintheUnitedStatesbyAmphotoBooks,animprintoftheCrownPublishingGroup,adivisionofRandomHouse,Inc.,NewYork.www.crownpublishing.comwww.amphotobooks.com

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AforewordisincludedhereinbyDavidHobby.

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L.,Joey(Lawrence)PhotographingShadowandLight:insidethedramaticlightingtechniquesandcreativevisionofportraitphotographerjoeyl./JoeyL.withJeffKent.p.cm.Includesbibliographicalreferencesandindex.

1.Cinematography—Lighting.2.Portraitphotography—Lighting.I.Kent,Jeff,1974-II.Title.TR891.L162011777′.52—dc232011046721

eISBN:978-0-8174-0015-6

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Thisbookisdedicatedtomymomanddad,whoputupwithmycrapforyears.

CONTENTS

CoverTitlePageCopyrightDedicationFOREWORDINTRODUCTION

STYLETECHNIQUE

FINEARTPORTRAITSTHECRADLEOFMANKINDHALLOWEENINBROOKLYNTHEHOLYMENOFVARANASI

MUSICPORTRAITSPROTESTTHEHERODAVIDDRAIMANOFDISTURBEDERICNALLYOFFOXYSHAZAMG-UNITPANICATTHEDISCO

COMMERCIALPORTRAITSIRT:DEADLIESTROADSMUDCATSTHEJONASBROTHERSAMOUR.COMPENNZOIL

kindle:embed:000F?mime=image/jpg

PAWNSTARSPROJECTRUNWAYALLSTARSHOUSEOFANUBIS

POSTPRODUCTIONWORKFLOW

ACKNOWLEDGMENTSINDEX

FOREWORDBYDAVIDHOBBY

WhenIbeganwritingtheforewordforthisbook,IdecidedtoavoidtheobviousfocusonJoeyLawrence’sage.Butasitturnsout,Iwaswrong.Wearegoingtotalkabouthisage.

NotintheMozart-wrote-a-symphony-at-age-fivesense,butmoreinthecontextofwhoJoeyisandhowthisbodyofworkwascreatedsoearlyinhiscareer.Forthosewhodon’tknow,Joeymadethephotosinthisbookbeforeorattheageoftwenty-one.Tome,themostinterestingpartofthisisnotthefactthathewastwenty-one,

butthefactofwhenhewastwenty-one.Joey’sdevelopmentasanartisthashappenedsincetheturnofthemillennium.HehasneverknownaworldwithoutcomputersorPhotoshop.Heisadigitalnative,andthathashadaprofoundeffectonhisphotographyandphotographicpath.Further,thecombinationofwhenhewasbornandhisearlysuccessplaceshimatthevanguardofanemerginggroupofGenerationZphotographers.MembersofGenerationZarethoughtofashavingbeenbornintheearlyto

mid-1990s.AlthoughJoeywasbornin1989,heunderstoodataveryyoungageexactlyhowthenewdigitalenvironmenthadchangedeverythingaboutphotography.Soinmanyways,Joeyisafewyearsaheadofhistime.And,inabroadersense,heiswhat’scoming.Thisbookisanexampleofhowtheworld’smostsuccessfulphotographerswillbethinkingfiveortenyearshence.Previousgenerationsofphotographersgrewupinanerawhenitwasassumed

thatyoucouldgetasteadyjobwithagreatcompanyandbesetforlife.Formanyphotographers,myselfincluded,thatmeantsomethinglikeworkingyourwayuptoagreatmetrodailynewspaper.Oncethere,noworries.Justdon’tscrewupandyou’llbefine.Clearly,thattimehaspassed.Forphotographersofmygeneration,ourdependablebusinessmodelhasbeen

crushedlikeabug.Foryoungerphotographers,thedigitaltransitionhasbeenaliberation.Infact,themostsuccessfulphotographersofthefuturewillhavemoreincommonwithaSiliconValleygaragestart-upthanwiththetrackoftheirphotographicforebears.Forward-thinkingphotographersarealready

becomingentrepreneurs,mostlyinthesensethattheycreatetheirownecosystems.Theydon’tneedprintingpresses,distribution,orthevalidationofalargecompanyofanykind.JoeywasbornaroundthesametimeastheInternetandhasgrownup

alongsideit.Heishighlymotivatedandexhaustivelyself-taught,learningatablisteringpacefarbeyondthatofthetypicalphotographyschool.Justasimportant,heisbothconfidentandcreativelyfearless—aresult,Ithink,ofhiseducationoutsideahierarchicalenvironment.Whenyougrowupreceivingthevalidationofyourteachers,youlearnto

dependonthatvalidation.Whenyougrowuponyourown,youlearntotrustyourinstincts.Joey’seducationhappenedwithacamerainonehandandanInternet-connectedcomputerintheother.HelearnedPhotoshopthesamewayhisthirteen-year-oldpeerswerelearningtobeatHalo:perfectlywillingtodieathousanddeathsenroutetohisgoal.PhotographersofJoey’sgenerationaredifferent.Theireducation,motivations,shootingstyles,businessmodels—alldifferent.IthelpsthatJoeywasborntoexceptionallysupportiveparents.Theynotonly

gavehimthefreedomtolearnandexplorephotography,butencouragedhimtotakecreativechancesandpursuemoreambitiousgigs.I’dliketothinkthatwhenmyownkidshitseventeeninafewyears,I’llbejustassupportive.Itwasrightaround2007whenIfirstmetJoey.Hewasinthemidstof

transitioningbetweenhisparentalandprofessionalenvironments.Fiveyearsdoesn’tsoundlikeverylongago,butindigitalnativeyearsitcanbealifetime.Joeywasalreadyshootingasteadystreamofprofessionaljobs.HehadanagentinNewYorkandanotherinLondon.Ontopofthat,hewasnearingcompletionofhisfirstdigitalcommercialproduct:atutorialexplainingprettymucheverythinghehadlearnedtodateaboutphotographyandpostproduction.Thinkaboutthatforamoment.Atseventeenyearsold,Joeyalready

understoodthatheneededneitherapublishernoradistributortobesuccessfulasaphotographer.Hejustneededtocreateadigitalproductandputitoutthere.Itwouldliveordieviaonlinewordofmouth.Digitalnativesthinkdifferently.Thedigitalproductswerejustanodeinhisecosystem,buttheygavehimthe

abilitytofundhisphotography.Thesymbiosisworked.Hehasdonetwomoredigitalproductssince.Createandship.Honeanditerate.Thinklikeadigitalstart-up.ItwasatthispointthatIstartedfollowingJoey’scareer,andwekeptintouch.

WordsoontrickledoutthathehadbeenhiredtoshootthepostersfortheupcomingTwilightmovie.AsthefirstadaptationofStephenieMeyer’sbookseries,themoviewasallbutguaranteedtobeablockbuster.Andtheywere

goingtoletaneighteen-year-oldphotographershoottheposter.Itwasunheardof.Ayearlater,inDecember2008,IsteppedoutofthesubwayinLondonand

sawhisphotosontheTwilightposters.Theywereeverywhere—double-deckerbuses,kiosks,billboards—everywhere.Irememberhavingdifficultyprocessingthatinmyhead.ItooksomeshotsandemailedthemtoJoeyalongwithmycongratulations.WhatIwouldfindoutlaterwasthathehadseriouslyconsideredturningdown

theTwilightjob.Hedidn’tfeelthatitfitthecompasspointofhiscareer.Ultimately,hismaindrawfordoingtheposterswasthatthepaycheckwouldfuelmoreambitiouspersonalprojects.ItwouldallowhimtotraveltoIndiatophotographholymenwithoutcommercialbacking.Andthephotosfromthatprojectwouldimpressfutureartdirectorsenoughtogarneryetmorehigh-endcommercialassignments.Lather,rinse,andrepeat.Stilltechnicallyinhighschool(hewastakingleavestoshootcommercialjobs

andpersonalprojects),Joeywasalreadylearningnotjusthowtocreatehisownecosystem,buthowtoscaleittothepointwhereitwascreatingitsownweather.Now,fouryearslater,atatimewhenmanypeoplehisageareholdingfreshly

mintedcollegediplomasandsearchingforjobs,Joeyislargelyincontrolofhispath.Heischoosyaboutwhatheshoots.Hecreatesjobsandprojectsoutofthinairbycraftingimaginativetreatmentsandproposals—andsupplementingthemwiththebodyofworktobackthemup.Ratherthantakeasubparjob,Joeywillsearchoutcreativepartnersfor

collaborativepersonalprojectsthatsuitthemboth.Thisisthekindofprivilegeformerlyaffordedonlytosuccessfulphotographerslaterintheircareers.ButJoeysawthisastheshortcuttocreativefreedom—andsuccess—beforehewasoldenoughtodrive.Irememberseeingtheimagesinthisbookasastreamoverthelastfiveyears

asJoeycreatedthem.Ihaveneverbeenonetocritiquephotos(or,truthbetold,toacceptthecritiquesofothers),butseeingalloftheseimagestogether,youstarttogetabettersenseofthephotographerwhomadethem.WhatIseeinthesepicturesgelsperfectlywiththepersonIhavecometo

know.Joeyhasadeepandpassionatecuriosityaboutpeople.Whetherhissubjectisaculturaliconwithaneight-figuresalaryorapennilessindigenousperson,thecuriosityisequallysincere.Hisinteractionwithpeopleisasgenuineasitisfearless.Andthatshowsinhisphotos.Joeyisascomfortableworkingwithcutting-edgedigitaltechnologyasheis

adaptingthelookofanOldMasterpainterfromthe1600s.Asheshoots,heaffectstheairofagoofycollegekid,evenasheisthinking,seeing,calculating,

andexecutinghisphotography.Outwardly,Joeyishappy-go-lucky.Ontheinside,he’sasintenseasanyoneIhaveevermet.Moreso,Ibelieve,thanhefeelsheisallowedtoshow.Butinreadingthebookyou’llquicklyseethathealwaysdoeshishomeworkandisgenerallythemostwell-researchedpersonintheroomwhenitcomestimetomakephotos.Speakingofreadingthebook,thedifferenceinvoicebetweenthewordsand

photoswillfeellikeaparadox.Thewordsarethoseofayoungadult—apassionate,well-researchedyoungadult,butayoungadultallthesame.Thephotos,however,arethoseofaconfident,motivatedprofessionalwithmoreexperiencethanmanyphotographerstwicehisage.JoeyLawrenceisyoung,technologicallyliterate,ambitious,andalready

playingthelonggame.Heisthefutureofphotography.Getusedtoit.Wearenowinaworldwheretalent,creativity,fearlessness,agility,andpersistenceallworktogethertotrumpseniority.Thisiswhat’snext,andit’sexciting.

DavidHobbyisthecreatorofStrobist.com.

http://Strobist.com

INTRODUCTION

MyinterestinphotographyandcinematographybeganwhenIwasseven,backinmyhometownofLindsay,Ontario.IusedtomakelittlehomemovieswithaHi 8 camera, filming scenes ofmy friends running around the neighborhood,being chased by dinosaurs. I used toys as props, staged scenes, and editedeverythingtogetheronaVCRintominimovies.

Inmyearlyteens,Istartedphotographingpersonalprojects,includingself-portraitsandimagesofhomelesspeopleonthestreetsofToronto.ThenIbeganphotographinglocalrockbandsinmytown.Ibuiltmyownwebsiteandanonlineportfolio,whichledtosomeinterestoutsideofLindsay,includingfromanelectronicmusicianinAmsterdam,whocameacrossmyworkandthencontactedmeaboutphotographinghimforsomepromotionalmaterial.Slowlybutsurely,Istartedpickingupbiggerbandphotoshoots.BythetimeIwassixteen,myworkdrewtheattentionofsomebandmanagerswhohiredmetophotographtheirclientsandthenstartedactingasmyfirstphotoagents.Ibegantravelingwithafewdifferentbands,photographingthemonlocationalloverNorthAmerica;Iwasspendingmuchmoretimeshootingthangoingtoschool.Luckily,myparentswereextremelysupportivefromthestart.Ratherthantellingmetoputdownthecameraanddomyhomework,theyencouragedmetofollowmydream,inspiteofthegrowingdifficultyofkeepingupwithmyschoolwork.TheyknewthatIwasdoingwhatIwassupposedtodo.AllthistimeIhadagoal,whichwastomovebeyondmusicphotographyand

progressintomoresubstantialcommercialshooting.SoIstartedworkingtowardamorecommercial-friendlyportfoliobyphotographingthebandsinsituationsthatwouldappealtocommercialclients.Inadditiontothestandardalbumcoverposesandgroupshotsthatmyclientsneeded,I’dworkinindividualportraits,morecreativesetups,andsetsofimagesthatlookedlikeadcampaigns.Thebandswerehappytooblige—theygotmorecreativepicturesfortheirpresskits,andIgottoexpandmyportfolio.WhileshootingpromotionalimagesforthebandSilverstein,forexample,Iexperimentedbytreatingitmorelikeanadvertisinggigforacommercialclient.Theimageonthispagelooksmorelikeacommercialportrait,litwithfourdifferentlightsources.

Myearlyon-setphotographywasafarcryfromtheproductionsI’mmanagingnow.

Initially,theseimagesappealedtoseveraldifferententertainmentclients—televisionandfilmartdirectors,mostly—whoappreciatedthehybridstylethatmixedmusicindustryimagerywithcommercialportraiture.Istartedworkingwithaproperphotoagent,andbythetimeIwaseighteen,IwaslandingsubstantialcommercialandeditorialphotoassignmentswithclientsrangingfromForbestotheHistorychannel,totheproducersofthemovieTwilight.

Fromthere,mycareerhascontinuedtodevelopintolarger-scale,mainstreamadvertisingjobsformajorclientsthroughoutNorthAmerica,Europe,andtheMiddleEast.Runningaparalleltracktomycommercialphotographycareerhasbeenan

evolvingseriesoffineartprojectsondiverseculturesaroundtheworld.I’vemademultipletripstoremoteregionsofEthiopia,Indonesia,India,andotherdistantlandstoliveamongandphotographpeoplewhoseculturesandbeliefsystemsareacompletedeparturefromthemind-setsdrivingmycommercialimagery.Myfineartportraitprojectsaren’tdoneforcommercialgain;theyarepersonal,exploratory,andessentialtomydevelopmentasanartist.ManyofthetechniquesthatIuseduringthesescaled-down,highlyportablesessionsformthebasisformycommercialportraitlightingtechniques.Theseimagesareagreatwayformetofine-tunemyapproachtolightingandposinginwaysthatultimatelyinformeverythingIdoasaphotographer.Peoplealwaysaskaboutmy“bigbreak,”thatprojectorimagethatpropelled

mycareertoahigherlevel.Idon’tthinkthereisone.Idon’tbelievethatphotographersevergettoaplacewheretheyshootonegreatjobandthenaresetforever.Instead,thisfieldrequiresperpetualself-educationandpersonaldevelopment.That’showIlearnedphotographyandhowIwillcontinuetoevolveasanartist.I’vespentcountlesshoursreadingbooksontechnique,studyingoldtextsonclassicartisticmethods,visitingphotographyforums,andexaminingnotonlytheimagesofesteemedphotographersbutalsothepaintingsofreveredmasters,suchastheseventeenth-centuryDutchportraitists.You’llnoticethatIdon’tmentionputtinginclassroomtimeorgettinga

formaleducationinphotography.Ihavenone.I’venevergonetoschoolforphotography.I’veneverassistedawell-knownphotographer.I’veneverworkedforanadagencyorproductioncompanyorstudio.Thosearen’tboasts.Idon’tconsidermyselfsuperiortoanyoneelsebecauseI’mself-taught.AndI’mnotarebelwhocompletelyrejectsthevalueofaformaleducation.Thisissimplythepaththatworkedforme.Morerelevantforthereadersofthisbook,it’sapaththatledmetoborrow,discover,andcombineavarietyoftechniques,whichI’veblendedintoadistinctstylethathasbeenwellreceivedinthemarketplace.Istilllearnsomethingnewoneveryshoot.Thetrickistoneverstopeducatingyourself,whetherit’sinschool,inprofessionalseminars,oronyourown.

ThoughthiswasashoottocreatepromotionalmaterialsforthebandSilverstein,Itreateditmorelikeanadvertisinggigforabigcommercialclient.Tolightthisscene,Iappliedfourdifferentlightsources:Thedirectlightfromthesettingsunfloodedthecarfromthefrontwindshield,lightingthefrontofthesubject.MymainlightwasaSpeedotronflashheadinaChimerasoftbox,comingfromthefrontofthecaratasimilarangleasthesun.AnotherSpeedotronflashheadshiningfromthebackofthecaractedasabacklighttoseparatehisheadfromthebackground.And,finally,alittlesilverreflectorpositionedjustbelowtheframeandaimedupatthesideofthecarbouncedthemainlightbackontothefrontofthecartobringoutsomedetail.

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Now,I’mnotsuggestingthatyoucopymystyletofindsuccess—farfromit.Aphotographer’smostvaluableassetishisorherpersonalvision.WhatIamsuggestingisthatthepathtodevelopingone’spersonalvisionmaytaketwistsandturns,butexperimentationandself-discoveryareextremelyvaluable.BecauseIlearnedmanyofmymethodsindependently,Imayworkinawaythatdoesn’tmakesensetosomephotographers.Imayformulatemorecomplicatedlightingsetupsthanaretechnicallynecessaryforsomesituations.Theresult,though,isalookthatiscompletelymine,thatsetsmeapart.MyclientsandcustomersappreciatethatIhaveadistinctpointofview.Everyphotographershouldhaveadistinctpointofview.Therealtrickis

showingit,andhavingthecouragetoembraceit.Hopefullythisbookwillcontributetoyourownjourneytoestablishapersonalvision.Thelessonswithinaremeanttobeaguideline,notastep-by-stepinstructionmanual.Isuggestthatyouprocessmytipsandtechniquesandthendeterminehowtheybestapplytoyou.IfyouandIphotographthesamethingwiththesameequipmentandthesamebasicsettings,weshould,ideally,getdifferentresults,becauseweeachseetheworlddifferently.Weeachviewlightdifferentlyandarecaptivatedbydifferentelementsofacomposition.Thosedifferencesaregood,andthey’rewhyphotographyissuchafascinatingartform.

Thisportraitisapuresunsetshot,inwhichIsilhouettedthemembersofSilversteintocreateadark,moodyimage.Becausetheimagelooksdifferentfromthetypicalgroupbandshot,ithelpedtobroadenthereachofmyportfoliotoappealtomoremainstreamcommercialclients.


WhenonlocationwiththeMentawai,inIndonesia,Iestablishedrelationshipswithmysubjectsandbuilttrustwithothersbyenlistingthemtohelpmewiththeportraitshoots.

Inmanyways,myseriesonMountYasurisabouttheinterplayoflifeanddeath.Thepeoplelivingaroundthevolcanoarevibrant,andthevolcanoitselfis“alive”asanactivegeologicalforce,buteverythingaroundthevolcanoisdead.Thegroundiscoveredinash,thelandscapeislitteredwithdeadplantsandunforgivingrocks,eventheairisladenwithdeadlysulfur.Myimagesofthepeopleascendingthevolcanoandlookingovertheedgearemeanttohaveanatmosphericfeel.Iwantedtoshowtheirtruefeelingsaboutthevolcano,whichincludeaweandterror.

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AfewdistinctclanslivingonTannaIsland,Vanuatu,believethattheworldwascreatedfromMountYasur,anactivevolcanoontheisland.Afterdeath,theybelievetheirsoulstravelbacktothevolcano.Thevolcanoisaveryspiritualplaceforthem,somyfineartportraitseriesrevolvedaroundtheirrelationshipwiththemountain.I’dseenpicturesofthesepeoplebefore,butnotuponthevolcano.Theseimagesbringinmorebackgroundelementsthanmanyofmyotherportraits,toemphasizetheconnectionbetweenpeopleandlandscape.


STYLE

IDEFINEMYSTYLEAS“CINEMATICPORTRAITPHOTOGRAPHY.”MYWORK COMBINES classic influences, such as that of the Dutch masterpainters,withreferencestocontemporarythemesfromfilmandtelevision.ButIdidn’t come to this artistic identity overnight. It took a great deal of time andeffort to home in on my unique personal vision, and then to develop thetechniquestomakeitareality.Inmanyways,Ihadtorejectsomeofthecurrenttrends toward fast-click photography and slow myself down, examine theprocess,andconcentrateonthefundamentalsofwhatIwasdoing.Thishasbeenanongoingendeavor.Anartistic style is foreverevolvingand improvinguponitself. I often look back onwork I once thoughtwas great and now see it asterrible.ThatisahealthyprogressionbecauseI’mconstantlytryingtoimproveuponwhatI’vedoneinthepast.

Thethreeportraitsshownhere,here,andherearefromthreedifferentfineartportraitseriesinthreedifferentpartsoftheworld,butshowaconsistentapproachtolighting,posing,andcomposition.Theimagesdon’tneedtobeidentical,butacohesivethreadhelpsunifyabodyofworkandprovideadistinctidentityforthephotographer.

THISIMAGEANDTHISIMAGE1/125sec.atf/3.5,ISO100;

Inthedigitalage,it’sveryeasytooverlookyourresponsibilityasa

photographer.Thetechnologyavailabletodayisincredible.Ithasbecomesoeasytotakepictures.Digitalcamerasareaffordable,ubiquitous,andeasytouse.Socialmediamakeitasnaptosharephotoswithpeopleallovertheworld.It’sanexcitingtimeforthoseinterestedinproducinganddisplayingimages.However,justbecauseit’seasytotakeandsharepicturesdoesn’tmeanyoualwaysshould.Realphotographyisacraft,anartformthatrequirescloseattentiontodetails.Intoday’sfast-pacedworld,whenitcomestomakingimageswithanychanceatlongevity,it’simportanttoslowitdownanddoitright.It’scriticaltounderstandphotographyprinciplesandhaveavisionforyourimagefirst,beforeyouthinkaboutphotographing.It’saboutworkingtowardagoal,aspiringtowardsomethingdifferent.It’snotaboutsnappingoffthousandsofphotosandhopingyougetluckywithoneofthem.Ultimately,thephotographicprocessshouldresultinanimagethatsays

somethingaboutthephotographeraswellasthesubject.Ibelievestronglyinthisconcept.Asaphotographer,youinfluenceeveryscenethatyouphotograph.Itdoesn’tmatterwhetheryou’redirectingamajorcommercialshootorcapturingaphotojournalisticimageofaspecialmoment;bybeingthereyouareaffectingthescene.Yourpresencehasanimpactandthatimageshouldreflectyourhandinsomeway.Whatdoesthismean,exactly?I’mtalkingaboutputtingyourpersonalstamp

onyourphotography.Asaphotographer,anyimageyoucreateneedstocomefromyou.Itneedstohavethatlittlesomethingextrathatmakesituniqueandpersonal.WhenIwasakid,ifwegot100percentonaprojectinschool,itwasjustanA.TheonlywaytogetanA+wastogoaboveandbeyond,toaddsomethingspecial.Ioftenthinkofwhatmyfatherusedtotellmybrothersandme:“Dothejobrightthefirsttimeordon’tdoitatall.”ThatistheapproachItakewithmyphotography.Ineversimplytakeapicture.Isetupmyshots.Ithinkaboutthem.AndthenIexecutewithasmuchcareandprecisionaspossible.Iaimtogettheimagerightincamera,andalwaysaddsomethingextra,somethingthatwillmaketheimagedistinctlymine.EverythingIcreateisaproductofmypersonalvision.Mysuccessinthisfieldhasbeenbuilt,inlargepart,onadedicationtothatvision,aswellasanongoingefforttobeconsistentwithmypersonalbrandinthefaceofallotherinfluences.

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ThemostsuccessfulphotographersI’veknownorstudiedhavehadadistinctpointofview.Asaresult,theirworkisrecognizable.Thatlevelofcohesivenessiswhatseparatesthegreatimagecreatorsfromtheleaguesofpeoplewhojusttakepictures.It’salsowhatmakesyouamarketableentityinthehighlycompetitiveprofessionalmarket.Idecidedearlyontofocusonaparticularstyle.IfoundoutwhatIloveandwhatI’mgoodat,andIworkedatitashardasIcould.Mystylehasevolved,butthereisaunifyingthread;whenyoulookthroughmyportfolio,itlookslikeitcamefromonehand.Thatcohesivenessput

meinanichemarket.I’mnotgoodateverything,butI’mgoodatwhatIdo.Ifocused.Ididn’tgoaftereverysingleclient;Iconcentratedontheonesthatreallymatteredtome,theonesthatmakesenseformybusinessandhelpmeadvancemycareer.

Oneofthehallmarksofmystyleispositioningtheshadedsideofthesubject’sfacetowardthecamera,asinthiscommissionedportraitof50Cent.


ThiscommissionedportraitfortheHistorychannel’sIRT:DeadliestRoadsisanotherexampleofmytrademarkstyle,withtheshadedsideofthesubject’sfacepositionedtowardthecamera.

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MypersonalvisionisverymuchaproductoftheenvironmentinwhichIwasraised.Iwouldn’tmakethesametypeofimagesifIwasbornatanothertime,orinanotherplace.Mystyleisheavilyinfluencedbymovies,television,and

moderncinematography.Ilearnalotfromwatchingmovies,especiallyinrelationtolighting.WhenIseesomethinginteresting,Itrytofigureouthowitwasdone.Similartomovielighting,Ioftenbuildsetsformycommercialworkthatincludeasweetspotoflightforthesubjecttomovewithin.Thesetypesofsetupsallowthesubjectstomoveandinteractmorefreely,andIcanworkwiththemonsubtletweakstooptimizethelightingeffectswithoutneedingtoreconfigurelights.Whilemyworkhasbeenheavilyinfluencedbymodernfilmandtelevision—

particularlythedramaticlightingsetupsandfluid,contemporarycompositions—Ialsolooktoclassicinspirations,suchastheseventeenth-centuryportraitpaintingsoftheDutchmasters.Ilovetheircompositionsandlighting.Thewaytheyposedsubjectsandrepresentedlighthasdefinedportraitstylesforcenturies.OneofthemostfascinatingfeaturesoftheDutchmasters’lightingistheirtechniqueofturningtheshadowsideofthesubject’sfacetowardtheviewer.Thisproducesamoredramaticlookwithawidetonalrangeintheshadows.You’llnoticeasimilarapproachthroughoutmyportraiture,particularlymyfineartwork.Thisinterplayoflightandshadowiscentraltomyphotographicstyle.

Somewherebetweenfour-hundred-year-oldpaintingtechniquesandcutting-edgecinematiclighting,I’vecraftedastylethatemphasizesmoodandatmosphere,wheremytreatmentofshadowscanbedramaticorsubtle,dependingonmyobjectivesfortheimage.Iunderexposemybackgroundstocreateadarker,moodierlookwithasmoothed-out,painterlyeffect,placingtheemphasisonthesubject.Thecolors,thetones,andthemoodfromthebackgroundsfeedintothecolors,tones,andmoodonthefacesofmysubjects.Aboveall,thereisacarefullycraftedharmonybetweenalltheelementsintheimage,sothefinalcompositionlooksrealbutidealized.Thelightingandothertechniquesshouldn’tbesodramaticthattheytakeovertheimage.There’sdrama,butjustatouch;everythingisintegrated.Iliketothinkthatthere’scohesivenessacrossallofmywork,fromthefineart

portraitseriestothecommercialimages.However,withinthatcontext,thedifferentimagesobviouslyvaryquiteabit,dependingontheirpurpose.Mycommercialworkisverymuchaboutpopularculture,andsoitfollowsthesignsofthetimes.Myfineartportraitslookmodernbutaremorepersonalandhavedifferentuses.Theyarefocusedexaminationsofeachsubject.Doingcommercialandfineartphotographyislikeworkingintwoseparateworlds.It’slikebeingarace-cardriverbydayandacabdriverbynight—twocompletelydifferentspheres;theyjusthappentobothinvolvecars.Inthesameway,commercialandfineartphotographyareverydifferent;theyjusthappentoboth

involvecameras.Whenyouaremakinganadvertisement,youwanttoorientittowardwhat

peoplewantorwhattheyaspiretobe.Forexample,Levi’sjeanshasacustomerbasethatreacheswellintomiddleage,buttheiradvertisingprimarilyshowsyoungerpeoplebecausetheywanttoprojecttheimageofyouth,asifputtingontheirjeanswillmakeyoufeelyoungagain.Anadvertisementismadewithphotography,butit’smorethanaphotograph.There’salwaysanoverarchingmessagerelatedtoabrand.Sotheimageneedstoworkwiththatmessageandadvancetheobjectivesoftheclient.Mystyleisimportant—afterall,Igethiredbecausetheclientisseekingaparticularlook—butthestylemustservetheultimatepurposeoftheimage,whichistosellsomething.Withfineartportraits,thepurposeoftheimageisentirelydifferent.

Photographerswhocreatefineartimageryaren’ttryingtosellaproductorgetpeopletoaspiretoacertainlifestyle.Itisallaboutthephotograph.Fineartimagescometogetherinaseriestotellaunifyingstoryaswell,butultimatelyitallcomesbacktothephotograph.Imentionthedifferencesbetweenthesetwokindsofphotographybecauseit

issoimportantforphotographerstocreateforthemselvesaswellasfortheiroccupation.That’showyoudevelopastyle,bymixingon-demandcreativityforclientswiththecompleteartisticfreedomofyourpersonalphotography.Oneinformstheother,andideallyeachsphereofyourworkwillhelpyouimprovetheotherandgrowasatotalphotographer.Soyes,it’slikebeingarace-cardriverbydayandacabdriverbynight,buttherearedrivingskillsinvolvedindoingboth,andhopefullyyoucanlearntobeabetterdriverbyblendingthebestofbothworlds.

InthisimagefrommyseriesonthesadhusofVaranasi,India,Iworkedcarefullywiththeambientlightandsurroundingcolorstoproduceaportraitthatisasnaturallookingaspossible.Byreducingthepowerofmyflashtoaddjustapopoflight,Ienhancedthesubjectsubtly,withoutproducingadramaticimpactontherestofthecomposition.


TECHNIQUE

TECHNIQUE IS IMPORTANT, AS IS A STRONG FOUNDATION OFPHOTOGRAPHIC AND artistic principles. But the technical elements aren’tnearlyasimportantasthedirectionofyourphoto.Whetheryouuseonelightoreight,yourfirstthoughtshouldbehowthepicturewilllook—themood,thefeel,andthecharacter.Keepthetechnicalitiesinthebackofyourmindsotheydon’tget in theway of your artistic vision, and then apply those technical items asneededtobringyourvisiontolife.

LIGHTING

Forthisportfoliopiece,shottoappealtopotentialpharmaceuticalclients,Istartedwiththesunasastrongambientlightsourcethatdefinedthelookofthescene.Withthesunbacklightingmysubjectandprovidingawarmglow,Ijustneededtoaddsomeflashtotheforegroundtobrightenthefrontofthesubject.Myassistant,Morgan,rowedaboatalongsidethesubject’sboat,holdingaflashheadinalargeElinchromRotaluxSoftboxOctabesideher,aboveandtotheright,justoffframe.Thislightaugmentsthenaturallightofthescene,providingamainlightonthesubjectwhilethesunsetprovidesastrongbacklight.Byrowingalongsidethesubject,myassistant,Morgan(seethisimage)wasabletoholdtheoctaboxattherightdistancetoprovideappealingflashlightintheforegroundwhilethelightfromthesettingsunflaredinthebackground.


MYLIGHTINGTHEORYISBASEDONASTEP-BY-STEP,ADDITIVEPROCESS.OnceIhaveaninitialvisionofthedirectionofaphotoinmymind,Isetuponelightatatime.IstartwithablanksceneandmakeanexposurewithoutanyartificiallighttodeterminewhatIneedtoadd.Ialwaysdotestshotswithatestsubject.Then,usingmytestsubjectasthestandinmodel,Isetuponelight,checkthesceneagain,thenmaybeanother,thenmaybeanother,andsoon.Idon’taddabunchoflightsatoncebecauseitcangetconfusingandIcan’tdetermineasclearlywhateachlightisaccomplishingintheimage.Instead,IprefertotweakeachelementinthecompositionindividuallysothatIaddonlywhat’snecessarytoaugmentthescene,nothingmore.Thatwaythelightservestheartisticvisionfortheimage,insteadofbecomingthedominatingfeatureoftheimage.Inmyearlywork,mylightingtendedtodominatethephotographs.Theimagesweremoreaboutdramaticlightandlessaboutthe“performance”ordirectionofthesubject.Nowadays,Itrytofindahappybalancebetweengreatlightingandgreatexpressionfromthesubject.

Understandinglightingfundamentalsisessentialtothisprocessbecauseithelpsmeusetheexistinglightsourcesmoreeffectively.Theprocessbeginswithobservingthelightthatispresentinthesceneandthentreatingthatasthebaselineforaddinganyadditionalelements.Let’ssayI’minacityandthesettingsunisreflectingofftheglasswindowsoftheskyscrapers.Inthisscenario,Iprobablyhavetwolightsourcesalreadyinplace:(1)thereflectedlightbouncingoffthebuildingscanbemymainlight,illuminatingthefrontofmysubject;(2)thedirectlightfromthesettingsuncanbemybacklight,addingdefinitiontothesubjectbylightingitfromtherearandseparatingitfromthebackground.Withthisbaselineestablished,IjusthavetoevaluatewhatelseIneedtotweakthescene.Whenaddinglight,Ialwaysstartwiththemainlight,whichshouldcoverthe

subject’sfaceorbody,dependingonthecomposition.Iwantthislighttohitallofthesubject(s)andcreatemostoftheimpact.Usually,themainlightistheonlylightI’lltweakduringaphotoshoot.Onceallthesupplementallightshavebeenestablished,theystayput.TheyprovideanareaofidealizedlightthatIkeepmysubjectwithin.However,I’llmovethemainlightaround,basedonthepositionofmysubjectandtheeffectsIwanttocreate.Afterestablishingmymainlightanddoingsometestshots,Ideterminewhat

elsetheimageneeds.Doesitneedabacklightorrimlight?Backlightcanbeanykindoflightcomingfrombehindthesubject,whilerimlightshinesspecificallyalongtheedgesofthesubject,separatingitfromthebackground.Iftheimageneedsoneoftheselights,Iaddit,test,andreevaluate.Doestheimagealsoneedsomebackgroundlightstoadddefinitiontothebackground?Ifso,Iadd,test,andreevaluate.ItgoesonlikethisuntilI’msatisfiedthatI’vecreatedtheperfectlighting“scene.”Throughoutthisprocess,I’msimplyaddingonelightatatimetomakethe

imagelooklikethepictureI’veconceivedinmyhead.That’swhyit’simportanttohaveavision,soyouhaveaguideforyourwork.However,youdon’twanttobetoorestrictedbythatvision,toodeterminedtore-createyourmind’simageexactly.AsIaddlight,Iobservemyscenecarefullytoseehowthedifferentelementsreacttoeachnewlight.Imightdiscoversomethingbyaccident,orstumbleuponalookthatIhadn’timagined.SomeofmymostsuccessfulimagesweretheresultofhappyaccidentsthatoccurredwhileIwassettingupashot.Sobeflexible,becauseyouneverknowwhatbrilliantlookyoumightcreate.Ilikedark,moodyimages,soIoftenunderexposemybackgroundstoget

atmosphericshadowsandblended,creamyshapes.However,youcan’tjustunderexposeaphotographandexpecttocreateatmosphere.Whenyoushootshadowyimages,therehastobealightcreatingtheshadows.Itypicallyshinethelightonthesideofthesubject’sfacethat’sawayfromthecamera,creatinginterestingshadowsonthesideofthefaceclosesttothecamera.ThisapproachisreminiscentofthetechniqueusedbytheDutchmasterportraitpainters,whichIdescribedinthepreviouschapter.Whenyoulightstraighton,thelightcanbeveryflatandyoulosedimensioninyoursubject’sface.Bylightingthefarsideoftheface,yougetmoodyshadowsandcreatesomedrama—howmuchdramadependsontheexactangleandpowerofthelight,andtheposeofyoursubject.

HereisanimagefrommyseriesonthesadhusofVaranasi,India.Aswiththisphoto,mygoalwastoworkwiththeambientlightandsurroundingcolorstocreateanauthentic-lookingportrait.Supplementallightisusedwithalighttouchtosubtlyenhancethesubjectwithoutoverwhelmingthesubject’senvironment.


Sometimeswhencreatingthesedark,moodyimages,Ilosethesparkleinmysubject’seyes.Theshadows,particularlyonthecamerasideofthefacethatisshieldedfromthemainlight,canswallowuptheeyes.Inthesecases,Iuseacatchlighttoaddjustapopoflighttobrightenuptheeyes.Isetthepowerlowsoitwon’taffecttherestoftheimage,butitputsalittletwinkleintheeyes.Whenmodifyingmylightsources,Ifavorproductsthatprovidesome

variabilityinthelight.Makersofsoftboxesandotherlightingmodifiersarealwaystryingtocreateproductsthatproduceperfectlyflat,evenlight.Idon’tlikethatkindoflight.Iprefermodifiersthathavehotspotsandfeatheredlightfallingawayfromthosehotspots.Whenworkingwithsoftboxes,Ioftenremovetheinnerbaffle,whichisjustanotherlayerofdiffusionmaterialinsidethe

softbox,intendedtofurtherspreadoutthelightandavoidahotspotinfrontofthebulb.Iwantthathotspot,andIusethebrighter,concentratedareaoflighttomyadvantage,eitherdirectingitstraightatmysubjectforahigh-contrast,dramaticallylitportraitoraimingitjustoffmysubjectforasofter,lesscontrast-yappearance.Inmanyofmyportraits,especiallytheenvironmentalportraitsformyfineartseries,thefocalpointofmymainlightactuallymissesmysubjects,sotheyareilluminatedbythefeatheredlightthatfallsofffromthatcentralhotspot.Workingthiswaymeansthattheeffectofthelightchangesremarkablywhen

youmovethesoftboxevenjustafewinches.Aimthesoftboxinonedirection,andthelight’shotspotmightfallmoredirectlyonthesubject,creatingastrongerlightingeffectandahigher-contrastportrait.Tiltitjustaninchortwoinanotherdirection,andthehotspotmightmissyoursubjectcompletelysoheorsheisilluminatedbyonlyedgelight,causinglesscontrastandmorevariableshadows.Thedifferenceisprofoundandoftenjustamatteroftwistingyourwristeversoslightlywhenpositioningthelight.

Forthisprofileportraitof50Cent,shotforaVibemagazinearticle,IusedaProfotoProflashheadmodifiedbyasilverbeautydishasmymainlight.Positionedabovethesubjectandaimeddownathimata45-degreeangle,thislightprovidesthemainilluminationofthesubject.Ifocusedthelightwitha20-degreegridtocreatemoredirectedlight.Beneath50Cent’sface,justbelowtheframe,Ihadanassistantholdanotherflashheadinastripsoftbox,turnedtolowpowerandaimeduptoprovideabitoffillandsomesparkleinhiseyes.


EXPOSURE

ASI’VESAIDEARLIER,IUNDEREXPOSETHEBACKGROUNDTOEMPHASIZEthesubjectandprovidethedark,moodylookthathasbecomemysignature.Forcommercialshoots,I’lloftenunderexposethebackgroundbutkeepthesubjectinproperexposurebyilluminatinghimorherwithmultiple-lightsetups.Thebackgroundgoesdarkerwhilethesubjectisinperfectlight.Formyone-lightfineartportraits,Ioftenuseacombinationofunderexposing

thebackground,applyinganeutraldensityfiltertoacorrectlyexposedsubject,andaddingasinglelightonthesubject.Idiscussthistechniqueinmoredetailin“TheCradleofMankind”chapter,butthebasicsofthemethodinvolvemeteringmysubjectcorrectly,thenmeteringformylights,thenapplyinga2-stopneutraldensityfilteronmycameralens,andfinallyturningmylights2f-stopshighertocompensateforthefilter.Mysubjectremainsproperlyexposedbecauseofthehigher-powerartificiallight,whilethebackground,whichhasnoartificiallight,exposes2f-stopslower,givingadarker,moredramaticlook.Thetechniquealsoletsmeshootatawideraperture,likef/2.8orf/3.5,whichkeepsthebackgroundinsoftfocusforacreamy,painterlyappearance.

Whilemysubjectremainsinproperexposurebecauseofacombinationofpowered-upflashandaneutraldensityfilteronmycameralens,myintentionalunderexposureofthebackgroundturnsitdarkandmoody.


COMPOSITION

IhadphotographedalltheseyoungEthiopianwomenoftheDaasanachtribeindividually,beforewesetupthisgroupshot,sotheyunderstoodthebasicprocesspriortothecreationofthismoreadvancedcomposition.Theyputthemselvesinaninterestingarrangement,andthenImovedthemalittletooptimizethecomposition.Theideawasnottomakeeverythingsymmetricalorregimented,buttocreateanaturalflowthattheviewer’seyecouldfollowacrosstheimage.Themaninthebottomrightcorner,intheboat,wasjustsittingtherewatchingthescene.Hehadnoideahewasalsointhepicture.

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ALOTOFPHOTOGRAPHERSLIKETOEMPHASIZECERTAINfacialfeaturesbycroppingtheirimagestoconcealpartoftheheadorface.Idon’tlikethisapproach,thoughIuseitnowandthenwhenthesituationisright.Iprefercompositionsusedbytheoldmasterportraitpainters,whichalmostalwayskepttheentireheadinview.Iarrangemysinglesubjectscentrallyortooneside,oftenusingthe“ruleofthirds”(composingtheimagewitha3×3grid),andI

balancethebackgroundelementstoavoiddistraction.Groupshotshaveamorecomplexcompositionsincethereneedstobea

balancebetweenthedifferentpeopleintheframe,aswellasthebackgroundelements.Thekeyistoconsiderallofthepiecesoftheimage—thepeople,thenaturalelementsintheframe,thelight,thesky,anythingthataffectshowtheviewer’seyemovesthroughthepicture.Alloftheseelementsneedtoworkinharmonysotheimagehasasmoothflow.Theydon’tneedtobelinedupevenly,orevenneatly.Therecanbesomevariabilityinthecomposition.Buttheviewer’seyeneedstoproceedfromoneelementtoanotherwithoutgettingstuckordistractedbypartsoftheimagethataren’ttheintendedfocus.

POSING

TheseMentawaimenstoodcandidlyinfrontofmycamera,eachofthemshiftinghisweighttothebackleginamannerthatIoftensuggesttomysubjects.Theposemakesthesubjectlookrelaxedandnatural.

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MYPOSINGUSUALLYBEGINSBYGIVINGMYSUBJECTSANAREAINWHICHtostandandthenseeingwhattheydointhatspace.Iwanttoseewhattheirnaturaltendenciesare.Imightoffersmalltips,suchas“Lookupmore,”or“Turnyourheadtotheside,”butItendtoenjoypeople’snaturalposesthemost.Forthisreason,Iloveworkingwith“real”people,especiallypeoplewho

haven’tbeeninundatedbyimagerytheirwholelife,suchasthetribalpeopleI

photographedinEthiopiaandIndonesia.Theyaren’tconditionedtocommercialimages,sotheydon’twalkinfrontofthelenswithanypreconceivednotionsofhowtheyshouldlook.Theytendtojuststandtherewithoutanyself-consciousness,andyoudon’thavetobreakthemofanybadposinghabitsbornfromwatchingtoomanymodelingshowsonTV—likepuckeringtheirlipsortryingtomaketheirjawmuscles“pop.”Whenworkingwithpeoplewhoaren’tusedtobeingphotographed

professionally,thefirststepistohelpthemfeelcomfortableandrelaxed.Ifyoucangetthesetypesofsubjectstolettheirguarddownabit,youcancreatesomeintriguing,genuineportraits.Ioftenstartbygivingmysubjectsamarkertomovearoundwithinmylightingsetup.Iwantthemtotrytobethemselves.Iftheyremainstiff,Imightsuggestthatwetakeabreak,andwhileI’mfiddlingwithmycameragearorattendingtosomethingelse,I’llkeepaneyeonthem.Iftheyrelaxandsettleintoanatural-lookingpose,I’lltellthemtoholdit,andI’llstartworkingagainfromthatstartingplace.Ifasubjectpersistsingivingmeastiffstanceandcan’tseemtosettleintoanaturalpose,Iaskhimorhertoputonefootbehindtheotherandthenshiftweighttothebackfoot.Thatmovechangesthedimensionofthebody,adjustingtheshouldersandposture.Withbiggroups,Iusesomeofthesametechniques,butobviouslyI’mfaced

withamajorchallengeifseveralmembersofthegroupareuncomfortable.Fortunately,groupshaveabuilt-inmechanismforrelievingtension,whichisthesocialconnectionofbeingonsettogether.Ibeginbyputtingeveryoneinmylightingsweetspot,thenIadddimensionbyarrangingsomepeopleinfrontandsomeinback,staggeringthemacrossthescenesothey’renotallstandinginastraightline.ThenIgiveitsometime.Idon’tstartphotographingimmediatelybecausemysubjectswillstillbestiff.Idosomethingelsethatlooksimportantforafewseconds.Asthegroupmembersrelaxandstarttalkingtoeachother,theyunconsciouslyadjustthemselvesintoposturesthatarenaturalforhumaninteraction.Theyreleasethetensionintheirshouldersandturntowardeachothertoeaseconversation.Whentheysettleintothosenaturalposes,I’lltellthemtofreeze.Imightmakesmalladjustments,liketurningtheshouldersofthesubjectsontheoutsideofthegrouptowardthemiddle,whichdrawstheviewer’seyetowardthecenterofthecomposition.WhenI’vemadethosetweaksandachievedthemostnaturalposesIthinkI’mgoingtoget,Istartphotographing.

FINEARTPORTRAITS

My biggest passion is traveling the world, meeting interesting people andmaking portraits of unique individuals from different cultures. My fine artportrait series have taken me from the sidewalks of my neighborhood to thetriballandsofEthiopiatothetopofavolcanoinVanuatu.

While each of these series bears subtle artistic distinctions, my photographicfundamentals are the same. I travelwith one light, a studio-quality flash headmodified by a large octagonal softbox. I power the light with a battery pack,whichmy assistant and I lugwith uswhereverwe shoot.My typical lightingapproachinvolvesholdingthelightaboveandtoonesideofthesubject,aimingitdownat about a45-degreeangle, andusing thedistinct light featuresof theoctabox to produce moody, dramatic portraits. I typically underexpose mybackgroundandshootwitha shallowdepthof field foramorepainterly look.These shootingmethods form the basis ofmy approach to all photography—personal and professional. However, exactly how I apply light, exposure,composition,andposedependsoneachsubject,eachsetting,andmyobjectivesforthatparticularimage.

THECRADLEOFMANKIND

INMANYWAYS,THEIMAGESFOR“THECRADLEOFMANKIND”—ANDTHEPROCESSusedtocreatethem—provideaglimpseintomyoverallthinkingasaportraitphotographer.ThiswasapersonalprojectthatIcarriedoutwithseveraltribesintheOmoRiverValley,aremoteregioninsouthernEthiopia.Thesephotographstellastoryoftrust,relationships,andrespect,andthepatientapproachrequiredtobuildthoseelementsintoacohesivecollectionofimagery.Theseportraitsareaboutuniquepeoplesandtheirrolesasparticipantsinthemodernworld.Theyarestories.Theyaremonographs.Theyarepiecesoftheseendangeredtribes’evolvinghistories.BeforevisitingthetribesoftheOmoValley,Ihadbeeninterestedintheway

thepeoplehadbeendepictedphotographically.Atthesametime,Iwasinspiredtotelltheirstoriesinadifferentway.Muchofthephotographycapturedinthispartofworldisphotojournalisticorreportage.Therearemanyimagesthatshowthesetribesasiftheywerepiecesofhistory.Isawalotofpicturesofpeopleholdingspearsanddressedastheywouldhaveonehundredyearsago.Yes,manyofthetribesoftheOmoValleyhadbeenlivinganancientlifestylethathadn’tchangedinasignificantwayforthousandsofyears,butmuchofthathaschangedinthelastfiftyyearsorso.Today,thesepeopleareaffectedbythemodernworldmorethaneverbefore.WhenIwenttothevalley,peoplewerecarryingautomaticweapons,wearingsomeWesternclothing,andwereintouchwiththeoutsideworld.Theyareundoubtedlypartoftoday’sworld,caughtbetweentheage-oldcustomsoftheirpastandtheprospectofanew,morehecticfuturethat’sincreasinglyintegratedwithcontemporarysociety.Withthatinmind,Iwantedtobringtheimagesintothemodernerabecause,althoughthesepeoplemightbewearinggoatskinsandsleepinginhuts,theyarelivinginthesameworldthatIam.Thismeantimbuingtheimageswithasenseofdignity.Theseindigenous

peoplehavebeenexploitedbygovernmentsandmoderncorporationsoverandoveragain.Theyareviewedasunsophisticatedoutcasts,andtreatedalmostthewayNativeAmericansweretreatedwhenAmericawascolonized—likebackward,primitivepeople.However,theyhaveaveryorganizedbeliefsystemandsociety;it’sjustdifferentfromours.SoIwantedtogivethemasenseofdignityintheportraits.

AnelderoftheHamertribe,Bonaisthehighlyrespectedchiefofhisvillage,Labaltoy.InHamerculture,Bonaisnotacommonnameforahuman;it’snormallygiventoanaggressiveanimal.Bonareceivedthisnameasayoungsteraftershowingsignsofaggressionandstrength.Hisscarificationisasymbolofthetribe’senemiesthathe’skilledinbattle.WhenIsawthescarsunderneathhisWesternclothing,Iwantedtophotographhimwithhischestandtorsoshowing,toillustratetheclashofculturesembodiedinthisoneperson.


Thisseriesincludesalotofclassicalposingwithsubjectslookingoffcamera.Yetatthesametime,theimagesaremodernstylistically.Iwantedtobringinelementsoflightingandcolorthatweredifferentfromthetypicalapproach.

AnelderoftheKarotribe,Biwaisrespectedandwelladornedasawarrior,carryingrowsofscarificationrepresentingtheenemieshe’skilledinbattle.Posingwithhisautomaticweapon,BiwademonstratesthecontrastsevidentinthechangingworldoftheOmoValleyasmoderninfluencesbecomemoreand

moreprevalent.


ThefeatheredheadpieceofthiselderoftheMursitribesymbolizesanoblewarriorwhohasearnedagreatdealofrespect.Iphotographedhimwiththesunbehindme,makingitdifficultforhimtolookinmydirection.Hehadseenotherslookingatthelens,sohekepttryingtodothesame,squintingashestaredintothesun.Isuggestedthatheturnhisheadtotheside,andwhenhedid,it

providedtheperfectlookforthisportrait.

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MAKINGITHAPPEN

ExecutingmyphotographicconceptintheOmoValleywasextremelydifficult.Theareahadbeenphotographedoverandoveragain,andthepeopletherehadgrowndisillusionedwithphotographerswho’dshowup,takesomephotographs,andthendisappear,nevertobeheardfromagain.

MYETHIOPIACAMERABAG

•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs(theformerforthefirsttwotrips;thelatterforthethird)

•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3(1f-stopofexposure),0.6(2f-stops),and0.9(3f-stops)increments

•Powersource:ProfotoPro-7bbatterypack

Myfirstobjectivewastogaintheirtrust.Duringmyfirstvisit,theinteractionswerealittleconfrontational.Ispentagreatdealoftimegettingtoknowmysubjectsandestablishingagoodfoundation.Beforeembarking,I’ddonemyresearch.I’dmadesurethatIcomprehended—asbestIcouldfromtheothersideoftheplanet—thetribes’culturesandbeliefsystems.WhenIarrivedintheirhomeland,IdemonstratedthatIunderstoodandrespectedtheirbeliefs.Thisimmediatelyseparatedmefrommanyotherphotographerswhohadvisitedthearea.Iknewtheprocesswasstartingtoworkwhenthepeoplestartedflippingmyquestionsonme—askingwhereIwasfrom,howourcultureworks,howwegetmarried,whatourhouseslooklike,howmanycowsIown,whatourcurrencyis,andsoon.Afterawhilespentgettingtoknowthepeople,learningtheirnames,andmakinganassofmyselftryingtodoastheydid,theystartedtotrustmealittle.That’sagoodtimetostarttakingpictures.Atthetimeofwritingthisbook,I’dmadethreetripstotheOmoValley,

totalingfourandahalfmonths.Duringmyfirsttrip,IestablishedrelationshipswiththepeopletherewhileIcreatedportraits.Digitalphotographyisfantasticforbuildingtrustwithskepticalsubjectsbecauseyoucanimmediatelyshowpeoplewhatyou’redoing,evenifit’sjustasmallimageonasmallLCDscreen.Ayearaftermyfirsttrip,Ireturnedtotheareawithlargeprintsoftheportraitsandgavethemtomysubjects.Thisnotonlyhelpedimproveourrelationships,

butalsogavethepeopleabetterconceptofwhatIdo.Forthethirdtrip,Icreatedaseriesofportraitswithblackbackdropsfashionedoutofacollapsibleblackreflector.Whileinteractingwithmysubjects,wetalkedaboutthewaywecommunicate

inourcultures.IexplainedthatWesternersareaccustomedtoamorevisualstyleofcommunication,asopposedtothestory-basedoralhistorypracticedthroughouttheOmoValley.Weshowthingsandtellourstorieswithimages.Thatwentalongwaytowardhelpingthemunderstandtheconceptofphotographyandtheultimatepurposeofmyimages.ThefirsttimeIwenttoEthiopia,Icarriedamobilegeneratortochargemy

ProfotoPro-7bbatterypack.ButIhatedusingitbecauseitwasloudandobnoxiousinthecontextoftheseremoteplaceswherepeoplehavenoelectricity.

MYRETURNTOETHIOPIAWITHLARGEPRINTSOFIMAGESFROMMYFIRSTTRIPWENTALONGWAYTOWARDESTABLISHINGTRUSTANDTAKINGMYRELATIONSHIPWITHTHEPEOPLETOAHIGHER

LEVEL.

ThisportraitofaMursiwomanillustratesmytechniqueformixingaproperlyexposedsubjectwithanunderexposedbackground,usinganeutraldensityfiltertoallowmetoshootwithanopenaperture.Theclaydiskinsertedintothewoman’slowerlipisaMursitradition.Thepiercingbeginsaroundpuberty,anditisstretchedlargerinsmallintervalsoverseveralyears.TheMursiwereoneofthemostdifficulttribestophotograph.Theyareveryfierce,whichyoucanseeinthiswoman’seyes.AsIwasposingherforaportrait,Ididn’tevenrealizeherbabywasunderhergoatskinclothing.Thenthebabyemergedandstarted

nursingrightasIcapturedthisimage.

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Forthesecondtrip,Iusedsolarpanelstochargeacarbattery.ThenIusedthebatterytopowermylightsduringtheday.Atnight,IusedthebatteryasaninverterandpluggedmyProfotoPro-7bintoit.IactuallyenjoyedthismethodmorebecauseitlimitedthenumberofflashesIcouldmakeinadaytoabouttwohundred.SoIhadtoreallythinkabouteverypictureItook.EverythinghadtobeasclosetoperfectaspossiblebeforeIwoulduseoneofmyflashes.Itremindedmeofshootingwithfilm,whenyouwouldn’twasteframesonpicturesthatwerejustgoingtoendupontheeditingroomfloor.Puttingyourselfinthattypeofsituationmakesyoumorecreative,becauseyou’reextremelyfocusedoneachimage.Ispentagreatdealoftimesettingupandconsideringeachportraitbeforethe

subjectevenarrived.Iwantedtoestablishaconsistentsetuptoprovidecohesionthroughouttheimages.Foralloftheindividualportraits,Iunderexposedthebackgroundalittletodropmoreemphasisontothesubjectandprovideanatmosphericlook.Toaccomplishthiseffect,Iusedacombinationofunderexposingthebackground,applyinganeutraldensityfiltertoacorrectlyexposedsubject,andaddingasinglelightonthesubject.Let’ssaymysubjectisamanstandinginfrontofariver,backlitbythesetting

sun.FirstImeterthesubjecttoestablishthecorrectexposure,aswellasthecorrectpowersettingformylight,whichwillshineonlyonthesubject.NextIputaneutraldensityfilteronthelens,whichessentiallydropstheexposuretwof-stops.It’slikeputtingsunglassesonyourlens.Thisallowsmetoshootatf/2.8foranice,shallowdepthoffieldandasoftbackground.Atthispointintheprocess,boththesubjectandthebackgroundareunderexposed,butthenIturnmylightstwof-stopshighertocompensatefortheneutraldensityfilter.Sothesubjectisproperlyexposedbecausehehaslightshiningonhim.Meanwhile,thebackgroundistwof-stopslower,andsodarkerwithoutanyartificiallightilluminatingit.ThisisthelookIwant—adark,moodybackgroundwithawell-lit,well-exposedsubject.Whynotjustturnthelighttwostopslowerandavoidbotheringwiththe

neutraldensityfilter?BecauseI’mshootingwithamedium-formatcamerawithasyncspeedof1/125sec.—thefastestshutterspeedyoucanusewithaflashwithoutlosingpartofyourcompositiontodarkness.Shootinganyfasterthanthat,aswouldbenecessarywithanopenaperture,you’dgetablackcurtaininyourpicturebecausethecamera’ssecondshutterwouldalreadybemoving

acrossthefocalplanetoclosewhiletheflashwasstillilluminated.You’dendupwithanunsightlyblackobstructionacrosspartoftheimage—notideal.Toworkaroundthisissue,Iusetheneutraldensityfilterwiththestrongerlightshiningonthesubject,andthebackgroundleftinpartialdarknessduetounderexposure.WeusedaProfotoProflashheadwithanElinchromRotaluxSoftboxOctafor

thisproject.Ialwayspositionedthelightinawaythatmademyassistant,RyanMcCarney,crazy.Ididn’tdothistobeannoying;mereinchesmakeahugedifferencewhenworkingwiththeRotaluxOcta.Thelightshinesoutfromthecenterandwrapsaroundtheedges,makingitflatandharshinthemiddlebutmorefeatheredandappealingaroundthesides.Itwilleitherlookreallygoodorreallyterrible,dependingonitspositioninrelationtothesubject.Myobjectivewastointentionallymissthesubjectalittlebitsoheorshewouldn’tbeblownoutbyharsh,directlight.Instead,thelightfallingonthesubjectwouldhaveasofter,featheredlook.UsuallyIplacethemainfocalpointofthelightalittleinfrontofthesubjectsothecentralfocusofthelightisonthegroundandnotashoulderorface,orsomewhereelsethatwouldbedistracting.Lightonlymeanssomethingwhenithitsthesubject,sothewayithitsthesubjectiscrucial.Thedifferencebetweensomethingreallyamateurandreallyprofessionalismereinches,sometimesless.Iinstructedmyvoice-activatedlightstand,Ryan,toholdthelighthigherthan

theeyelevelofmysubjects,angleddownatroughlya45-degreeangletoadddepth.Withthistechnique,IwastryingtoemulatethelightoftheoldDutchmasterpainters,givingmyportraitaradiantdepth.Inmostcases,Iusedthelate-daysunasabacklight.Withthesettingsun

positioneddirectlybehindmysubjects,Igetanicerimlight.(Iusethismethodinalotofmycommercialworkaswell.)TherewereonlyafewimagesinwhichIdidn’tbacklight.IntheseshotsIsetupmyflashtocomefromthesameangleasthesun,usuallytoonesideofthecameraatabouta45-degreeanglefromthesubject.Thistechniqueaugmentsthesunlightbymakingitalittlelessharsh.Themodifiedartificiallightissofterandhelpstakethebiteoutoftheharsh,directsunlightshininginthefaceofmysubject.

Duringmysecondvisit,whileonawalkatsunriseonemorning,IcameacrossthisKarowomanbyanoverlook.Unlikesomeoftheimagesfrommyfirstvisit,wherethereisanoticeabletensiononmysubjects’faces,thisportraitexhibitsamorerelaxeddemeanorfromthesubject,whobynowhasgottentoknowmealittle.Theportraitdemonstratesthenoticeablejumpinmysubjects’comfortlevelfromthefirsttothesecondtrip.Thiswoman’smotherly,confidentexpressionistheproductofayear’sworkwiththesetribes.

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AportraitofRufo,oftheArboretribe,backlitwithlate-daysunandilluminatedwithasinglelightsourcefromcameraright.Anopenapertureandunderexposureofthebackgroundhelpitfadeintoasoftblurtoemphasizethesubject.


ThissetupshotcomesfrommythirdtriptotheOmoValley,whenIconcentratedonaseriesofportraitsinfrontofablackbackdrop.Youcanseetheheight,angle,andproximityofthelightsource,whichistypicalofmyworkinthisseriesandotherfineartportraitprojects.

BaloisagirlfromtheDaasanachtribe,shownhereposingbytheOmoRiver.Asinglelightsourcefromcameraleftilluminatesthesubjectwhileanopenapertureandunderexposureofthebackgroundhelpsfadeitintoasoft,darkpaletteofcoolcolors.ShootingbytheOmoRiverhasalotofsignificancebecausetheriveriscentraltothesetribes’entirelifecycle.Cropsarewateredbyanannualflood.Theyfishtheriver,huntgamebyitsbanks,anduseitforbathing.Adamprojectisintheworksthatwouldstopthiswayoflife,sopictureslikethisonemightbe

irreplaceableinadecade.


ThepeopleoftheOmoValleywereusuallyquiteeasytoposebecausetheyhaven’tbeeninundatedbyimagerytheirwholelives.Theyareunconditionedtocommercialimages—television,billboards,magazines.Isimplysetupmylighting,positionedmysubjectinanareaofgoodlight,andthenaskedhimorhertostandtherenaturally.Theydidn’tposeormakefacestheythoughtwereattractiveormodel-like.Theyjustbehavednaturally.Thegroupcompositionstookmoretime.Forthoseimages,Ididmore

directingintermsoftellingpeoplewheretostandandarrangingtheindividualssotherewasanaturalflow.Usually,Iassignedeachpersonaspacetostandorsitin,andthenI’dseewhatthatpersondidinthespacenaturally.SometimesItoldthemtolookupordown,orawayfromthecamera,butmostofthefinalposingcamenaturallyfromthesubjects.Compositionally,thegroupshotshadmorecomplexity.Mygoalwastofinda

balancebasedonwhatwasintheframe—bothpeopleandnaturalelementsinthesurroundingscenery.Thisisaprocessthatrequiresanintuitivesenseofflow.Howdotheelementsintheframedrawyoureyefromonetoanother?Thecompositionalelementsdon’thavetobesymmetrical,butthereshouldbeasequencethatgrabsyourattentionandaddsinteresttotheoverallimage.

Whenyoudon’thavetwolights,youcanalwaysusethesunasasecondlight.ForthisportraitofRufo,thelate-daysunwaslowintheskyandattheperfectangletofitintheframe.Iusedherveiltodiffusethelight,providingagreenishhuetotheimageasthesunlightfilteredthroughthetranslucentfabric.


DuringmythirdtriptotheOmoValley,Ifocusedmyworkonaseriesofportraitsconductedinfrontofaportableblackbackground.Mybasicphotographicfundamentalswerethesame,buttheblackbackgroundsallowedmetobringevenmoreattentiontomyuniqueandfascinatingsubjects.


Onourwaytophotographanothertribe,weencounteredafuneralforawomanoftheBodiMe’entribe.TheBodiMe’enhavetraditionallybelievedthatthereisanevil,cannibalisticspiritamongthem,sowhentheyburysomeone,theyguardthebodyforacoupleofmonthstoprotectitfromtheevilspiritthatmaytrytostealthebody.Theyhavealsofearedbeingpossessedbythisspirit,sotheycometothefuneralarmedandpreparedtoprotecttheirdeadandthemselves.OvertimetheBodiMe’en’sfearshavefaded,andthishasbecomemoreofacustomarypractice,butthesuperstitionstillexistsamongsomeofthemoreremoteBodiMe’enclans.AsIwasphotographingthemanontherightwiththegun,otherpeoplecameovertoseewhatwasgoingon.Thiscompositionjuststartedtounfold,soItookafewstepsbackandcapturedtheentirescene.Thestormcloudsintheskyaretypicalofthistimeofyear.IintentionallytraveltoEthiopiainOctoberorNovember,atthetailendoftherainyseason.Thereisn’tasmuchrain,butyoustillgettheseatmosphericstormclouds,whichmakegreatbackdrops.Thecloudyskyalsooffersasofter,flatterlightthatworkswellwithmyunderexposuretechniqueforanalmostpainterlyappearance.


HALLOWEENINBROOKLYN

IN2010,ITRIEDDESPERATELYTOGETTOTHEMAHASHIVRATRIFESTIVAL,ANannualHindufestivalcelebratingthegodShiva,inVaranasi,India.Duringthefestival,devoteesofferBaelleavestotheLordShiva,fastallday,andthenholdanall-nightvigil.HinduholymenparadearoundwithRudrakshaseedsaroundtheirneckastheymarchtowardtheGangesRivertotakeasacredswim.Unfortunately,adelayedadvertisingshootinDubaiforcedmetomissthefestival.IfIcouldn’tmakeittoIndiaforMahaShivratri,maybetherewasanevent

closertohomethatwouldprovesimilarlyinteresting.IstartedthinkingaboutfestivalsintheUnitedStatesandCanadathatmightappearstrangetoanoutsideobserver.Halloweencametomind.AlthoughIrecognizethatHalloweenandMahaShivratriarecompletelydifferent,theybothincludeelementsthatseempeculiartopeopleunfamiliarwiththecustoms.Asaphotographerinterestedinpeople,it’sausefulexercisetooccasionallystepoutsideofyournormalthoughtprocessandobservetheculturesandtraditionsaroundyoufromadifferentperspective.Whenyoustepbackandlookattheworldasanoutsider,youdiscovernewthingsthatwererightinfrontofyouallalong.Becomeanobserver.Youdon’thavetotravelhalfwayaroundtheworldtomakeengaging,atmosphericportraitsoffascinatingcharacters.Sometimesyouonlyhavetotravelaroundtheblock.IliveintheBushwickneighborhoodofBrooklyn,apredominatelyPuerto

RicanandDominicanareathatisfulloflife.Althoughit’soneofthemostimpoverishedneighborhoodsinNewYork,itboastsarichculturalflavor.OnHalloween,thekids’costumesarejustaselaborateandcreativeastheyareinanywealthysuburbanneighborhood.Parentswatchcarefullyovertheirchildrenastheywalkdoortodoorseekingthenexttreat.It’sHalloweeninBrooklyn,andithappensonlyonceayear.Mygoalwiththisserieswastocreatetimelessimagesofapopularcontemporarytraditionthatwouldmakeviewersfeelasiftheywerelookingatphotographsofastrangeforeignritual.

Thisimagesumsuptheseriesinmanyways.ThechildisincostumebutisalsowearingaBrooklynhat,placinghiminmysettingunmistakably.ThechocolateonhisfacespeakstothecandyfrenzythatoccursonHalloween.Heisfacingintothelight,withtheleftsideofhisfacefallingintodramaticshadow.Theshadowsideofhisfaceisstillorientedtowardthecamera,butthehead-onlightingilluminateshisfaceclearly,showingthechocolatesmudges.Ihadhimpositionthebrimofhishatawayfromthelight,soitwouldn’tproduceextrashadowsthatwouldhaveobscuredhisface.

MAKINGITHAPPEN

Iwantedtophotographaseriesofportraitsfromtheperspectiveofaforeignerlookingin,asifIweremakinganethnographicstudyofallthecostumes.Ichosetophotographmostofmysubjectsonablackbackgroundtofocusonthepeopleandtheircostumes.Inmanycases,Ipurposelyincludedtheedgesofthebackdropintheframetoplayoffofthe“homemade”feelofthecostumes.Thebackdropseparatesthesubjectfromthebackground,butbyshowingtheedges,itsuggeststhattheywerephotographedonlocation,outside,onthestreet.Throughoutthisseries,IworkedinenvironmentalshotstoplacethesubjectsinBrooklyn,showingsomeofthesidewalkorthepathwayofMariaHernandezPark.

MYBROOKLYNCAMERABAG

•Camera:PhaseOne645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Light:ProfotoProflashhead•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:KataHikerbackpacktocarrythebatterypack;PhotoflexTelescopicLitediscHoldertoholdupthebackground

•Powersource:Pro-7b

IusedaportablelightingsetupsimilartomysystemfortheEthiopiaseries(ProfotoPro-7bbatterypack,ProfotoProflashhead,ElinchromRotaluxSoftboxOcta).Thissystemismobile,andnothingtouchestheground(myassistantsheldtheRotaluxOctaandbackgroundandwecarriedthebatterypackinabackpack),soIdidn’tneedapermit—notthatanyonewouldhavecaredinBushwickanyway.Theonlyrulewastobecourteousandmoveoutofpeople’swayastheypassedonthesidewalk.Ihadeverysubject,orthelegalguardianofeverysubject,signamodelrelease.Thiscoveredmeforfutureuseoftheimagesandprovidedacontactaddresstomailmysubjectsprintsoftheirportraits.

ThisimageshowstwotypicalkidsinBushwick.Onehasamaskandtheotherdoesn’t,sohishoodservesashisHalloweenoutfit.Ichosetocomposethisimagewiththeparkshowingoneithersideofthebackground.ByunderexposingthebackgroundwiththesametechniqueIusedintheEthiopiaseries,thesceneryinthebackgroundappearsdarkandominous,fittingforHalloween.


Mybackgroundwasasimplepieceofblackfoamcore,purchasedfortwentydollarsfromapaintstore.IriggedaPhotoflexTelescopicLitediscHoldertothebackwithanabsurdamountofgaffer’stapesothatanassistantcouldholdit.Oneassistantwouldstandbehindthesubjectandholdthebackgrounduprightwhilekeepingherselfhiddenbehindit.Myotherassistantwouldholdthelightabovethesubjecttocamerarightorleft,aimeddownroughlyata45-degreeangle.Bothassistantshadtheirhandsfull,asOctober31wasextremelywindythatyear.ThereweremorethanafewoccasionswhenIthoughtoneofthemwouldflyaway!

Whilethisphotomayseemcurrentbecauseofthepopiconrepresentedbythechild’scostume,yearsfromnowitwillbecomeanostalgic,historicalimageasoursuperheroeschangeandpeople’scostumesevolve.That’swhyIdidtheseriesinblackandwhite;theseimagesarepiecesofachanginghistory.


Myportablestudio,completewithmobilebackdropandvoice-activatedlightstand.

Itooktwophotographsofthischild.Inthefirst(notpictured),he’sjuststandingtherewithhishandsdown.WhenhesawtheflashgooffinthebigRotaluxOcta,hemusthaverealizedthatitwasalegitphotoshoot,sohedecidedtogetincharacterforthesecondshot.HeslowlyraisedhishandintheairlikeBatman,andIcapturedthisimage.


Ilovethisimagebecausethedadisabig,toughguy,buthe’ssharingthistendermomentwithhisson.Thecontrastbetweenthetoughguyandlovingdadhelpsmakeitatouchingportrait.TheposingisreminiscentofportraitpaintingfromtheDutchGoldenAge,whentheoldmastersoftenposedsubjectssothatonepersonmakeseyecontactwiththeviewerwhiletheotherlooksaway,offframesomewhere.Whendoneinalandscapeorientation,thistypeofposecanbepowerful,givingbothaconnectiontotheviewerandasenseofrealismtothesubjectsinthescene.


Thisguyisaneighborhoodclown.He’salwaysintoxicatedinonewayoranother.Thisoutfitishisnormalattire,withtheadditionofawigthathedonnedforHalloween.Thistriptychismeantasaninterestingcommentaryonthe“characters”thatliveamonguseveryday.

1/100sec.atf/4.5,ISO200

Withmylightshiningfromhighandtocameraright,aimeddownatthislittlegirlatabouta45-degreeangle,Iproducedstrongshadowsonthefarsideofherface.Ipreferahigher-contrastlookinblack-and-whiteimages,hencethemorepronouncedshadowshere.Theeffectalsomatchesthedarkatmosphereoftheseriesasawhole.


Thisserieswasmorerushedthanmanyofmyotherpersonalprojects,sinceIsetupandconductedalloftheportraitsinoneday.Fortunately,peopleinBrooklynareaccustomedtophotography,soIdidn’tneedtofamiliarizethemwiththeprocess.Ijustexplainedthepurposeoftheprojectandhowtheimageswouldbeused.Also,myneighborsareusedtoseeingmeworkingaroundtheneighborhood,andwhentheysawthelightsandbackdrop,manycameoverto

askhowmuchitwouldcosttogetaportrait.WhenItoldthemitwasfree,andIwouldmailthemaphotographlater,mostwereexcitedtoparticipate.

ToposethisBrooklynboyinhishomemadecostume,Iturnedhimtohisleftandaskedhimtofocusonapointofreferenceoffcamera.Mylightwasabovehimandheldtocameraright,soitilluminatedthefarsideandpartofthefrontofhisface.Asistypicalinmyportraitwork,theshadowsideofhisfaceisturnedtowardthecamera,displayingmoodyshadowsthatmatchthedarkcostume.

THEHOLYMENOFVARANASI

Ifirstphotographedthissadhu,BabaVijayNund,whenIwassixteen.Atthetime,IthoughthisportraitwasthebestpictureI’devertaken.WhenIreturnedhome,Isenta4×6printoftheimagetohisashram.Duringmythirdtrip,Iwaswalkingdownthestreet,andweranintoeachother.Heaskedmetofollowhimtohistentbytheriver,wherehetookoutaziplockbagandpulledoutthephotoIhadsenthimyearsbefore.Hehadvirtuallynopossessions,buthehadmyphotocarefullypreservedinaplasticbag.Iwasextremelyflatteredthathe’dkeptthephoto,andabsolutelyhumbledbytherespectheexpressedtowardmywork.Also,hewasshowingmethathetrustedmeandrespectedwhatIwastryingtoaccomplishwithmyphotography.SoIstartedworkingwithhimonmoreinvolvedportraits,includingthisimageofhimrowingdowntheGangesRiver.Forthisportrait,VijaysatononesideoftherowboatandmyassistantandIsatontheother.WhilemyassistantheldtheElinchromRotaluxSoftboxOctaaloftandaimeditdownatVijay,Iphotographedwiththeatmosphericlightingofdawnilluminatingtheriverandcitybehindhim.Therisingsunlitalayeroffogthatwasblanketingtheriver,providingasofthazeinthebackground.


FORTHEPASTFIVEYEARS,I’VEBEENWORKINGONASERIESOFportraitsofthesadhus,orHinduholymen,whoresideinVaranasi,India.Iwent

thereforthefirsttimewhenIwassixteen,aftersavingupsomecashfrommyfirstfewprofessionalphotoshootsofrockbands.TheVaranasiprojectofferedanopportunitytophotographthediversereligiousculturesofVaranasi,whichisaholysiteforHinduism,Buddhism,andJainism.BuiltonthebanksoftheGangesRivermorethanthreethousandyearsago,Varanasiisoneoftheoldestcontinuallyinhabitedcitiesintheworld.Thesadhusareatypeofascetic,wanderingmonkswhohaverenouncedearthlypossessionsintheirpursuitofmoksha,orspiritualliberation.Overthecourseofthreetrips,myimagesofsadhushaveevolvedstylistically.

Asmyrelationshipswiththesemenhavegrownmoresubstantial,I’vetriedtocreateincreasinglyinsightfulportraitsthatnotonlydemonstratethesadhus’deepspiritualitybutalsotheirindividualpersonalities.Theimagesinthischapterarefrommythirdvisit,inMarch2011.Afterward,IimportedtheimagesintoAdobePhotoshopandaddedablack-

and-whitelayer,whichIturneddowntolowopacitysothecolorsunderneathweredesaturatedbutstillvisible.ThenIranthemthroughthebluechannelintheChannelMixer.Thistechniqueissimilartothedaysoffilmwhenlabswouldputabluefilteroverthecameralenswhenshootingblack-and-whitefilm,pullingcertainqualitiesfromthelighttogetauniquecontrasteffect.Ipreferthistypeofcontrastandhightextureinmyblack-and-whiteimages,andthedigitalversionofthebluefiltertechniqueprovidedthislookperfectly.

MAKINGITHAPPEN

Photographically,IstartedwithmanyofthesamebasicsthatIdiscussin“TheCradleofMankind”chapter.Iworkedwithonelight,aProfotoProflashheadina69-inchElinchromRotaluxSoftboxOcta,andcarriedaportablepowersourcetorunmymobilestudiolightingsystem.Ipositionedthelightabovethesubject,toonesideofthecamera,andaimeditdownatabouta45-degreeangle,workingwiththefeatheredlighttocreateatmosphericlightingonthesubject.IalsousedneutraldensityfiltersandunderexposedthebackgroundinthesamebasicmannerthatIdescribehere.

MYVARANASICAMERABAG

•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3,0.6,and0.9increments


However,thewayIappliedlightandexposurewasmuchdifferentthanintheEthiopiaseries.WiththeseimagesIwantedasofterlook,somethingmoreblendedintothenaturallight,asopposedtotheintentionallydramaticlightingIappliedtotheEthiopiaportraits.HereIunderexposedlessandbroughtinmoreoftheambientlight.Withmorenaturallight,Ineededlessflashpowertoilluminatethescene.Themoreflashpoweryouuse,themoreyou’redependentontheartificiallightsourceasthedefininglightinyourimage.Iwantedtheambientlighttobemydefininglightandtheflashtojustcomplementthatnaturallight,notdominateit.BecauseIwasworkingsointimatelywiththenaturallight,Ihadtobemoreconsciousofthatlight—whereitwasshining,howitwasaffectingthesubject,thecolorsitproducedinthebackground.ThenIadjustedmyflashaccordingly.

Becausethesesadhusarehermitsandtendtokeeptothemselves,Ialmostalwaysphotographedthemalonetoportraythatsenseofintentional,spiritualisolation.Withthissadhu,whowasinhiseightiesandhadaboutfifteenfeetofdreadlockswoundupinhisturban,Iwantedanimagethatwasintimateandsecluded.ItookhimacrosstheGangestotheunpopulatedsideoftheriver.Varanasiisacityononesideandabigdesertontheother.Peopledon’tliveonthedesertsidebecauseofmonsoonfloods,soithasanopen,beachlikeatmosphere,particularlyearlyinthemorningwhenitisempty.Whilewewere

photographing,agroupofbirdslandednearbyandthenoisestartledmysubject.Asheturnedtolookatthemwiththiscuriousexpression,hewasstillperfectlyalignedinmylightingsetup,withtheRotaluxOctashiningfromaboveandtocameraleft,soIcapturedtheimage.Insomeofmyotherfineartseries,liketheEthiopiaproject,Iwouldhavecompletelyunderexposedthatsuntomakeitlookverydramatic.However,inthisimageIwantedamoresubtlefeel,soIdidn’tunderexposeasmuch,turningthejust-risensunintoasoftorangeflareratherthanadark,moodyorb.Theexposurealsobringsinmorenaturallightsoyoudon’tnoticeanobviousartificiallightfromtheflash.


TheVaranasiseriesisallaboutthesadhus’connectiontothisspiritualplace.Overthecourseofseveralvisits,Igottoknowtheseholymen,buildasenseoftrust,andgainabetterappreciationfortheirbondwiththeholycity.Toillustratetheirbondtothisuniqueplace,Iwantedmysubjectstobepartoftheirenvironment,whichmeantthecolorsandlightofthebackgroundweremoreimportanttothecompositionsthaninsomeofmypreviousfineartportraits.Istartedeachportraitbyphotographingmysubjectwithnothingbutnaturallight.ThenIwouldreviewtheimageandthinkabouthowIcouldaddsomelightverysubtly,verynaturally,andunobtrusively—justalittlefill,alittleenhancementthatwouldshowanartistichandwithoutoverpoweringthecomposition.Ishotmostoftheseimageswiththeflashonreducedpowerandusedless

directanglesforthelight.WhenusingalightsourceliketheRotaluxOcta,whichproducesadappledpatternofhighlightandshadow,verysubtlechangesinangleandpowercanmakeatremendousdifferenceinthestyleofthelight.Aninchtoonesidemightbemoredramaticandfullofcontrast.Aninchtotheothersidemightbesofter,moreseamless,moreintegratedwiththeambientlight.WhenItalkaboutthedifferenceofmereinches,thisiswhatImean.Ofcourse,thetimeofdayhasaprofoundimpactonthequalityoflight.In

Ethiopia,Iwasanopportunisticshooter.Itriedtoworkprimarilyatsunriseandsunset,butIalwayshadmycamerawithme,andifIcameacrosssomethinginterestinginthemiddleoftheday,I’dphotographit.Shootingatmiddaynecessitatedastrongerflashtocounteracttheharshdaylight,whichmeantamoreovertlight.DuringmylasttriptoIndia,Ishotallofmyportraitsbefore8:00a.m.Irestrictedmyphotographytothecoupleofhoursatthebeginningoftheday,andthenIspenttheremainderofthedayplanningmynextshootandspendingtimewiththepeopleofthecity.Itwasamuchbetterwaytowork,and

thebenefitsofthesoftmorninglightareevidentintheimages.Iconsidertheseimagesabigstepforwardintermsofmyfineartportrait

style,anevolutionfrommorebold,noticeablelightingtoasubtlerapproachthatcooperatesmorewiththeambientlight.Thefundamentalsarethesame,tomaintainacriticalsenseofcohesivenessacrossmydifferentfineartprojects.However,theseimagesshowamoredelicatehandapplyingthelight,onethatjusttouchesuptheimagetoaugmentwhatnatureprovided,ratherthanoverpoweringit.Intheseimages,myaddedlightismyownlittletwistonthecomposition,justabitofstylizationtotakethephotographbeyondpurerealityandmakeitaworkofart.

ThissadhuisAghori—asectthatbelievesinaverystrongconnectionwiththedead.Theseholymenwillmeditateonthedeadandputhumanashontheirownbodiesbeforedoingrituals.Becauseofthis,theyviewtheworldasatypeofillusionanddonotfinddeathafearsomeconcept.Afterstayingupallnightandwatchingthissadhuconducthisreligiousritual,Iaskedhimtoliedownonthedirtinthepredawnlight.Theideawastoillustratehisconnectionwiththeafterlifebypositioninghimontheparched,cracked,dead-lookingearthina

posereminiscentofdeath.Thecolorsinthisimagearethetruehuesfromtheearlymorninglight,justbeforethesunrises,whenadeepblue-purpleskylightsthelandscape.TheonlythingIdidwiththeflashwaslighthimveryslightlyfromaboveandtocameraright,justtoaddalightwashandbringoutsomedetail.Theflashpowerwasnothighenoughtochangethecolorsorhaveaprofoundimpactontheimage.Thistypeofposecanlookstaged,butbecauseofthesubtlecombinationofnaturalandartificiallight,itworks.


WITHTHESEIMAGESIWANTEDASOFTERLOOK,SOMETHINGMOREBLENDEDINTOTHENATURALLIGHT.

Thisimageisoneofthefewfromthisserieswithmultiplesubjects.Theseboysarenotsadhus;theyareBatukstudentsinareligiousschoolstudyingtobeBrahminpriests.Theyareinacommunityatthispointintheirlives,soImadetheirportraittogether.TheimageisactuallythreepanelsstitchedtogetherinPhotoshop.Hand-holdingthecameraandcarefullyadjustingitsorientation,Imadethreeexposures:oneofthekids,thenonetotheleft,andonetotheright.Icenteredmysubjectsinthefinalcomposition,whichbreakstheruleofthirds,buttheimageissolongonbothsidesthatitprovidesbalance,preventingitfrombeingoverwhelmedbythenearestsubject’sheadinthecenteroftheframe.MyassistantheldtheRotaluxOctahighandtocameraleft,aimingdownattheboysataroughly45-degreeangle.Asinmanyofmyportraits,theshadedsidesofthesubjects’facesareclosesttothecamera.


Whiledeeplycommittedandseriousabouthisrituals,thissadhu,Magesh,isabrightandcheeryguy,veryhappy,soIwantedtocreateabrighterportraitthatfithispersonalitywithoutrelyingonacheesysmile.Icapturedthisimageaboutthirtyminutesaftersunrise,whentheblueandpurplehueshadbeenreplacedbythewhitesandyellowsofmorning.Iputthesunrightbehindhimsoitflaredoutabit.MyassistantheldtheRotaluxOctadirectlyabovethesubject’sheadsothathisentirefaceisinthelight.Theflashpowerislow,though,justapoptomatchthosewhitesandyellowsinthebackground.Thisdirectapproachtotheflash

brightensuptheimageandgivesthesubjectaholypresence.Ialsoletmoreoftheambientlightintothepicturesothebackgroundturnedintoacreamy,softglowthatcomplementsthefullyilluminatedface.


MUSICPORTRAITS

My professional career got its first toehold through the world of musicphotography.Aftershootingseverallocalbandsaroundmyhometown,myworkcaught the eye of a couple rock bandmanagers,who hiredme to photographtheir clients. From those first few assignments, I started traveling aroundwithbands, creating images for press kits, album packaging, and promotionalcampaigns. Many of these shoots took place on the road or with limitedresources.

Musicindustryshootsareoftenfast-pacedandlow-budget,butthereisadegreeof creative freedom that can be beneficial to developing a signature style andpersonal vision. I oftenused the sameadditive lighting styledescribed earlier,starting with a basic foundation and then adding lights as needed for a morepolished appearance. This process works well in these types of multisubjectshoots,wheretheclientwantsseveraldifferentlooksproducedinashortperiodof time. I later found that thisoverallworkingstyle transferredwell tobigger-budget,higher-profilecommercialadvertisingjobs.Workingwiththemusicindustryalsohelpedmelearntoworkunderpressure

and produce professional imagery quickly using thematerials aroundme. Forsomeofmyfirstshoots, Iemployedavarietyofhomespunmethodstoget thejobdone,suchasmakingscrimsoutofbedsheetsandreflectorsoutofaluminumfoil.SinceIwasoftenbalancingthedemandsofhighschool,Ididn’thavealotoftimeforPhotoshopenhancements.Thissituationforcedmetogetmyimagesrightincameraandproduceanearlyfinalimageonset.

PROTESTTHEHERO

Forthisgroupportrait,Iusedthesameone-lightsetupasforthegroupfightshothere,butIheldalongerexposuretosoakupmoreambientlight.Thatgavetheimageaslightlybrighterappearance,thoughstilldarkandmoodyoverall.Iaskedtheguystostandinfrontofmeinagroupformation,andthenturnedtheoutsideguys’shouldersslightlyinwardtodrawtheviewer’seyetowardthecenterofthecomposition.


THISWASONEOFMYFIRSTREALPROFESSIONALJOBSWITHABAND,WHICHIdidwhenIwassixteen.I’dbeenphotographingsomelocalbandsinLindsay,Ontario,andbuildinganonlineportfolioofimages.ProtesttheHero’smanagerfoundmeandhitmeuptodothisshoot.TheyweregoingontourinJapanandneededimagestopromotethattour.Weproducedphotographsforafullpresskit,whichincludedpiecesforeditorialsubmissions,posters,

promos,andsocialnetworkupdates.Westagedtheshootinmydad’spaintshopinLindsay,andthebandtraveled

tometoconducttheproject.BackthenIdiditall—makeup,setup,cleanup,andeverythinginbetween.Itwasavery,verydifferentsituationfrommycurrentworkingmethodology,whichtypicallyinvolveshoppingallovertheplanettoshootonlocationpermyclients’requests.AfterIdidthisshoot,ProtesttheHero’smanagertookmeonasaclientand

servedasmyfirstphotoagent.HesentmealloverNorthAmericaphotographingmetalbands.Iworkedwithhimforaboutayearandthensignedonwithanagentwhoworksfulltimewithphotographers.ImentionthisbecauseIfeltitwasahighlyproductiveexperienceformycareer.Iliketheideaofworkingwithpeoplewhocanpushyoutowardinterestingclients,maybeinnontraditionalways.Whetherornottheyareproperphotoagentsdoesn’talwaysmatter.Yes,ithelpstoknowtheinsandoutsofthephotographyindustry,andagoodphotoagentisavaluableasset.Butthemostimportantthingisthecollaborativespiritinvolvedwhenyouworkwithsomeonewhobelievesinyourwork.

MAKINGITHAPPEN

ThiswasaconceptI’dwantedtodoforalongtime—severalguysbeatingthehelloutofeachotherinadark,moodysetting.ProtesttheHero’smusicisaggressive,athrashmetalstyle,sothethemefitwell.

MYPROTESTTHEHEROCAMERABAG

•Camera:CanonEOS5D•Lenses:85mmF1.8lensand28-135mmF3.5-5.6lens•Lights:TwoSpeedotronflashheads•Lightmodifiers:SoftboxandSpeedotronzoomreflector•Powersource:Speedotrongeneratorpluggedintoawalloutlet

Thesubjectsneededtohaveasweaty,greasylook,soIappliedsunfloweroiltotheirskinandhadthemrubitinlightly.Whenyousprinklealittlewaterontopofthesunflower-oiledskin,itbeadsuplikeraindropsonthehoodofafreshlywaxedcar.Thismethodworksgreatforcreatingthelookofsweatyskin.Italsoaddsshineandalluretonudemodelsorswimsuitmodelsposinginbeachorpoolscenes.Tore-createthelookofblood,Imadeaconcoctionoutoffoodcoloring,

water,glucosesyrup,andsugar.Whenyoumixthissolutiontoathickerconsistency,itworkswellonpeople’sskin,sinceitwon’trunasmuch.Athinnerconsistencyworksbetterwhenspatteringitonwallsorotherobjects.Asanaddedbonus,itdoesn’ttastehalfbad.

Inthisstagedactionshot,theguygettingpunchedleanedbackwhileafan(setupjustoutofframetocameraright)blewinhisfacetoflutterhishairandaccentuatethesensethathe’sinmotion.Westagedaslow-motionswinglikeinthegroupfightshothere,cueingthepunchertoswingandthenthepunchrecipienttospitoutamouthfuloffakeblood.Thecombinationofthesemovements,carefulposing,andthefanprovidetheillusionofimpactfromthepunch.Tolightthescene,Iplacedastudioflashinasoftboxtocameraright.Theshadowsidesoftheirfacesaretowardthecamera.Anotherflashwithazoomreflectorshinesfrombehindandabovetoilluminatetheirhair.


Icreatedthisimagetorunonthecoverpackagingforasinglecalled“BloodMeat.”Ilitthescenebyplacingaflashheadmodifiedbyazoomreflectorhighandtocameraleft,pointingdowntowardthebandtoproduceharshshadows.Thesinglebulbthat’svisibleinthepictureonlyprovidesambience;there’snonoticeablelightthatsignificantlyimpactstheimage.Toproducethelookofafight,Iaskedoneguytoswingslowlyabovetheother’sface,andattherightmoment,theguyonthegroundwouldspitoutamouthfuloffakeblood.Icuedmysubjectsinthisaction,instructingonetostartswingingslowlyandthen

tellingtheothertospitasIhittheshutterbutton.


Afterthegroupandstagedactionshots,Imadeindividualportraitsofallthebandmembers.Thisismyfavoriteofthebunch.Ilitthescenewithonestudioflashinasoftbox,positionedhighandtocameraleft,aimeddownatthesubjectatroughlya45-degreeangle.Afterapplyingmakeupandfakeblood,Iposedhimtolookserious.

DAVIDDRAIMANOFDISTURBED

THESHOOTWITHDISTURBEDFORTHEPACKAGINGOFTHEIRINDESTRUCTIBLEALBUMwasoneofthehighest-profilejobsIlandedearlyon.Assuch,Iwantedtoimpresspeoplerightoffthebat.Iwascommittedtoofferingsomethingunique.Myconcept,whichplayedintothe“indestructible”theme,involvedthings

breakingallaroundthebandwhiletheyremainedunaffected.Ididavarietyofshotswiththebandandtheindividualmembers,buttheportraitofleadsingerDavidDraimanwasbyfarmyfavorite.TheguysfromDisturbedwereincrediblyniceandarealpleasuretowork

with.Alotofthingswentwrongonthisshoot,includingthepowergoingoutinthebuilding,buttheywereverypatientasweworkedthroughtheissues.Thereweren’tevenanycomplaintswhenwehadtorewireallofthelightingsetupstogetthemtoworkwiththefickleelectricalsystem.Sometimesthingshappenoutoftheblue,andyouneedtokeepacoolheadoreveryoneelsestartstoworry.

Tocreatethedarkandgrungymoodofthisimage,Iusedacorrectivecolorbalancetomakethebluesmorepronouncedandgivetheportraitacoldercolortemperature.Toaccomplishthis,Iopenedmycameramenu,wenttoPictureStyle,andthenselectedWhiteBalance.ThenIsetacustomwhitebalancefunctionof“K”forKelvinandadjustedthetemperaturemanuallytomychoice.Forthisimage,Iselected5,000Kelvin.Thiscreatesacoolerlookwithmorebluehues.Youcanproducetheoppositeeffect,warmingupyourimagewithmoreredsandoranges,byreversingtheaboveprocessandreachingintohigher

numbers,suchas7,000Kelvin(normaldaylightisusuallyratedaround5,400–5,500Kelvin).Ifyoushootinrawformat,youcantweakandredothesesamefunctionslaterinarawconversionprogramsuchasAdobePhotoshopLightroomorPhaseOne’sCaptureOne.Forthisshoot,itwasbettertodoitincamerasomyclientscouldseetheresultsinstantly.


MAKINGITHAPPEN

IwantedtooverlaybrokenglassinfrontofDavid’sfacetocreatethelookofashatteredwindowinfrontofthesubject.SomephotographerswouldhavecapturedtheportraitandthenaddedthebrokenglasseffectlaterinPhotoshop.However,asIalreadymentioned,Iwasouttoimpress,andIknewthey’dwanttoseetheimagesonmycamera’sLCDscreenduringtheshoot.Asaveryyoungphotographeratthetime,IfeltitwasimportanttoproduceinterestingimagesonsetthatIcouldshowthebandandartdirectortoquicklygaintheirrespect.Whenyoushowpeopleaknockoutimagewhileyou’restillonset,itinstantlyearnstheirrespectbecausetheyseethatyoucandeliver.Italsohelpsthemunderstandexactlywhatyou’regoingforwiththeshoot,whichleadstobettercollaborationfortheremainderofthesession.It’smuchmoredifficulttoexpressyourconceptbyaskingpeopletoimaginewhatthefinalimagewilllooklikewithallthePhotoshopeffectsapplied.

MYDISTURBEDCAMERABAG

•Camera:CanonEOS5D•Lens:50mmF1.4lens•Lights:TwoAlienBeesB800flashheads•Powersource:ACoutlet

TomaketheportraitofDavidDraiman,aswellassomesimilarimagesoftheband,Iboughtthreebrokenwindshieldsatanautobodyshopandsmashedthemupwithacrowbar.Fromthesethreesmashingattempts,IchosethedestroyedwindshieldvariationIlikedbest.Isetupthatbatteredwindshieldinfrontofthesubject,posedhimontheoppositesideoftheholeintheglass,andphotographedthroughthewindshield.Tolightthisscene,Iusedtwoflashheads.Imodifiedthefirstlightwithazoomreflectorandsetituptocameraleft,onthefarsideofthewindshield,abitabovethesubjectandpointeddowntowardhisface.Isetupthesecondlighttocameraright,angledsimilarlybutpointedjustatouchmoretowardthecamera,sothelightskimsacrossthewindshieldandbrightensupthecracksintheglasswithoutcausinganyreflections.YoucanseealittlehintofthelightonthebackofDavid’shead.Backgroundilluminationcamefromambientlight.Itcameoutdarkandgrungy,butthatwastheintentionalmoodoftheimage.MattVarnish,thewell-knownartdirectorwhowasworkingwithWarner

Brothersonthisshoot,providedsomeguidance,mainlytoensurethatIwascapturingthematerialheneededtocreateasuccessfulpackageforthealbum.

AfterDavid’sportraitwascomplete,Iusedthesamelightingsetuptophotographeachoftheotherbandmembersinfrontofthebrokenwindshield.ThisportraitisofdrummerMikeWengren.Mike’shandrestsagainsttheglass,drawingourattentiontoit.TheeffectwouldhavebeenveryhardtomakebelievableiftheglasshadbeenatextureaddedinPhotoshop.


ERICNALLYOFFOXYSHAZAM

ERICNALLYOFTHEBANDFOXYSHAZAMHASBEENAFRIENDOFMINEFORyears.I’veknownthebandsinceIfirststartedphotographingmusicians.WhenIwantedtostageashoottoshowcasesometechniquesformyinstructionalDVDseries,Ericwastheperfectsubject.He’saverytheatricalfrontmanwhodanceswithhismicrophonestand,kicksitaround,throwsitintheair,anddoesallkindsofothermoves.Ithoughtitwouldbeinterestingtocapturehisstagepresenceandenergyinashoot,butwhenIspoketoEricbyphonepriortotheshoot,hesuggestedtakingitastepfurther.Ericcameupwiththeideaoflightingthemicrophonestandonfiretoaddan

elementofdangeranddrama.SinceIwasconductingthisshootonmyown,Ihadfullcreativecontrol.SoIsaid,“Let’sdoit!”Theflamingmicstandwasagoodwaytoshowcolor—thewarmtonesoftheflameagainstthecoolhuesofthesky.Illustratingthatinterplayofcolorbecamethemainobjectiveofthisimage.

Wedidthisportraitafterfinishingtheshootwiththeflamingmicrophone(seehere).WorkingwithmyPhaseOnecameraandan80mmlens,Isetupasimilarlightingstructure,placingmymainlightwiththemodifiedlampglobeandCTOgeltocameraleft,justoffframeandslightlyabovethesubject’sface.However,ItookalotoftheCTOgeloffthelightandpushedthelightclosertothesubject.Whenalightisclosetoasubject’sface,ittakesonasofterquality,morelikeaflatteringbeautylight.Inasetupsimilartotheoneforthefireimage,IputanotherProfotoflashheadwithazoomreflectorbehindthesubject,justoff

frametocameraright.Thelightseparateshimfromthebackgroundandprovidessomeedgebrighteningalonghisleftside.Iwantedthesmoketobesubtlerhere,soinsteadofblowingitacrosstheframe,myassistantmoveditupanddowntowaftacrosstheentireframeforalighter,lessprominentappearance.Inpostproduction,ItweakedEric’sbangsabitinPhotoshopbecausetheywereblowinginthewindduringthecapture.Everythingelseintheimagelookedgreat,soIfixedthehairandkepttherest.


MAKINGITHAPPEN

Wesetuptheshootonalarge,openrooftop.Afterestablishingmylightingsetup,wecreatedthefirebyinsertingalighter-fluid-soakedraginsideahollowed-outmic.Todothis,wejustunscrewedthetopofthemic,emptiedouttheelectronics,andthenstuffedthesoakedraginside.Whenwelititonfire,itactuallyburnedforabouttenminutes,whichwasgreat.(Yes,wehadafireextinguisheronhand!)

MYERICNALLYCAMERABAG

•Cameras:CanonEOS-1DsMarkIIIandPhaseOne645camerabodywithPhaseOneP65+back

•Lenses:16-35mmF2.8lensand80mmF2.8lens•Lights:TwoProfotoProflashheads•Lightmodifiers:Homemadeglobemodifier,CTOwarminggel,zoomreflector


Itwasastormyday,sotherewasalayerofcloudsbehindhimthatgaveamoody,swirlingtexturetothesky.Toplayupthislookevenfurther,IblastedastreamofsmokeinfrontofEricwithafogmachine.Istartedmylightingsetupbyconsideringtheexistinglightsource,whichwas

flat,diffusedlightfromthestormysky.Thelightfromtheburningmicwouldn’tbeenoughtoilluminateEric’sface,soIwantedtore-createthelookoffirewithartificiallight.Toaccomplishthis,IusedaProfotoProflashheadmodifiedwithabigbulb—thetypeyou’duseinaceilingfan.Thisismyinexpensive,homemadeversionoftheProfotoProGlobe,abulblikelightmodifierthatproducesasoft,360-degreewraparoundlightwhenplacedoverabareflashbulb.Ipurchasedmybulbfromawebsitethatsellsacrylicglobelampcovers,payingafractionofthepriceofaProGlobe,whichisafantasticbutpriceyitem.Mybulbdidn’tmountperfectlyontothestudioflash,butIriggeditupwithsomeducttapeanditworkedwell.Ithencoveredthebulbwithsomecolortemperatureorange(CTO)warminggeltogivethelightawarmlook,similartothefire.Byplacingthislightsourcejustoffframe,neartheflamingmicrophone,Iwasabletore-createthelightofthefireandbetterilluminatemysubject.Toseparatethesubjectfromthebackgroundandhelphimstandoutamong

thesmokeandclouds,IplacedanotherProfotoflashheadwithazoomreflectorbehindhim,offframetocameraright.ThisnotonlyprovidedanedgeseparationlightonEric’spantsandtorso,butalsoenhancedthenaturalsunlightcomingthroughtheclouds.Theshinyqualityofhisleatherjacketcreatedabitofreflectionforanicehighlighteffect.

Fromthesamebasiclocationasthemainlight,myassistantheldasmokemachine.Itwasawindyday,whichwashelpful,becausethesmokeblewacrossthebottomoftheframeforawindsweptlookwithoutfloatinguptoobscurethesubject’sface.AftercreatingtheportraitswithEric,Imadeafewexposuresofthescene

withouthim,justcapturingthesmokeblowingacrossthesetaswellasclose-upsoftheflamingmicrophone.Later,inpostproduction,theseimageswereusefulbecauseIneededtoenhancethefireinPhotoshopsothatitwouldstandoutmoreagainstthebackgroundandinthemidstofmyhigh-poweredstudiolights.Theactualflamingmicrophonedidn’tcomeouttoowellintheoriginalversionbeforecompositingintheflamefromanotherpicture.However,usingtheflamingprophelpedengageEricandencouragethedramaticlookonhisface.

Iwantedthecolortonestopanacrossthisimage,withorangeontheleftandblueontheright.Theorangeappearstobeemanatingfromthefireandthecoldbluefromthesky.Iadjustedthewhitebalanceinthecameratoplayupthecoolercolors,whichoffsetsomeoftheorangecolorfromtheCTOgelandbroughtabluerhuetothenaturaldaylight.Thisproducedaninterestingcolortemperaturethroughouttheimagethatstartsorangeinthebottomleftandfadesintoacooler,bluerappearanceinthetoprightcorner.


Sincethisimageinvolvedalotofquickmovements,IusedaCanoncamerabecauseofitsfasterspeedandquickframerecycletime.Asistypicalinmywork,Iunderexposedthebackgroundforadark,stormylook.Bytheway,ifyouwanttoseemorebehind-the-scenesfootageonthisshoot

andothers,visitlearnfromjoey.com.

http://learnfromjoey.com

G-UNIT

WHENTHECALLCAMEFORTHISVIBEMAGAZINESHOOT,IWASSITTINGINANairportinNewYorkwaitingforaflightbacktoCanada,whereIwasstilllivingatthetime.TheopportunitytoshootG-Unitwasagoodenoughreasontoskipthatflight,soIrescheduledmyreturnhomeandbookedittotheshoot.G-Unitisahip-hopgrouporiginallyfoundedbyrapper50Cent,alongwith

hislongtimefriendsLloydBanksandTonyYayo.Thegrouphasarough,gangstarapperpersona,butbehindthatfacadetheyareallexcellentbusinessmen.Infact,theirbusinesssavvyhashelpedthembecomeverywealthyinspiteofthefinancialdifficultiesintoday’srecordingindustry.ThestoryinVibewasabouttheirbusinesssuccess,abouthowtheymakemusicandsimultaneouslymanageotherventures,liketheG-Unitclothinglineandrecordlabel,and50Cent’sendorsementsofVitaminWaterinexchangeforcompanystock.Withthisthemeinmind,themagazinewantedtostyletheminsuits,like

sophisticatedbusinessmen,insteadofthetypicalbaggyclothingyouoftenseehip-hopartistswearing.Vibealsowantedtoputtheminaclassysetting.Themagazinechoseacaviarrestaurantcoveredwithmirrors,whichwasatmosphericbutacompletenightmaretolightbecauseoftheabundanceofreflectivesurfaces.Inaspacelikethis,youruntheriskofinsertingyourselfintheimagethroughamirrorreflection,andthere’salsotheproblemofthemirrorsbouncingyourlightallaroundtheroominwaysyoudon’twant.

Theindividualportraitsof50Cent(seealsothisphotograph)involvedasimilarlightingsetupasthegroupshotshownhere,withthemainlightcomingfromaProfotoflashhead,modifiedbyabeautydishandfocusedwitha20-degreegrid.Sincethemainlightwasabovethesubject,aimeddownata45-degreeangle,thebrimof50Cent’shatobscuredthelightontheupperpartofhisface.Inthisstraight-onportrait,Ilefttheareaaroundhiseyesdarkforasenseofdramaandmystery.


MAKINGITHAPPEN

WhenIarrivedonset,50Centwasinitiallyabitdismissive.Hedidn’tseemtotrustme,probablybecauseIlookedlikeadumbkidinskinnyjeans.ButwhenIstartedworkingandherealizedthatIknewwhatIwasdoing,andthatthisshootwastherealdeal,herespondedveryprofessionally.ThisisasituationI’vedealtwithfromtimetotime,beingyoungandworkingatahighlevelwithestablishedpersonalities.Wheneverpeopledoubtme,IjusthavetoshowthemthatIknowmycraft.Youcan’ttellpeople.Youcan’tinsistthattheyrespectyou.Yousimplyhavetogetdowntobusinessanddemonstrateyourskillsandprofessionalism.

MYG-UNITCAMERABAG

•Camera:CanonEOS-1DsMarkIII•Lens:24-70mmF2.8lens•Lights:FiveProfotoProflashheads•Lightmodifiers:Silverbeautydish,stripsoftbox,20-degreegrid,snoot•Powersource:ACoutlet

Onthesetthatday,partofthoseskillsandprofessionalisminvolvedworkingoutasolutionforallthemirrorsinthechosenshootingarea.Theywereeverywhere,andoneofmynormallightingsetupswouldhavebeenplaguedbyweirdreflectionsandlightraysbouncingallovertheplace.SinceI’mveryparticularaboutthedirectionalityofmylightingandthedramaticimpactthatlightingstyleproduces,Ineededtofigureoutawork-around.Inthiscase,thesolutionwasacombinationofcarefulposingandnarrowlyfocusingallthelightsusinggrids.Forthegroupshot,IarrangedtheG-Unitmembersaroundatablewitha

nonmirroredwallasthebackground.Thereweremirrorsonthewallsoneithersideofthegroup,justoutofframe.Iposedtheguysveryclosetogetherforacouplereasons:one,themirrorsoneithersideoftheframedemandedit;andtwo,myuseofafocusedlightsourcerequiredthemtobeclosetogethertotakeadvantageofthelightingsweetspot.Iftheyhadbeensittingfartherapart,wewouldhavehadmorereflectionissuesfromthemirrors,andthefocusedlightwouldhavemissedthem.SoweworkedwiththisLastSupper–stylecomposition,withthethreeofthemsittingclosetogetherononesideofthetable.

ThisLastSupper–stylecompositionallowedmetokeepproblematicmirrorsoneithersideofthegroupjustoutofframeaswellasgetallthreemembersinthelightingsweetspot.


Forthisprofileshot,Ihadanassistantholdalightinastripsoftbox,turnedtolowpower,beneath50Cent’sface,justbelowtheframeandaimeduptoprovideabitoffillandsomesparkleinhiseyes(seediagram).


MymainlightforthisimagewasaProfotoProflashheadmodifiedbyasilverbeautydish,suspendeddirectlyoverthetableandpointingdownatthesubjectsfroma45-degreeangle.Iuseda20-degreegridtofocusthelightonthesubjects.Forthebackgroundlights,IaddedtwomoreProfotoheadswithzoomreflectors,alsofocusedwith20-degreegrids.Ipositionedtheseoneithersideofthecamera,pointingatthewallbehindthesubjects.Twoadditionallightsroundedoutthecomposition.Rightabovethebeauty

dish,IaimedaProfotoflashhead,modifiedbyasnoot,atthebulbsinthechandeliertoprovidesomehighlightintheglassandlightupthatdecorfeature.Behind50Cent,IlaidanotherProfotoflashheadwithastripsoftboxonthefloor,pointedstraightup,tocreateasoftgradienteffectonthebackgroundbehindthesubjects.Thewhitetableclothonthetableactedasagiantreflectorforthemainlight

shiningdownfromoverhead.Itprovidedacatchlightontheshadowportionsof

theguys’faces,whichwasparticularlyusefulon50Cent,sincehishatblockedmuchoftheoverheadlight.

PANICATTHEDISCO

THISEDITORIALSHOOTFORALTERNATIVEPRESSMAGAZINEISAGREATEXAMPLEofafast-movingsessioninwhichIneededtoworkquicklyandmovemysubjectsfromonepredesignedsetuptoanother.Idesignedthreelightingconfigurationsforthreedifferentroomsinthehouse.Aswewereshootinginoneroom,mycrewwouldbesettingupinanother.Whenwe’dswitchtothatroom,they’dbreakdownthesetupintheroominwhichwejustshot,andthensetupthethirdconfigurationsowecouldmoveseamlesslyintoitwhenwewereready.Therewasn’tanartdirectorfromthemagazineonset,buttherewasa

managerfromtheband’slabel,whichactuallyfundedhalftheshootbecausetheyknewitwouldproducegoodpressfortheband.Still,Ihadagoodamountofartisticfreedomonthisprojectsincethelabelisprimarilyinterestedinupholdingtheband’simageandpromotingitsbrand.Beyondthat,Iwasfreetotryafewdifferentthingsandcreatemyownlooks,aslongastheysynchedwiththeband’sstyle.Thebandfavorsvintagefashion,sowechosealocationthatworkedwiththisstyle.Acohesivenessbetweentheirstyleandthelocationwasimportanttotheseimages.Also,Iwantedtoincludepainterlylightingeffectswithanalmostregalfeel.

Shootingfromthefloorwithmycameraonatripod,Icomposedthisshotwithstrongbacklightingfromthewindow.TheonlyartificiallightcamefromaProfotoflashheadinabigsoftbox,whichIsetuphightocameraright.Toaccentthewindowlight,Ishotwithan85mmprimelens.


Inthissetupshot,youcanseethelowangleItook,aswellasmydistancefromthesubjects.Mypositiononthefloor,shootinguptowardthebandwithalongexposure,providedtheidealperspectivetoaccentuatethenaturallightingfloodinginfromthewindows.

MAKINGITHAPPEN

Westagedtheshootina120-year-oldhousenearLosAngeles,whichIfoundthroughalocationdirectory.Locationdirectoriesareveryhandytoolsforphotographerswhoneedaspecificlookfromtheirsettings.Theseonlinedirectoriescontainawideassortmentofspotsthatlocationscoutshavepreviewedforfilm,television,andadvertisingprojects.Theycangiveyouaninsidelookatdozensofotherwisehiddenlocationswithoutspendinghundredsofhoursscoutingthemoutyourself.

MYPANICATTHEDISCOCAMERABAG

•Camera:CanonEOS-1DsMarkIII•Lenses:85mmF1.2Llensforthisimage;24-70mmF2.8lensforthisimage•Lights:ProfotoProflashheadsandaCanonSpeedliteEX•Lightmodifiers:Chimerasoftboxes,snoots,andgrids•Powersource:ProfotoPro-7abatterypack

IchosethislocationbecauseithadavintagefeelthatmatchesPanicattheDisco’sstyle.Thehousealsohadaneclecticdesign,witheachroomlookingdifferentfromthenextandprovidingavarietyofshootingoptions.Panichasastylistwhotravelswiththebandandchoosestheirclothingfor

appearancesandpromotionalprojects,includingthisphotoshoot.Duringtheshoot,Iwouldtellherwhatthenextshotwouldbe,showhertheroomandthesetup,andshewoulddressthemaccordingly.It’simportanttoadvisethestylistsoncommercialshoots,sothesubjects’clothingcoordinateswiththescenesanddoesn’truinthefeeloftheimages.Forexample,inadarkandsombershot,likethePanicimageintheredroomshownhere,ifoneofthebandmembershadbeenwearingabrightwhiteshirt,theimageprobablywouldn’thaveworked.Fortheimageshownhere,Ilaydownonthegroundwithmycamerasetup

onasplayed-outtripodinthedoorwayoftheroom(seehere).Aimingupatthebandfromthislowangle,Iframedtheshottoshowthetophalfofthebedframeandthebandmembersfromaboutthekneesup.Thebandwasstandinginsidethebedframe(therewasnomattressorboxsprings),soIcouldshootthroughthemetalframewithoutanysignificantobstructiontomysubjectsorthewindowlightbehindthem.Becauseofthestrongwindowlightbacklightingmysubjects,Ionlyadded

oneartificiallight,aProfotoflashheadinabigsoftbox,whichIsetuphightocameraright.Withthesoftboxaimeddownatthesubjects,Iflashedonrelativelylowpowertoprovideabitoffilllight,sothefrontsidesofmysubjectswouldn’tbecompletelyobscuredbyshadow.Tosoakinasmuchnaturalwindowlightaspossible,Idraggedmyshutteralittle.Thiscausedthelighttowraparoundthesubjectsandflareabit,whiletheguysintheforeground

stayedatouchdarker.Icouldhaveachievedthesameeffectbyblastingstudioflashesthroughthewindowandexposingforthatlightsource,withouttheshutterdrag.However,thelightwasalreadythere,anditlookedgreat,soIchosetotripod-mountthecameraandmakealongerexposure.Whendraggingtheshuttertoaccentbackgroundlighting,yoursubjectsneedtostayasstillaspossible.Also,it’sbesttolockyourcameraonatripodorsomeotherstablemounttoeliminatecamerashake.Becausewewereworkinginatightspace,Iposedtheguysclosetogetherand

hadthebandmembersontheoutsideturntheirshouldersintowardtheothers.Ingeneral,whenworkinginacompactspaceortryingtotightenupagroupcomposition,ithelpstoposetheoutermembersofyourgroupwiththeirshouldersturnedintowardthecenter.Thisdrawstheviewer’seyetowardthemiddleofthecomposition,andmakesthegroupappearmorecompressed.Iusedalong85mmprimelenstoaccentthelightinthebackground.When

youuselongerlenses,thebackgroundlooksbigger,asdoesanylightsourceinthebackground.Ontheotherhand,whenyouusewide-anglelenses,thebackgroundlookssmaller.Thinkofphotographingapersonwithamountaininthebackground.Withawide-anglelens,thatmountainwilllookdistantandsmall.Withalonglens,thebackgroundwillappearmuchlargerandclosertothesubject.Youwon’tseeasmuchofit,butitwillbemagnified.Lightsourcesinthebackgroundarealsomagnifiedbylonglenses.Soifyouwanttobringinastrongbacklightandsomeintentionalflare,alongerlensisthewaytogo.BecauseIwantedsomeflarefromthewindowlight,Ishotfromalittlefartherawaywithalongerlens.Thisincreasedthesizeofthebackgroundintheimageandalsoincreasedthesizeandimpactoftheflare.Withtheredroomimage,IwantedtocapturethelookofaVictorianpainting.

Isetupthecompositionandlightingtocreatethefeelofapainting—darkandmoody,asopposedtoasuperbright,crispcommercialphotograph.MymainlightwasaProfotoProflashheadmodifiedbyasoftbox,hookedup

toaboomarm,whichIarrangedhighabovethebandtocameraleft.Iaimedthesoftboxdownatabouta45-degreeangle.Thisproducedadramaticappearancewithstrongshadows,whichmatchthedarkroomandclothingstyles.Foralittleextrapunch,IhidaCanonSpeedliteEXinsidethelamp.Ialsopointedanotherlight,modifiedbyasnoot,atthelamp.Ifyoulookatthewallbehindthelamp,there’sacircularglow.That’sfromthesnoot.

LeadsingerBrendonUriejusthappenedtohaveacigarinhiscar.WhenhesawwhatIwasgoingforwiththeimage,heranoutandgrabbedit.Theadditionofthispropworkedwellwiththestately,retrofeeloftheimage,whichIshotwithathree-lightsetupandstyledtobedarkandmoody.


COMMERCIALPORTRAITS

My commercial work is the most complex from a lighting and logisticalstandpoint. The images in this section are largelymultilight setupswithmoreelaboratescenes.Thebasicsofthestyleremainthesame:Ipiecethingstogetherone step at a time, starting with a simple foundation and adding elements topunchupdifferentpartsoftheimageforadramaticfinalcomposition.

There’salmostalwaysaprimarylightsourceplacedhighandtoonesideofthesubject,aimeddownatroughlya45-degreeangle.Aswithmyfineartportraitsandbandphotography, I try touse thevariablequalities of light emitted frommodifiers like the Elinchrom Rotalux Softbox Octa and Indirect Lightbank.However, with the exception of the fast-moving, on-location project forHistory’s IRT:Deadliest Roads, there are always other lights used to create abrighter, more commercially appealing look. This is what I mean by additivelighting.Formycommercialassignments,Ialwaysstartwiththeambientlight,thenaddmymain light,and thenadditional lightsonebyone,until the imagelooksperfect.

IRT:DEADLIESTROADS

Thisimageshowseveryelementoftheshow:thetruck,thedrivers,themistymountainlandscape,eventheroadsignindicatingtreacherouscurves.MyassistantheldtheRotaluxOctahighandtocameraleft,aimingdownatthetruckersatroughlya45-degreeangle.Isetuptheexposuretobringinthesoftmountainlightandintegrateitwiththeflash.


ICEROADTRUCKERSISAPOPULARDOCUMENTARY/REALITYSERIESONTHEHistorychannel.Theshowfeaturesagroupofintrepidtruckersdrivingharrowingroutesonsomeoftheworld’sdeadliestroads.TheshowstartedoutfollowingthesetruckersonrunsacrossfrozenlandscapesupintheArcticCircle;thenHistorydecidedtochallengethemwithroutesthroughBolivia(andlaterPeru)ontreacherousroadsthroughtheAndesMountains.ThisnewseriesinSouthAmericatookonthenameIRT:DeadliestRoads.

IceLuce,acreativedirectoratHistory,isafanofmyfineartportraitsandknowsthatItravelfastandlightwithaportablelightingsetup.WhenHistorystartedputtingtogethertheBoliviaepisodesforIRT:DeadliestRoads,hegavemeacalltoseeifIcouldproducesomepromotionalimageryforthosesegments.IwasactuallyinDubai,inthemiddleofadesert,doingcinematographyonahorrormoviewhenthecallcamein.Irememberrunninguptothetopofasanddunetogetreceptionsowecouldtalkabouttheproject.HewantedthesamelookandfeelthatIcaptureinmyfineartportraits—almostasifIwasphotographingthetribalpeopleinEthiopia,onlyI’dbephotographingtruckersinBolivia.Theprojectseemedlikeanidealopportunitytoapplymyfineartportraitstyle

toacommercialjobandIwasexcitedandhonoredtotakeontheproject.IhadtoflyalmoststraighttoBoliviafromDubai,onlymanagingabriefstopoverinNewYorktodolaundryandgrabsomesupplies.IbroughtalongmylongtimefriendandassistantJesseashe’dworkedwithmeonotherprojectsandknewmysystem.Alltold,wewouldspendtendaysinBolivia.Thiswasalotshorterthanmy

usualtrips,butwewereworkingonatightschedule.Withtheinvaluableaidofourguideandtranslator,Fernando,wewouldfollowdifferenttruckersforadayortwo,thenstopinatowninthemiddleofnowhereandwaitforthenextteamofdriverstoarrive.Fernandowascriticalnotonlytothephotographicprocessbutalsotokeepingusaliveaswewoundourwaythroughthesemountainroadsatelevationssometimesexceeding16,000feetabovesealevel.Conductingthisprojectwasalotlikeworkingonamovieset.Therewouldbe

daysofintenseactionandfast-pacedshootingfollowedbyextendeddowntime,sometimestwoorthreedays,whilewewaitedtolinkupwithournextsubject.Whenthenextdriverarrived,Ineededtobereadytomovequickly.Thesetruckerswereworkingrealassignmentsonrealdeadlines;theirrunsweren’tjustinventedfortheshow.Sotheywereonthemoveandtherewasverylittletimetostopandcapturephotographs.Thewholeprojectworkedonthetruckers’schedulesandtheshow’sproductionschedule,notmytimeline.

Thisbehind-the-scenesshotshowsmeontopofourJeep,pausedalongthecliffsidetocapturethenextimage.Wehadracedaheadofthetrucktoscoutaplaceforaquickportrait.WhenIsawthetruckrumblingtowardusalongtheroad,IjumpedupontheJeepandphotographedthescenetoshowthedramaticlandscapeandthesteepfalloffattheedgeoftheroad.

Often,we’draceaheadinourJeep,findagoodspottopauseforaquickshoot,andthenradiobacktothetruckerstoletthemknowwheretopullofftheroad.They’djumpout,runtothespotI’dsetup,workthroughafewphotographs,andthenrunbacktotheirtruckstogetontheroad.We’draceaheadagain,tryingtogainatleastafewminutesofleadtimesoIcoulddosomequicksetupandtestingbeforethetruckarrivedatthenextphotospot.Ifyouthinktheseroadsaredangerous,trynavigatingthemataccelerated

speedsasyoutotrytoraceaheadofyoursubjectswhilescoutinggoodphotoopportunities.WhenIthinkbackonitnow,itwascrazy,definitelythemostdangerousprojectI’veeverdone.Thereweredayswhenthingsweremovingsofast,andtheroadsweresotreacherous,thatitwouldbetooriskyforustoraceaheadandsetupphotographs.Onthosedays,Ijusttoldtheproductioncompany,“Sorry.Noimagestoday.It’stoodangerous.”Atsomepoint,you’vegottotemperyourenthusiasmforphotographywithyourresponsibilitytokeepyourselfandyourcrewinonepiece.

Capturedinpureambientlight,thisimagegivesasenseofscaleandperspectivetotheproject,showingthetruckalmostswallowedupbythelandscapeandthewindingroad.


Ridingwiththetruckerswasn’tmuchmorerelaxing.Beinginbigrigsonthosetinyroadswithblindcurvesandthousand-footdropswasdisconcerting,tosaytheleast.Thetrucksbarelyfitonthepathway,andIcouldseerightovertheedgeintotheabyss.Still,theshootwasalotoffun,andtrueadventure—probablythemostenjoyablecommercialjobI’veeverdone.

Thisbehind-the-scenesimageshowshowclosetothesubjectJesseheldtheRotaluxOcta.Thelightmimicsthehazywhitelightcomingthroughthefog,illuminatingRickperfectly.

ThisisRick,ahardheadedtruckerwhodoesn’tusuallysmileoncommand.Iwantedtogetalittlebitofhislighterside,soIaskedHugh,histruckingpartner,tostanddownontheroadateyelevel.ThenItoldRicktostartcursingatHugh,toreallyunload,tocallhimnamesandtellhimwhathereallythinks.Ifiguredthiswasoneoftheonlywaystogetatruckertosmile,andIwasright.Aftereachstringofprofanity,hewouldlaugh,andIwouldcapturehimsmilingorlaughing.ByhavingHughstandinginfrontofhim,IgaveRickafocus,insteadofjustaskinghimtoscreamobscenitiesintothesky.

Tolighttheseimages,myassistantheldtheRotaluxOctaveryclosetoRick’sface,justoffframetocameraright.Bypositioningthelightsoclose,Igotanicecatchlightinhiseyes,andgoodlightingalonghisrightside.


MAKINGITHAPPEN

IusedthesamesetupforthisprojectthatIemployinallofmyfineartportraitseries:aProfotoProflashheadinanElinchromRotaluxSoftboxOcta,poweredbyaProfotoPro-7bbatterypack,heldaloftbymyassistantwhileIphotographedwithmyPhaseOne645.IalsoposedthetruckersthesamewayIposesubjectsinmyfineartseries.AswiththeportraitsofthesadhusofVaranasi,Iwantedasoft,painterlylooktothebackdrops,butitwasalsoimportanttoshowasenseofplace,andtodemonstratetheextremenatureofthelandscapethesetruckershadtonavigate.SoIworkedtoblendtheartificialandambientlightandshowmoreofthebackgroundscenery,asintheIndiaseries.

MYIRT:DEADLIESTROADSCAMERABAG

•Camera:PhaseOne645camerabodyandPhaseOneP45+andP65+backs•Lens:80mmF2.8lens•Lights:TwoProfotoProflashheads(oneforbackup)•Lightmodifier:ElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforthecameraandoneforthebatterypack);setofLeeneutraldensityfiltersat0.3,0.6,and0.9increments


Thisisanotherimagecreatedwithoutanyadditionallight.Imadethisphotographtoportraythefeelingofdangerandtoshowhowsmalltheroadslookwhenyou’reupinthecabofoneofthesetrucks.Theimagepresentsthetruckers’view,soIexposedfortheoutsideandlettheinsideofthecabremaindarkandunderexposed.Iusedthewindshieldtoframethemainfocalpointoftheimage,sothesubjectbecomestheroaditself,notthepeople.


Icreatedthisimagewithapanoramicstitch,usingthesamemethodI’veusedforotherimagesdescribedinthisbook,suchastheportraitofthetwoBatukstudentsinIndia(seehere).Therewasnoadditionallightingotherthanthetruck’sheadlights.Iaskedthedrivertoturntheseonfullpowerasheapproachedsotheywouldlightupthefogandprovidesomedramaticeffect.Whilethelightwassimpleforthisimage,thecapturewasnot.Toillustratethedramaticlookofthisbigtruckonthisnarrowroad,Iheldontomyassistant’sarmasIleanedoutovertheedgeandcapturedthisphotograph.Fromthatperspective,youcanseemoreofthedrop-offandgainabetterideaoftheslimpathsthesedrivershadtocross.


Historyaskedmetogetimagesofthetruckerswithlocalpeople.Youcantelltheyaren’tsuperhappyaboutwearingthehats,whichmakestheimageallthemoreappropriatebecausethetough-guyAmericantruckersaresooutofplaceinthisforeignland.Thehatsarealong-standingtraditionamongthepeopleofBolivia,particularlywomen,whoweartaller,moreroundedversionsofthehat.Wescoutedoutthisspotthedaybeforemakingthisimage,andhadalreadyaskedthevendortoappearintheportrait.Inexchangeforherparticipation,weboughtthehats.Then,whenthetruckersarrived,wejustaskedthemtopulloverandsitwiththiswoman.IlitthescenewithasinglelightfromtheRotaluxOcta,heldhighandtocameraright,aimeddownatthesubjects.


ThisportraitofaBolivianhatvendorisreminiscentofmyfineartportraits.Italsofulfilledtherequestbytheproductioncompanytophotographlocalpeople.Whencombined,theimagesforthisprojectformavisualnarrative.Thephotographshaveanintentionalsequencethattellsthestoryofthesetruckersworkinginthisdistantplace.Forviewersnotfamiliarwiththearea,ithelpsbuildasenseofthesettingsotheycanbetterunderstandthecontextofthetelevisionepisodes.Ilitthisscenefromhighandtocameraright,usingasinglelightmodifiedbyaRotaluxOcta.Theshadowsideofthesubject’sfaceisturnedtowardthecameratoshowthedramaticyetnatural-lookinglighting.


Duringoneofthedownperiodswhenwewaitedforthenextgrouptoarriveatourout-of-the-waylocation,IusedoursparetimetomakeportraitsoflocalBolivians.Weapproachedthismanintherockfieldworkingwithhiscattle.Thelocalsinthisareawerealittlestandoffishatfirst.Theyliketotestforeignerstoseeiftheyhaveagooddemeanorbeforecooperatingwithanyundertakings.Whenweapproachedtheman,hehurledsomegood-naturedinsultsatusthroughourinterpreterforafewminutes.Afterhesawthatwetookhiscommentaryinstrideandhadgoodsensesofhumor,heagreedtoposeforsomeportraits.WiththesinglelightintheRotaluxOctaheldhighandtocameraright,aimeddownatthesubjectatabouta45-degreeangle,Iunderexposedthebackgroundslightlyandmadetheportrait.Thesoftfocusandunderexposureofthebackgroundgivesitasmoother,darker,moreatmosphericappearancethanitwasinreallife(itwasafairlybrightscene).However,Iletenoughoftheambientlightintothepicturetobringoutthecolorsofthelandscape,whichplayedwellwiththesubjectintheforeground.


Thisphotographshowsussettingupfortheportraitofthetwotruckerswiththetiresat16,000feet.YoucanseetheRotaluxOctaandtheheavybatterypackontheground.ThestrainofcarryingthisgeararoundathighaltitudeultimatelycausedJessetoblackout.

Thisteam’struckhadbrokendownthedaybefore.Itwouldhavethrownofftheentireproductionscheduleifwe’dwaitedfortheirtrucktoberepairedtomaketheimage.SoIthought,howdoweshowthatthey’retruckerswithoutshowingthetruck?MyassistantandIwenttoamechanicshopandboughttwolargetrucktires.WetossedthemontopoftheJeep,droveuptohighaltitudeforascenicpanorama,andsetupthisshot.Atmorethan16,000feet,theairwasextremelythinanditwashardtobreathe.Rollingthosetireswasmorethana

littledifficult.Oncewegottheminplace,wethrewdirtonthemtomakethescenelookmorerealistic.ThenIposedthetruckersthewayyouseehere,litthescenewithasinglelightinaRotaluxOcta,highandtocameraleft,andmadetheexposure.IdidapanoramicstitchwiththreeexposuresthatIhandheldandthenlaterassembledinPhotoshop.Thebackgroundisallreal.Stunningandreal.Onthisshot,myassistantJessenotonlyhelpedmelugtheheavytrucktiresbutalsocarriedtheProfotoPro-7bbatterypackwhilewephotographed.Heblackedoutduetoexertionandlackofoxygen.Oneminutehewasstandingthere,andthenhesaidhefeltdizzy,andthenhesatdownandjustpassedout.Wehadoxygentanksthere,providedbytheproductioncompanyforjustsuchanemergency,buttheyweredefectiveandproducednooxygen.Thiswasanextremelydangeroussituationbecausethebraincanonlyfunctionwithoutadequateoxygenforsolong.Sooneofthetruckersdrovehimbacktoaloweraltitudeasfastaspossible.Jessehadtogotothehospital,wheretheyadministeredoxygenuntilherecovered.


MUDCATS

IwentoutwithMarionKincaidatsunrisetocapturehisportrait.SimilartoafewofmyimagesfromtheVaranasiseries,wewereinaboatwiththesuncomingupbehindhim.MysinglelightcamefromaProfotoflashheadmodifiedbyanElinchromRotaluxSoftboxOcta,heldhighandaimeddownatmysubjectata45-degreeangle.Idraggedtheshutteralittletoletthebackgroundblowoutjustatouch.Thistechniqueflaredthesunandproducedacreamy,milky-whitebackdropfromthelightoftheearly-morningsun.Theresultisacleancanvasthatdirectsyourfocustothesubject.


THISSHOOTCAMEABOUTINAHECTICMANNER.HISTORYISONEOFMYfavoriteclientsbecausetheyalwayshaveinterestingjobsandfascinatingsubjects.Whentheycontactedmeaboutdoingthisshoot,Iwas

alreadyinLosAngelesonajob,withonedayoffbetweenthatshootandapresentationIwasgivingattheProfessionalPhotographersofAmerica’sImagingUSAconventioninNewOrleans.AfterIheardthedetailsofthisshoot,thatonedayoffquicklymorphedintoaworkdayasItraveledtoOklahomatophotographsomeofthestarsofthisuniquerealityshow.Mudcatsarefishermenwhousetheirhandstohuntlargecatfishonthe

bottomsoflakes,rivers,andswamps.Nolures.Norodandreel.Justtheirbarehands.Theyfeelaroundinthemud,wigglingtheirfingersasifthey’reworms.Catfishsensethatmovementandbitethefishermen’shands.Whenthefishmakethiscontact,thefishermengrabthemandwrestlethemoutofthewater.It’sprettywildstuff.Historywantedindividualportraitsofthemudcatfishermenforamotion

graphicsintrototheTVshow,aswellassomeactionshotsoftheguyshuntingfish.

MAKINGITHAPPEN

Theportraitswererelativelystraightforward.Isetthemuplikesomeofthesingle-lightimagesinmyfineartportraitseries;specifically,theoveralllightingandcompositionaltechniquesweresimilartothoseusedfor“TheHolyMenofVaranasi.”Thatmeantasinglelightsourcepositionedhighandtooneside,aimeddownatthesubjectata45-degreeangle.AsintheimagesfromIndia,myexposuresemphasizedtheambientlightandthecolorsofthesurroundingsky,withalessprominentimpactfromtheflash.Theportraitsareaboutthesemenintheirenvironment,soIwantedthefeelofthatenvironmenttocomethroughinthephotographs.

MYMUDCATSCAMERABAG

•Camera:PhaseOne645camerabodyandPhaseOneP65+backs(forportraits),CanonEOS5DMarkII

•Lens:PhaseOne80mmF2.8andCanon16-35mmF2.8lenses•Lights:ProfotoProflashheadand69-inchElinchromRotaluxSoftboxOcta•Accessories:TwoPocketWizards(oneforcameraandoneforpowerpack)•PowerSource:Profoto7bpowerpack

Capturingtheactionshotswasatrickiertask.Oneproblemwasthatourshoottookplaceoutsideofprimehuntingseason.Itwasthemiddleofwinter,thewaterwasfreezing,andstillwehadtothrowtheseguysinfrigidwaterwithnoshirts.Icroucheddowninthemuddylakeinwaterproofwaders,shootingwithaCanonEOS5DMarkIIcamerainawaterproofhousing.Iheldthecamerajustunderthesurfaceofthewater,aimedup,andshotfromtheperspectiveofafishbeingpulledfromthelake.Ihadmysubjectpulloutthefishandshakeitbackandforthtocreateasenseofmovementandsomesplashing.ThenIfiredseveralexposures,checkedmyresultsintheviewfinder,madesomeadjustments,andrepeated.Noadditionallightfortheactionshot—justafun,muddy,wettakeonafishoutofwater.Whenworkingwithacamerainanunderwaterhousing,youreallyneedto

understandthefocallengthyou’reusingandhowthatfocallengthrelatestoyourexposure.Youtypicallysetyourfocallengthbeforeputtingthecameraandlensinthehousing.Onceit’ssetandyou’reinthewater,youcan’tmakeanyadjustments,soyouneedtobesureyoursettingsgiveyounotonlyawell-exposedimagebutalsotherightdepthoffieldforyourscene.ForthetypeofimageIwanted,themostdynamicshotscomefromputtingthe

lenshalf-in,half-outofthewatersothecamerabodywasunderwaterandthelenspartiallysubmerged,rightaroundthewaterline.Thiswayyoucouldseejustalittlebitofwatersplashingandalsocaptureagoodexposureoftheactionabovethewater.It’salsoimportanttoconsiderthetypeofwateryou’reshootingin.Ifit’s

murkyandmuddy,thewaterwillfilteroutsomelightandimpactyourexposure.

Perfectlyclearwaterwillbebrighter,andyouwillhavemoreleewayintermsofhowfaryoucansubmergeyourlens.Forthisshoot,wewereinafairlymuddylake,soIputthelensjustbarelyunderwater.Anythingdeeperandthewaterwouldhaveobscuredtheimagetoomuch.

Togetthisactionshot,Ihadtoholdthecamerajustslightlyunderwaterinashallowpartofthelake,whichmeantthatIcouldn’tgetbehindtheviewfindertoseemyimagebeforeclickingtheshutter.Instead,IpositionedmycamerasoitwasaimingatmysubjectandthenIcuedtheaction.Onmysignal,mysubjectpulledupthefishandmoveditbackandforthinarealisticmotion.Imadeseveralexposureswithautofocuson.ThisimageisadeparturefrommostofmyworkbecauseIcouldn’tfine-tuneeverythingandhadtosimplyhopeforsomeluckinmycaptures.Thatluckarrivedwhenthecamera’sautofocuszeroedinonthewaterdropletsintheforeground.Thewater,whichisinsharpfocus,becamethefocalpointoftheimageinsteadoftheman,whoisinsofterfocusinthebackground.Thiswasaveryhappyaccident,asthepointofviewcameoutgreat—moreofawater’s-edgeviewoftheaction.Tomakethefishlookbiggerandmoreimposing,Iuseda24mmfocallengthona16-35mmlensforadistorted,wide-anglelook.

1/100sec.atf/5.6,ISO200

ForthiswideshotofMarionKincaid,Iplacedmysinglelightsource(aProfotoflashheadmodifiedbyanElinchromRotaluxSoftboxOcta)soithitthesubjectfromthesamedirectionastherisingsun.Theideawastoaugmentthesunlightandprovidealittlemoreilluminationonmysubject.Iunderexposedthebackgroundabittobringinmoreofthecolorsofthemorningsky.Asopposedtothisimage,inwhichIwantedaclean,milky-whitebackgroundtoemphasizethesubject,thisimagehasmoreofanemphasisonthesurroundingscenery,hencethelongerexposureformoreambientlightanddeepercolors.

1/180sec.atf/3.5,ISO100

THEJONASBROTHERS

AFEWYEARSAGO,FORBESMAGAZINEASKEDMETODOASHOOTWITHTHEJonasBrotherstoillustrateastoryontheirfinancialsuccessandmediaempire.WestagedtheshootinthehangarofaprivateairportinNewJerseyandhadaplanebroughtinfortheshoot.Initially,Icapturedastandardshotofthemstandingcasuallyinfrontofthe

plane,lookingrelaxedandcomfortable.Thisistheshoteveryoneexpected.Iwantedtoplayitsafebeforeexperimenting.Aftercapturingthatimage,Itriedsomethingdifferent.Ididn’thavetimetodoacompletelynewlightingsetup,sousingthesamesetupItriedsomethingwithmoreenergy.IcameupwiththeideaofmakingahumanairplaneoutofNickJonas.TheJonasBrothersareusuallyportrayedmoreseriously;thestylingandposinginmostoftheircommercialimagesmakesthemlookolderthantheyare.EventhoughthearticlewasallabouttheJonasBrothersassuccessful,wealthybusinessmen,really,they’rechildpopstarsunderneathitall,soIwentforsomethingthatwouldcapturetheirfun,childishsidejuxtaposedwiththemoregrown-upsceneandclothingchoices.Theirmanagerandpublicistdidn’tseemtomind,sowedidafewshotswiththisgeneralposeuntilNick’sbrothersdroppedhimacoupleoftimesandtheirmanagersteppedintostopallthefoolingaround.Forbesultimatelychosethehumanairplaneimageforthestory.

Onthesecelebrityeditorialshoots,thetrickistocreatealotofcontentinashortamountoftime,soIalwaystrytocaptureseveraldifferenttypesofimageswithonesetup.OnceIdidthestandardgroupshot,myonlychangeforthehuman

airplaneimagewastolowerthekeylightclosertothesubjectsbecausetheguyswerephysicallylowerintheairplanepose.MymainlightwasanAlienBeesB1600flashheadmodifiedbyaPaulC.Buffoctaboxsuspendedhighabovethesubjectsandpointingdownata45-degreeangle.IthenaddedtwoAlienBeesB800flashheadswithzoomreflectorsforbackgroundlight.Onetocameraleftlituptheplaneandprovidedalittlehairlightonthebrothers.Onetocamerarightaddedjustatouchofdimensiontotheplane,alittlewhitehighlightthatyoucanseeontherightsideofthejet.IusedAlienBees’slightingbeforeIinvestedinthehigher-endequipmentIusetoday.Thelowerpricetagcanmeanlowerqualitywithinconsistentoutputoflightandcolortemperature.However,fortheprice,theAlienBeeslightsareanincrediblevalueforphotographersjuststartingout.

Firstimage:1/80sec.atf/13,ISO200;Secondimage:1/200sec.atf/14,ISO200

MAKINGITHAPPEN

Thesetypesofshootswithcelebritiesarereallyfast.You’vegotonlyafewhours,atbest,tosetuptheentireshoot,andyou’veoftengotmereminuteswiththetalent.Soyouneedtolightquickly,shootquickly,andthinkquickly.Thesedays,whenIhaveamorerelaxedtimeframeforashoot,theclientwillsometimesaskmeifIthinkIcangeteverythingdonebythedeadline.Ijustsmileandthinktomyself,Youhavenoidea!

MYJONASBROTHERSCAMERABAG

•Camera:CanonEOS-1DsMarkIII•Lenses:17-40mmF4Llensand24-70mmF2.8lens•Lights:OneAlienBeesB1600flashheadandtwoAlienBeesB800flashheads•Lightmodifiers:PaulC.Buffoctabox•Powersource:AlienBeesVagabondportablebatterypack

Witheveryeditorialshoot,it’simportanttopresentacollectionofimagesthatthepublicationcanusetohelptellthestory.Theyneedtobecohesiveandrevolvearoundacentraltheme.ThisportraitofJoeJonasfollowstheconceptoftheJonasBrothersassuccessfulbusinessmen.Usingthesameplane,werearrangedoursetuptoshootinside.IposedJoebythewindowandaimedmytwoAlienBeesB800lightsintotheplanefrom

outside.Iarrangedoneofthelightsdirectlyoutsidethewindow,shininginonJoe’sface.Thelightwasabarebulbwithazoomreflector,whichproducesastrong,directlightsourcereminiscentofthesunshiningthroughthewindowofaplaneinflight.ImodifiedtheotherB800witha10-degreegrid,andaimeditatanangletocreatealittleseparationbetweenthesubjectandtheseat.Inpostproduction,IpulledtheimageintoPhotoshopandaddedtheflaretoenhancethesenseofthejetbeinginflightwiththesunshininginthewindow,notsittinginahangar.IusedaflarefromanotherpictureI’dcapturedtomakeitlookmoreauthentic;IdidnotcreateagraphicinPhotoshop.

1/200sec.atf/3.5,ISO200

AMOUR.COM

PEOPLEOFTENASKHOWMUCHIAMINVOLVEDINTHECREATIVEconceptualizationofmyphotoshoots.Whichideascomefrommeandwhichcomefromartdirectorsorothercreativesworkingfortheclient?Formypersonalwork,notsurprisingly,everythingisallmine.Fromconcept

toexecution,Iaminfullcontrolofandcanart-directtheprojectbasedonhowIseeitevolving.Foreditorialphotoshoots,themagazineusuallygivessomedirectionbasedonthethemeofthestory,butIremainveryinvolvedindevelopingtheconceptsbehindthephotography.Foradvertisingcampaigns,thereistypicallystrongcreativedirectioncomingfromtheagencyandmoredefinedguidelinestofollow.Creativeteamsatadvertisingagencieshavepitchedandsoldtheirclientsonsomethingspecific,andthentheyhirethephotographerwhosestylebestcomplementstheircreativevision.Sothatvisionneedstoberealized,buttheagencyhashiredmetoaddsomethingunique,toenhancetheimageandaugmentthecreativeprocess.Thebestimagesbeginwithagoodcreativebriefandimprovethroughcollaborationbetweentheartdirectorandphotographer.

ThediagramIwasgivenfromtheclient.

http://amour.com

Fromalightingperspective,thekeytothisimagewassoft,wraparoundlight,whichIcreatedusingahomemadeversionofaProGlobe.Itwasalsocriticaltoseparatethesubjectfromthecitylightsinthebackgroundwhilesimultaneouslyblendingthephotographiclightingwiththeambientlightsforaconsistentcolortemperature.Carefulapplicationofarimlightwitha1/2CTOwarminggelhelpeddothis,asdidaslightshutterdragtobringinmoreoftheambientlight.

1/8sec.atf/5,ISO200

Hereyoucanseethesetup.Noticetheplacementofthehomemadeglobelight,whichenhancesthelightfromthecityscapeinthebackgroundwhileprovidinganicemainlightonthesubject.It’sjustcloseenoughtoaddsomecatchlightinthesubject’seyes.Inthemeantime,thebacklightseparateshimfromthebackgroundbylightingtheedgeofhisbackside.

Duringanadvertisingshoot,it’simportanttopulloffexactlywhattheclient

wantsfirst;thenyoucanspendsometimeplayingaroundwiththesetuptoproducesomevariationsthatmightofferaninterestingtakeontheinitialcreativebrief.Sometimesthebriefisextremelyspecificwithdiagramsormock-upstofollow.Inthosecases,youneedtobringallofyourlighting,composition,andstorytellingskillstothetabletobringthesketchtolife.Evenifyou’regivenverysoliddirectiononanimage,therearealwayssubtlethingsyoucandoasaphotographertomaketheimageyours.Foreverycommercialphotographer,thoselittletweaksandsmallphotographicdecisionsarewhatdefineyou.Ifyouimplementthesesubtletieswell,youcanbringaclient’svisiontolifemoreeffectively,whilekeepingtheprocesstruetoyourcraft.OnegreatexampleofthisisashootIdidwithartdirectorThomasDerouault

atEuroRSCGinParisforthematchmakingwebsiteAmour.com.Thomasandhiscopywriter,PeterMoyse,cameupwithanideaandscribbledsomesketchesinanotebook.Theconceptbehindthecampaignwastoshowlonelyguyswhoneedadate,andwhoareforcedtocreatetheirownfakegirlfriends.TheimpliedconclusionisthattheycanvisitAmour.comtofindarealcompanion.AfterThomasandPeteragreedthatmyphotographicstylematchedwhattheyweretryingtopulloff,theysentmethesketches.

http://Amour.com

http://Amour.com

MAKINGITHAPPEN

OnceIstoppedwonderinghowthisweirdprojectcametobe,Istartedtofigureouthowtomakeitallcometogether.Ihadtothinkabouthowtodissectthediagramsandmakethemworkinarealenvironment.

MYAMOUR.COMCAMERABAG

•Camera:CanonEOS-1DsMarkIIIforthespaghettipicture(becauseofitsstrongcapabilitiesinlowlight);PhaseOne645camerabodywithPhaseOneP65+backforthemirrorpicture

•Lenses:24-70mmF2.8lensfortheCanon;80mmF2.8lensforthePhaseOne•Lights:TwoProfotoProflashheads•Lightmodifiers:Homemadeglobetocovertheflashbulb,ProfotoZoomReflector2,ElinchromRotaluxSoftboxOcta,1/2CTOgel


Allofthelocationsinthesketcheswereverysimple,sowestagedtheminmyapartment.Castingfromamodelagencywasoutofthequestionastheconceptcalledfora“streetcast”—average-lookingguysthateverydaypeoplecouldidentifywith.SinceIthoughtitwouldbedifficulttoexplaintoastranger,“You’regoingtoplayaguywholookslikehecan’tgetlaid,”Idecidedtocastsomeofmyfriends,includingphotographerNickOnken,whomIsortoftrickedintobeingpartoftheshoot.Forthefirstshot,ofaguyeatingdinnerbyhimself,Iwantedthemainlightto

besoftandwraparoundthesubjectlikecandlelight.Toachievethiseffect,myfirstchoiceforalightmodifierwouldhavebeenaProfotoProGlobe,aspherical,bulblikemodifierthatspreadsthelightaroundlikealamp.However,Idon’townoneoftheseexpensiveitems,soIusedmyhomemadeversion(seehere).Oncemodifiedsatisfactorily,Iarrangedthemainlightjustabovethesubject’shead,hoveringoverthemiddleoftheframe.Ithenplacedarimlighttocamerarightsotherewasabitofseparationjust

touchingthetopofthesubject’shead,hair,andshoulder,helpinghimstandoutfromthebackground.ImodifiedtherimlightwithaProfotozoomreflectorandwarmedupthecolortemperaturewithsome1/2colortemperatureorange(CTO)warminggeltoreplicatetheambientlightfromthecityinthebackground.Thiseffectunifiedthelightsources(ambientcitylightsandrimlight)sothesceneappearedmorenaturalandblendedseamlesslywiththesurroundings.Themodifiedrimlightalsohelpedseparatethesubject’sdarkhairfromthedark

http://amour.com

background.IusedthewarminggelonlyontherimlightbecauseIwantedtodistinguishbetweenthetwolightsources.IfI’duseditonthemainlightaswell,therewouldhavebeentoomuchwarmlightintheimage.Finally,Ibroughtinsomeambientcitylighttoaddcolorandatmosphereto

thepicture.Todothis,Idraggedtheshutterjustlongenough(1/8sec.)forthecitylightsinthebackgroundtoexposeproperly.Forthesecondshot,Ifelttheoriginalsketchhadacompositionthatdidn’t

workaswell.IfeltitcouldbemoredynamicifItookanover-the-shoulderviewpointshotfromrightnexttothesubject’shead.Theartdirectormadeitclearthathedidn’tneedtheexactcompositionfromthesketchandgavemefreereintodowhateverIwanted.SoIarrangedthescenesoIwasshootingfrombehindthesubjectandgettingamoreup-close-and-personalperspective.AfterIcapturedtheoriginallyscriptedshot,whichdidn’tincludethelipstickonthemirror,Idrewsomelipsonthemirrorwithredlipstickforafewadditionalshots.Theclientendedupchoosingoneofthelipstickimages.Thelightingforthisshotwasmuchsimpler.IusedthesameProfotoPro-7b

batterypackwithasingleProfotoProflashheadmodifiedbyanElinchromRotaluxSoftboxOcta.Ipurposely“dirtied”upthelightabitbysuspendingithighabovethesubjecttocreatesomegrittyshadows.

Theoriginaldiagramfromtheclientforthemirrorshot.

Collaboratingwiththeartdirector,Irecomposedthisshotfromtheoriginalsketchtoproduceanover-the-shoulderperspectivethataccentuatedthelonelyguy’spointofview.LightingcamefromasingleProfotoflashheadmodifiedbyanElinchromRotoluxSoftboxOcta.Tobetteradaptthelightingtothescene,Isuspendedthesoftboxabovethesubject’sheadforgritty-lookingshadows.

PENNZOIL

MYWORKWITHPENNZOILCAMEABOUTWHENTHEARTDIRECTORONTHEproject,JustinSmithatDoner,referredmeafterseeingmy“CradleofMankind”series.AlthoughJustinwantedadifferentlookforPennzoil’sadcampaign,thisisanotherexampleoffineartfeedingcommercialwork.Itsupportsmyfeelingthatpersonalexplorationisnotonlyimportantforartisticgrowthbutalsoasanancillaryroutetoprofessionalsuccess.TheideabehindthiscampaignwasPennzoilPride,aconceptbasedon

passingdownthevalueofPennzoilproductsfromprofessionalstoeverydaydrivers,andfromfathertoson.Thefirstimage(shownopposite)featuresHelioCastroneves,acelebrityIndyCardriverwhohasnotonlyachievedgreatsuccessonthetrack,butwasalsothewinnerofthefifthseasonofABC’sDancingwiththeStars.HisnameisassociatedwiththePennzoilbrand,andsotheimageneededtoshowcasehimastheirrecognizablefrontman.Thefather-sonimagesshownhereandherecamefromadifferentshootfor

thesamecampaign.Thisduowasanactualfather-sonpairthatwecastandphotographedinLosAngeles.Theclientwantedamoreauthenticlooktotheseimages,sowedidamixofstreetcastingandprofessionalmodelcastinguntilwelocatedthispair.

Usingathree-lightsetup,Icreatedabright,sunnysceneduringwhatwasactuallyadark,stormyday.Mymainlight,aProfotoProflashheadinanElinchromIndirectLightbankOcta,becamethe“sun”whiletwoadditionallightstocamerarightprovidedaccentlighting.Ishotwithashallowdepthoffieldtoblurthesomewhatclutteredbackgroundandemphasizetheproduct.SincethistechniquealsoblurredthePennzoilcaninHelioCastroneves’shand,IaddedasharpimageofitbackintothefinalcompositioninPhotoshop.


MAKINGITHAPPEN

IconductedtheshootwithHelioCastronevesbyaracetrackinNorthCarolina.TheoriginaltelevisioncommercialforthiscampaignhadavictorycelebrationgoingoninthebackgroundwhileHelioheldalofthiscanofPennzoil.Thisdidn’tworkaswellinastillimagebecauseitseemedtoostagedtohavethisguyholdingacanofoilwhilepeoplewerecelebratingallaroundhim.SoIfoundsomepropsaroundthegarage,includingacrankandaclipboard,andaskedthemodelsinthebackgroundtoholdthemandtalknaturally.It’sstillanobviouslystagedcommercialimage,butitfeelsalittlemorerealisticinthissetting.

MYPENNZOILCAMERABAG

•Camera:PhaseOne645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Lights:MultipleProfotoProflashheads•Lightmodifiers:ElinchromIndirectLightbankOcta,CTOwarminggel,zoomreflectors,20-degreegrid

•Powersource:ACoutlet

Iwantedashallowdepthoffieldtokeepthefocusonthemainsubject,whilethebackgroundelementswentsoft.Thisisparticularlyimportantinacommercialimagethat’sshowcasingaproductandarecognizablespokesperson.Youdon’twantalotofconfusingbackgroundfeaturesdrawingyoureyeawayfromthemainfocus.TheproblemwasthattheshallowdepthoffieldmadeitimpossibletokeepbothHelio’sfaceandthePennzoilcaninfocusatthesametime.Toworkaroundthisissue,ImademultiplecapturesandthenusedPhotoshoptostitchinasharpimageofthecanwithasharpimageofHelio.Hisfaceisinfocusand,magically,soisthebottle.TherewasnootherwaytoaccomplishthatdualsharpnessunlessIstoppeddowntof/11orf/16,andthenI’dlosethatnice,shallowdepthoffieldthatmakestheimagesoeffective.Weconductedthisshootonadarkandstormyday,buttheclientwanteda

bright,sunnylooktotheimage.SoIadded“sunlight”byarrangingastrobeoutsidethegaragewindow,aimedinwardandmodifiedbya½colortemperatureorange(CTO)warminggel.Thelightstandwasvisibleintheoriginalshot,soIcloneditinPhotoshopduringpostproduction.Ialsodraggedtheshutterandoverexposedtheimageabittobringinmorelightandmaketheskylooklighterthanitwasinreality.MymainlightcamefromaProfotoProflashheadinanElinchromIndirect

LightbankOctaarrangedtocameraright,abovethesubjectandaimeddownata45-degreeangle.BehindHelio,justoutoftheframetocamerarightatthesamedistancefromhimasthetwoguysinthebackground,Iplacedanotherlighttoshineonthecarandwashoverthebottomofhisrightleg.Imodifiedthisflashwithazoomreflector.Toaddsomeshinetothehoodofthecarandsomesparkle

tothewheel,IplacedanotherProfotoflashheadjustoffframetocameraright,aimedatthecarandfocusedwithazoomreflectoranda20-degreegrid.Forthesecondimage,wecastarealfatherandsontogetmoreauthentic

expressionsandinteraction.Wehadalongdayofshooting,so,understandably,theyoungboywasstartingtogetfrustratedandthedadlethimhonkthehorntoamusehimself.Afterhonkingthehornafewtimes,theboylookedbackathisdadtoseeifitwasokaytokeephonking.Atthemomenthelookedbackandmadeeyecontactwithhisfather,Icapturedthisimage.Pennzoillovedthispicturebecauseofthetendernessofthemomentandthelookoftrustintheboy’seyes.

Forthisimage,Iworkedwitharealfather-sonduotogetamoreauthenticinteraction.

1/50sec.atf/4,ISO50

Iplacedmymainlightonthecarhood,braceditwithalightstand,andmodifieditwithanElinchromIndirectLightbankOcta.Youcanseethislightonthedad’sfaceandtheleftsideoftheboy’shead.Isetthelightalittlehigherthanthehoodsoitwouldfilluptheentirewindshield.ThelittleflareinthetopleftcornercomesfromaProfotoflashheadmodified

bya¼CTOwarminggel.Thislightdropsalittleorangeonthebackoftheboy’shead,aswellassomelightonthedad’slipsandchin.

Tolightupthebushesbehindthecar,Iplacedabare-bulbflashonthefarsideofthevehicle.The360-degreelightspraysaroundthebackground,brighteningitupandalsoputtingsomelightonthedad’shands.Thislightisalittlecoolerthantheotherflashbecauseitdoesn’thavetheorangegel.Sincetheboy’sheadisturnedawayfromthemainlight,Iputanotherflash

withabeautydishonthebackofthecar,aimedthroughtherearwindowtofillinhisfaceandprovidesomecatchlightinhiseyes.Iturneddownthepoweronthisflashtohalfthatofthemainlightonthehoodsoitwouldprovidejustasubtlepopoflighttobrightenuptheboy’sface.

InthiscommercialimagemadeforPennzoil,Ibuiltascenearoundthisfatherandsonsittinginacar.Mymainlightsatonthehoodofthecar,fillingupthewindshieldwithlightandshiningonthedad’sfaceandtherightsideoftheboy’shead.Inthetopleftcorner,Iaddedanotherlightwithanorangegeltoprovidealittlewarmlightonthebackoftheboy’shead.Tolightupthebushesinthebackground,Ipositionedabareflashbulb,whichsentout360-degreelighttoilluminatethebushesevenly.Sincetheboy’sheadwasturnedawayfromthemainlight,Iputaanotherflashinabeautydishonthebackofthecar,aimedthroughtherearwindow,toprovidesomecatchlightinhiseyes.Withthisscenecreated,IletmysubjectsinteractnaturallyasImadeseveralexposures.

1/50sec.atf/4,ISO50

PAWNSTARS

Workingatdusk,IsetupaProfotoflashheadinaRotaluxOctaasmymainlight.Positioningittocameraright,Iflaggedthebottomofthesoftboxtoobstructthelightandpreventitfromhittingtheground.Thelightjustskimsthetopofthepicture,rightbytheOldMan’supperbody,andletstherestofthecompositiondropintoatmosphericshadow.Tohighlightthecarbumperandchromeaccents,IplacedaProfotoflashheadmodifiedbyazoomreflectorandagridjustbehindthecarandoutofframe.Toaddanextralittlepopoflight,IhidaCanonSpeedliteEXflashwithaPocketWizardtransceiverinsidethelightfixtureonthewall.Finally,byintentionallyunderexposingthisimage,Igavetheskyadarkertoneandmadethesceneappeartobeatnight,whenitwasactuallyshotjustaftersunsetwhiletherewasstillagoodbitofresiduallightinthesky.


WHENTHEHISTORYCHANNELAPPROACHEDMEABOUTCREATINGSOMEimagesforanewrealityseriescalledPawnStars,Ijumpedatthechance.They’dsentmetheshow’spilotepisodeandIthoughtithadaninterestingconceptwithsomeintriguingcharacters.Historywantedsomeimagesofthemainpeopletohelpthempromotetheshowinothermedia.SoIsetupatriptoLasVegastomeettheguysandproducesomepromotionalportraits.Duringthatfirstshoot,theshowhadn’tairedyet,andnooneknewhow

popularitwouldbecome.Thenow-famouspawnshopwasemptyanditwasjustlikephotographinganyothergroupofnormalguys.Ididn’thaveastrictsetofdirectionsfromtheshow’sproducersbecausetheydidn’tknowexactlywhereitwouldgo.ThispresentedanexcitingchallengebecauseIhadanopportunitytohelpcrafttheshow’slookandbrandingthroughthatinitialsetofimages.SincethepawnshopfeaturedintheshowisaVegaslandmark,ItalkedtotheartdirectionteamatHistoryaboutusingalotofVegasthemes,playingupthedarktonesandneoncolorsthatmanypeopleassociatewiththecity.Ialsophotographedalotinsidetheshop.Lightingoptionswereabitlimited,soIoptedtoaddinteresttotheportraitsbyincorporatingantiquesandotheritemsfromthestoreintothebackgrounds.Thiswouldplacemysubjectsinthecontextoftheirwork,surroundedbytheartifactsthatdefinetheshow.WecreatedsomuchcontentduringthisinitialsessionthatHistorywasabletousetheimagesforthefirsttwoseasonsoftheshow,pullingdifferentsetupsandportraitswithoutrepeatingmaterial.AfterthethirdseasonofPawnStars,whentheshowhadbecomeanenormous

hit,Historyhiredmetodoanothershoot.Sincethemainguyshadbecomecelebrities,wedidn’tneedtoidentifythemasmuchwiththepawnshop;theywererecognizablecharacterswhocouldstandontheirown.Plus,theGold&SilverPawnShopwasnolongeraquietset.Therewasalineoftouristssixblockslongwaitingtogetintothestore!History’sartdirectioncameupwiththeideaofdepictingastrongerVegastheme,sowestartedplanningsomeshotsofthecharacterswalkingdownFremontStreetintheoldpartofVegas,aswellasotherimagesthatexemplifiedthecharacters’connectiontothecity.OneconsistentelementthatwecarriedthroughbothshootswastheOldMan’scar,avintageCadillacthatmadetheperfectprop.

TheprimaryilluminationforthisscenecamefromaProfotoflashheadinanElinchromRotaluxSoftboxOcta,placedtocameraleftinfrontofthesubjectsatabouta45-degreeangle.However,thekeytomakingthisscenerealisticwasblendingthephotographiclightwiththeambientlightfromthecasino.Todothis,Iaddedasecondlighttothebackandrightofthesubjectsandmodifieditwithcoloredgelstore-createtheyellowlightfromthecasino.Deeperorangeandredtonesalsocomethroughfromthecasino,producingareddishwashandhelpingeverythingblendtogether.


MAKINGITHAPPEN

I’moftenhiredforcommercialjobsthatinvolvenoncelebrity,nonmodelclientsbecauseIhavealotof“ordinary”peopleinmyportfolio.Thismeansalotofshootswiththecastsofnewrealitytelevisionshows(whoaren’tfamousyet)andadvertisingprojectswithstreetcasting.Workingwiththesetypesofsubjectscanbealittlemoredifficultbecausethey’renotusedtobeinginfrontofthecamera.Theymightbeuncomfortable,andthey’reoftenunsureofthemselves.Thekeytomanagingoneofthesesessionssuccessfullyisbuildingarapportwiththesubjectsandinstillingconfidence.Ireassurethem,trytohelpthemrelax,andexplainthatmyjobistomakethemlookgood.Inmanycases,I’llstartoffbyshowingthemmyportfoliosotheygetasenseofmystyleandwhat,ingeneral,I’mgoingforintheimagery.

MYPAWNSTARSCAMERABAG

•Camera:PhaseOne645camerabodywithPhaseOneP45+back•Lenses:80mmF2.8lensand45mmF2.8lens•Lights:MultipleProfotoProflashheads•Lightmodifiers:ElinchromRotaluxSoftboxOcta,CTOwarminggel,zoomreflectors,20-degreegrid

•Powersource:ACoutlet

Next,Iworkwithmyamateursubjectsonposingandhowtoactinfrontofthecamera.Peoplewhoaren’tusedtobeingphotographedoftenlikemoredirection,soI’mfairlydetailedinmycoachingatthisstage.ThenIwatchthemwhenthey’renotoncamera.Ipayattentiontohowtheycrosstheirlegs,howtheystand,wheretheyplacetheirhands.Whenpeoplerelaxandactnaturally,that’susuallythelookI’mseeking.It’salsothelookthatmostclientswantfromtheseshootsfeaturingnormal,everydaypeople—asopposedtoahighlystylizedcommercialshootwithmodelsoractors,wheretheposingfitsintoaspecific,predeterminedlook.For“ordinary”people,naturalusuallyworksbest,soI’malwayswatchingthesubjectsinbetweenshotsandduringbreaks.Whentheyrelax,whentheysettlebackandactlikethemselves,thenIstepinandaskthemtoholdtheirpose(or,moreaccurately,theirlackofapose).Mystyleofdirectionismoresubtlewithestablishedcelebrities,models,and

actors,whohavebeenphotographedthousandsoftimes.Thesepeopleknowwhatthey’redoing—usually—andIcanworkwiththemonamoreadvancedlevel,discussingthingslikemoodandamorenuancedexpression.Withthesehigh-profilesubjects,Iusuallylimitmydirectiontomylightingsetupandhowandwherethesubjectsshouldpositionthemselveswithinthatsetup.Fromthere,myfeedbackrevolvesaroundthelightingandmaximizingtheimpactofmylightsetup.Forexample,ImightpointoutmymainlightsourceandaskaprofessionalmodeltoturntowardthatlightsothatIcancaptureareflectioninhereye.OrI’llpointoutthesourceanddirectionalityofthelight,explainwheretheshadowswillfallandthenaskthesubjecttoworkwiththoseshadowswhileproducingadark,thoughtfulexpression.Bymakingitaboutthelighting,I’m

bringingthesubjectsmoreintoanartisticcollaboration,helpingthemtweaktheirlooksowecanoptimizetheresults.Typically,I’lldeliveralotofpositivefeedbackinthesesituations;youhavetoletpeopleknowwhentheyaredoingsomethingrightsotheycanworkoffit.Whencreatingtheimageshownatleft,takenduringmyfirstshootwiththe

castofPawnStars,theOldMan(that’shisnameontheshow)wasverystandoffish.Weneededmoreenthusiasticparticipationfromhim,soIhadtofindawaytoconnect.InoticedthathehadsomeoldCokemachinesintheshop.Itjustsohappensthatmydad’sjobinvolvesrestoringvintageCokemachines,soIknowalotaboutthem.IstartedtalkingtohimaboutthemachineandthehistoryofCoca-Cola,andyoucouldtellhewasimmediatelyimpressed.Hereallyopenedupafterthat.Heconfidedinmethathe’dneverhadhisphotographprofessionallytakeninhisentirelife.Manytimes,whenpeoplearealittlereservedonset,itmaybebecausetheyfeelawkwardorunsure.Ialwaystrytofindsomecommonground,torelatetotheminawaythatdemonstratesmysincerityandinterestinhelpingthemlookgreatinthephotographs.Inreality,theOldManisoneofthemostphotogenicpeopleI’veevershotandhelooksgoodinalmosteveryframe.

ForthisimageoftheOldMan,werearrangedseveralelementsinthebackgroundtocreateamoreintriguingcomposition.Forexample,wedraggedtheCokemachineandthesailboatintothescene,completelyscratchingupthefloorintheprocess.ThemainlightwasanElinchromRotaluxSoftboxOcta

withastandardProfotoProflashheadpositionedtocameraleft,justfarenoughtothesidetoshineonthesubject’sprofile.IangledtheOldMansohewasbacklitbythewindowlight,andImadeatestshotduringwhichIdraggedtheshuttertoproducesomelensflare.Ididn’tseeenoughflare,soIaddedanotherlightbehindhimthatwouldflashintothelensandaddadditionalflare.Aswithmostofmyportraitimages,Iorientedtheshadedsideofthesubject’sfaceclosesttothecamera.


Forthegroupportraitshownhere,theartdepartmentatHistorywantedaRatPackstylephotograph,somethingthatresonatedwithclassicVegasstyle.SowechosealocationonFremontStreetintheolderpartofVegas.Thisareahassmallerbuildingswithlowerlights,asopposedtotheStrip,whichhastallerbuildingsandhigherlightingarrangements.Wewantedthebrightlightsinthebackground,sothissettingwasperfect.Bythetimewedidthisshoot,theguyswerefamous,sowehadtosetup

barricadesandhavepoliceandsecurityhandlecrowdcontrol.Peoplekeptscreamingtheguys’names.Aftertheshoot,IreceivedseveralGoogleAlertswithpeople’spicturesofmeshootingthisimage.(IhadsetupaGoogleAlertonmyselfandthePawnStarscrew,andthealertsflewinaftertheshoot.)Itwasawildsituation,andcrazytoseethetransformationoftheguys’livesfromthefirstshoottothisone.MymainlightwasaProfotoflashheadinanElinchromRotaluxSoftbox

Octa.Ipositionedthislighttocameraleft,infrontofthesubjectsatabouta45-degreeangle.ThenIaddedonecoloredlighttothebackandrightofthesubjects.ThislightwasanotherProfotoflashheadwithazoomreflector,modifiedbyagrid,aswellasasodiumvaporgelandayellowgel.Thecombinationofthesegels—theintenseorangefromthesodiumvaporandtheyellow—mimickedtheyellow-orangelightingcomingfromthecasinolightsbehindtheguys.Ididn’twanttouseaplainwhiteflashherebecausethewhitelightwouldhaveseparatedthesubjectsfromthesceneandmadethemlookasiftheywerecutoutfromtheirsurroundings.Theideawiththiscoloredlightwastoreplicatetheyellowlightfromthesignbehindthesubjectstocreateayellowhighlightontheguys’faces.However,theambientyellowwasn’tquitepowerfulenoughtoshowuponthesubjectsbecausetheambientredlightoverpoweredit.SoIre-createdtheyellowcolorontherightsideofmysubjectswithmygel-coveredflash.Ittookalotoftrialanderrortomatchthecolorexactly,buttheresultisayellowhighlightthatlookslikeit’sfromthecasinolights.Atthesame

time,thedeeperorangeandredtonesfromthecasinoprovideanoverallreddishwash.(Inpostproduction,wechangedthenameofthecasinotoavoidcopyrightproblems.)Iincludedtheshotshownhere,takenattheendofmyfirstphotosessionwith

thePawnStars,becauseIwantedapicturewiththeOldManbyhisclassicCadillac.I’dbeenshootingtheentiregroupinthesamesetup,andthenIaskedtherestoftheguystostepasideandslippedinthisshotquicklybeforewewrappedup.Ineededtoworkfastbecausetheclientwaspayingeveryoneovertimeatthatpoint,soIposedhim,tweakedthelightingslightly,andgottheshotinthreeexposures.Wewereworkingjustaftersunsetwithsomeresiduallightintheskystill

illuminatingthescene.IpositionedmyRotaluxOctatocamerarightandcoveredthebottomofittoobstructthelightfromthatportionoftheoctaboxandpreventitfromshiningontheground.Asaresult,thelightscrapesonlythetopofthepicturebytheOldMan’suppertorso,leavingtherestinshadow.Theinterplayoflightandshadowproducesadramatic,atmosphericfeel.Ifthelighthadn’tbeenflaggedontheground,therewouldbeabig,awkwardsplashoflightrightinthemiddleofthecomposition.Tocameraright,behindthecarandjustoutofframe,IplacedaProfotoflash

headwithazoomreflectorandagrid.Thisflashprovidesjustalittlebitoflightonthecarbumperandchrome.Itdoesn’tevenhittheOldMan.You’llnoticeadistinctshinecomingfromthewalllightonthewallofthe

building.Theactuallightwastooweaktoproducethiseffect,andyouwouldonlynoticetheselighttrailsifitwascompletelydarkoutside,soIenhancedtheexistinglightbyplacingalittleCanonSpeedliteEXflashwithaPocketWizardtransceiverinsidethelightfixture.Ilovetoaddinteresttomycompositionsbyconcealingflashesinexistinglights—streetlights,lamps,carlights,andsoon.It’sagreatwaytoaddsomeextrapunch.Inthiscase,theflashproducedthelightingeffectIwanted,andthenIaddedinthegreenishtintinPhotoshop.Iintentionallyunderexposedthisimagetogivetheskyadarkerappearance,

asifitweremuchlateratnight.Also,bylettinginlessambientlight,theflashlightappearsmorefocused,withaspotlighteffectcomingfromtheexistinglightfixture,whichworksverywellforthisscene.Ambientlightmakesartificiallightappearlesspronouncedbecauseitmixesinandwashesouttheflash.Whenyouunderexposeanimage,yougetridofmuchofthatambientlight,leavingjusttheparticularlookofyourartificiallights.

PROJECTRUNWAYALLSTARS

WHENLIFETIMEWANTEDPROMOTIONALIMAGERYFORITSLATESTPROJECTRUNWAYseries,ProjectRunwayAllStars,Igotthecall.Theshowfeaturedfanfavoritesfromvariousseasonsofthehitrealityshow,whichfollowsup-and-comingfashiondesigners.Theprojectinvolvedcoordinatingseparateshootswithindividualdesigners,

orpairsofdesigners,andeachimagehadtobeperfectsothatartdirectorAaronDayandhisteamcouldproducecompositesandrepurposethephotosintomultipleformats.Aaronwasfamiliarwithmywork,butwantedtobesureIcouldproducetheclean,commercial,studio-styleimagesneededfortheproject.Priortolandingthejob,IhadtosendhimaseparateportfolioofstudioworktodemonstratethatIcouldproduceflawlessindividualimages.Prominentconsiderationsforthisshootwerethestyleoftheimageryandhow

theshow’scontestantswantedtobedepicted.Thedesignerswereallfunandeasytoworkwith—nothinglikethecutthroat,moodypersonastheysometimestookonfortheshow—buttheywerealsoaveryimage-consciousbunch.Theyare,afterall,fashiondesigners,soappearancewaseverything.Unlikesomeofmyothercommercialportraitshoots,inwhichIusedprominentshadowstoaccentuatefacialfeaturesandcreateasenseofdepth,thesepicturesneededtobecleaner,brighter,andlitwithasofterlightthatwasmoreflatteringtothesubjects.

Thiscompositecomprisesmultipleimagesofindividualsubjectsorpairsofsubjects.Overthecourseofasingledayofshooting,Iconductedmultipleshootswiththecontestantsontheshow,matchingthelight,exposure,andpointofviewasmuchaspossible.IshotalltheimagesforthiscompositewithaMamiyaRZ67medium-formatcamera(withaPhaseOneP65+back)anda110mmF2.8lens.Thereasonforsuchalonglensinastudiosetupwaslimitedspace.Workingwithintheconfinesoftheloft,wehadtoplacethesubjectsrelativelyclosetothebackground.Animagefromashorterlenswouldhavelackeddepth.Byusingalonglensonamedium-formatcamera,Iextendedthebackgroundtocreatetheillusionofextraroombehindthesubjects.

MAKINGITHAPPEN

IcreatedalloftheimagesforthisprojectonawhiteseamlessbackgroundthatIsetupinaloftspacenearwheretheywereshootingtheshowinNewYork.Wehadonedayfortheshoot,butallofthedesignerswouldn’tbeavailableatthesametime.Myportablestudioallowedthedesignerstocomeoverduringbreaksinthefilmingforquickphotosessions.Thiswasthebestoption,becauseIneededtheresultstobeabsolutelyconsistent,eventhoughIwasphotographingpeopleatdifferenttimesduringtheday.Acontrolled,on-locationstudiowithidenticallightingagainstauniformbackgroundwasthewaytogo.

MYPROJECTRUNWAYALLSTARSCAMERABAG

•Camera:MamiyaRZ67camerabodywithP65+back•Lens:100mmF2.8lens•Lights:MultipleProfotoProandBrieseflashheads•Modifiers:Briese180Focusumbrella,twowhiteumbrellas,twobeautydishes,whitefoamcore

•Accessories:Whiteseamlessbackgroundandmountingrig•Powersource:FourProfotoPro-8a2400Airwithbuilt-intransceivers

Formymainlight,IputaBrieseflashheadinaBriese180Focusumbrellaonaboomarmpositionedhighabovemysubjectandslightlytocameraleft.Theboomarmallowedmetosuspendthelightoverthecamera,aimeddownatmysubjectatabouta45-degreeangle.IusedtheBrieseinsteadoftheElinchromRotaluxSoftboxOcta,whichI’veemployedonsimilarshoots,becauseoftheBriese’sdistinctlookwithitsmoredefinedseparationbetweenhighlightandshadow.TheOctaisamorevariablelightsourcewithhotandcoolspotsthatIwouldpositionovermysubjectstocreatemoodyshadowsandadddepth.Italsoproducessofterlightwithlessdefinedtonaldifferencesbetweenhighlightandshadow.Whileextremelyexpensive,theBrieseprovidesaflawlesslightfromaperfectlyengineeredconcaveumbrella.The“punchy”lightitproduceshasaverycommercialstudiolook.Byplacingthislightsquarelyonmysubjects,Iilluminatedthemwithauniformstudiolightthatisgenerallyconsideredmoreflattering.OntheothersideoftheframefromtheBriese,totherightandalittleforward

fromthecameraposition,Iplacedapieceofwhitefoamcoretobouncesomelightontotheshadowsidesofmysubjects’faces.Thisevenedoutthelighting,removinganypronouncedshadowsandgaveeverythingaclean,polishedlook.TwoProfotoflashheadsinbeautydishesprovidedbacklightonthesubjects.I

likebeautydishesforbacklightinginthesetypesofsituationsbecausethelightissoft.Softerlighttendstowraparoundsubjectsformoreofaflatteringglow,asopposedtolightsourceswithhardedges(morecontrastbetweenhighlightand

shadow),whichproduceadefinedlightontheedgesofthesubject.Thisbrightedgelightingdoesn’tworkwellwhenshootingagainstawhiteseamlessbackgroundforacomposite.Overlydefinededgesonthesubjectswillmakethecompositelookartificial,tooobviouslycutandpastedintoadigitalcomposition,asopposedtosofteredgesthatblendandappearmorenatural.Tolightthewhitebackgroundevenlyandfillinshadows,Ipointedtwo

Profotoflashesmodifiedbywhiteumbrellasdirectlyatthepaper.Positionedhighandoneithersideofthebackdrop,theselightsprovidedaflatlightthatevenedoutanydefinitionorfoldsinthepaperbackgroundforamoreconsistentlookacrossalltheimages.Whenworkingwithaseamlessbackgroundforimagesthatwilllaterbe

composited,it’simportanttogetaproperexposureofthebackgroundthatremainsconsistentacrossalloftheimages.Themoreconsistenttheexposureandlighting,theeasierthecompositingjobwillbelateron.That’swhyIlikeumbrellasforthistypeofshoot—theyareaveryconsistentlightsource.Eventhoughawhiteseamlessshootisasimple,clean,studiolightingsetup,

therearesomanywaysthatyoucandoit.Onewaytoseparateagoodshootfromalacklusteroneistomakesurethemainlightisataproperheightinrelationtothesubjects.Youwanttheshadowsandhighlightstobeconsistent;shadowsshouldbecloseinsizeandlength,andhighlightsshouldfallonthesamegeneralplacesonyoursubjects.Ifthey’reoff,yourimageswon’tmatch,anditwillbecomeveryclear,veryquickly,thatyourlightingwasinconsistent.Imaintainconsistentlightingbysuspendingmymainlighthighabovethesubjectsandthenpointingitdownata45-degreeangletothesubject’sface.Thistechniqueinvolvesadjustingthelightupanddownforthedifferentheightofeachsubjectsoit’salwaysstrikingthematthesameangle.Thisangleshouldprovideapleasinglightwhilestillsparkingalittlecatchlightinthesubject’seyes.Youalsohavetomakesurethatthecameraisinthesamespotforeachphoto,andthatit’satthesameheightrelativetoyoursubject.Ifyourpointofviewchangesfromimagetoimage,thesubjectswilllookmismatchedinthefinalcomposition.Ishoteveryonewiththesamesetup,soallthesubjectsarebacklitwiththe

samelight.However,inthefinalcomposite,someofthedesignersappearinfrontoftheothers.Inreallife,ifitwasagroupshotwitheveryonephotographedtogether,thatbacklightwouldbeblockedonsomeofthesubjectsbythepeoplestandingbehindthem.Sothere’satouchofunrealisticlightingthere,ifyoureallylookclose.However,youcan’tcontrolthistypeofsituationasaphotographer.Thefinalcompositemadebyyourclientisoftenwellbeyondyourcontrol.It’sbesttojustshooteverythingperfectlyiftheexactcompositionhasn’t

beendecidedyet.Ihadadigitaltechworkingwithmeonthisshoot.Adigitaltechsitsata

computerduringtheshoot,monitoringtheimagesastheyarecreatedandbackingupthefilesrightthereonthespot.MydigitalbackwastetheredviaFireWiretoalaptopsothetechcouldcheckouttheimagesastheycamethrough.Whilesomephotographersmayfeelalittleuneasywithsomeonelookingovertheirshoulderatalltimes,Ifinddigitaltechstobeextremelyhelpful.Theyaretrainedtolookforspecificthingslikesubtledifferencesinlightingandcolor.It’sgreattohaveanothersetofeyeshelpingmekeepthingsconsistentandwellexposedonsuchalongandfast-movingshoot.

HOUSEOFANUBIS

Withatotalofsixlightsandsomeadditionalhelpfromreflectivewhitefoamcore,Ilitthislargegroupasnaturallyaspossiblewhileprovidingsomeatmospheretotheimage.Posingwassimple,tweakedslightlytogivethecompositionaninterestingflowwhilerepresentingeachsubjectwellwithinthelightingsetup.Thekeytothisimage,fromalightingperspective,wasilluminatingtheentirescenetolooklikearealroominahouse,notafilmsetwith100percentartificiallight.Atthesametime,Ineededtomakesureeachsubject–includingthecrocodile–waswelllitandclearlyvisible.


INTHEFALLOF2010,IFLEWTOLIVERPOOL,ENGLAND,TOPHOTOGRAPHTHEadvertisementsandpressshotsforNickelodeon’snewkids’showHouseofAnubis.I’vealwaysbeenimpressedwithDavidHamed’sartdirectionofNickelodeonphotoshoots.Eventhoughthenetworkfocusesonyoungeraudiences,itsvisualmaterialalwayshasahighproductionvalue.Workingwiththissortofclient,andcollaboratingwithitstalentedcreativeteam,isadreamforanyphotographer.Nickelodeonhadatalentedsetbuildercreateasetforfilmingtheactualshow,

andIgottouseitformyphotoshoot.Ilovedoingshootsontelevisionandfilmsetsbecausetheyaredesignedforproductions.Therearetrussestohanglightsandplentyofspacearoundthesettoshinelightsthroughwindows,andeverythingisspaciousandopen-endedsoyouhaveplentyofroomtomaneuveryourcamera.It’sanenvironmentmadeforgreatimages.ForsomeonewhoisusedtotapingbackgroundstomudhutsinAfricaandriggingupquick,on-the-flysolutionsduringlocationshoots,workingonawell-outfittedproductionsetisarealtreat.Ievenfeltabitspoiled.IjusthadtomakesureIdidn’tgetlostintheconfusinglabyrinthofdifferentroomsandsetfeatures.Wordofcaution:Whenworkingonatelevisionset,makesureyougotothebathroomintherealone,asthefaketelevisionbathroomcanlookprettyconvincing!

MAKINGITHAPPEN

Forlargecommercialprojectslikethis,there’susuallysometimeallottedtoprelightthesceneonthedaypriortotheshoot,ormaybeafewhoursbeforetheshoot.Thisisthetimetofigureoutthelightingsetupandworkoutanybugs.OnceI’vegottenallthatsortedout,Istartbuildingmylightingscenariopiecebypiece,perfectingeachstagebeforeImoveontothenext.

MYHOUSEOFANUBISCAMERABAG

•Camera:Mamiya645camerabodywithPhaseOneP65+back•Lens:80mmF2.8lens•Lights:SixProfotoProflashheads•Lightmodifiers:ProfotoProGlobe,twoProfotoSoftlightReflectors(a.k.a.silverbeautydishes)with25-degreegrids,20-degreegrid,threeProfotoZoomReflector2,andwhitefoamcore

•Accessories:PocketWizard,fourCstands,boomarm,1/2CTOwarminggel,LenspenPanamaticpanoramaadapterplate

•Powersource:FourProfotoPro-8a2400Airwithbuilt-intransceivers

Theprelightalwaystakesplacewithtestsubjects,nottheactualcast.Workingwithsomeassistants,Isetuptheshootandlightalltheelementstomysatisfaction.Next,it’stimetoposetherealsubjects.Inthisinstance,Ihadbeenworkingwiththecastforthreedaysonothershots,sowewereallverycomfortableworkingtogetheranditwaseasytomovethemaroundandseewhatgroupcompositionworkedbest.Posingninepeopleanywherecanbetricky(well,tenifyoucountthe

crocodile).Iwantedtovarytheeyelevelsofthesubjectsandmakesurenoonewassittingexactlythesameway.Iposedsomeofthecasthighonthecouch,somelower,andsomestanding,andIkepttweakinguntilthecompositionhadaniceflow—theeyemovedfromsubjecttosubjectfluidly,withoutgettingstuckonaparticularelementordistractedbyanyinconsistencies.Itwasalsoimportanttoleavespacessotheviewercouldseesomeoftheinterestingpropsontheshelfandaroundtheroom,sincetheseitemscontributedtotheoverallfeeloftheimageandthebrandingoftheshow.Formymainlight,IstartedoutwithaProfotoProGlobe,aspherical,bulblike

lightmodifierthatspreadslightaround360degrees,almostlikeabarelightbulb.Inmanyshoots,IhaveusedasimilarmodifierthatIcraftedoutofasphericalglasslampshade,butsinceIwastravelingabroadforthisshoot,Ijustrentedtherealthingwhileonlocation.

WhenIdidmyfirsttestshot,Ididn’tlikethewaythelightdrapedoverthewalls.Itwastoobrightanduniform;thescenedidn’tlookcozy,warm,andmoodyasIwanted.SotogetthatlookItapedsomeblackpapertotheareasoftheProGlobefromwhichthelightwassprayingontothewalls.Bycustomizingmymodifier,Ifocusedthelightonlyonthesubjectswithoutanyfalloffonthewalls.ThenIaddedasheetofdiffusionpapertothebulbtofurthersoftenthelightthatdidhitthesubjects.Iaddedtwolightsoutsidethesetwindowstoreplicatesunsetlightcomingin

fromtheoutside.Itappearstobeonelightsource,muchlikethesun,butit’sactuallytwoseparatelightswithzoomreflectors.Iusedtwolightsbecausethewindowsaresofarapartfromeachotherthatonelightwouldnotshineevenlythroughbothwindowswiththesameimpactasthesettingsun.Twolightswithidenticalorientationsaccomplishthislookbeautifully.Also,thelightaimedthroughthewindowoncamerarighthelpsdistinguishtheactorsonthatsideofthecompositionfromthebackgroundbyilluminatingthewallpaperbehindthem.Sincewehavetheillusionofwarmwindowlightshininginfrombehindthe

group,Ineededtoaddsomeadditionalinteriorlightingtoenhancethateffect.Ialsoneededsomerimlighttoseparatetheactorsfromthebackground.IpositionedtwoProfotoProflashheadsinsideofbeautydishesandthenaddedagridtofocusthelightmoreacutely.ThenIsuspendedthelightshighabovethesubjects,aimingthebeautydishesdownandslightlytowardthecamera.Towarmupthecolortemperature,Iplaceda1/2CTO(colortemperatureorange)warminggeloneachlight.Thisorangegelcreatedawarmglowfrombehindtheactors,whichwrappedaroundtheedgesofthesubjectsandseparatedthemfromthebackground.Oncewearrangedeveryone,itwasclearthattheactoronthefarleft,Tasie

Dhanraj,neededanadditionallighttohelpherstandoutbetterinthatdarkcorner.IarrangedaProfotoflashheadwithgridanda1/2CTOwarminggeltocameraleft,justoutoftheframe,aboveherandpointeddownatheratabouta45-angle.Inthefinalphotograph,youcanseetheflarefromthislight,butIdecidedtokeepitbecauseitlooksinterestingandworkswiththefinalcomposition.Besides,itappearsnatural,asifitwerecomingfromaninteriorlightintheroom.EvenwiththisadditionallightonTasie,theleftsideoftheimagewasstilla

touchdark,anditwasn’tlitevenlybythemainlight.SoIplacedapieceofwhitefoamcoretocameraleft,justoutoftheframe,toreflectlightbackontothetwosubjectsinthechair.ThelightfromthemodifiedProGlobelookedgreat,butitcausedsomestrong

shadowsontheactors’faces.Toaddressthisissue,Ibouncedsomelightuptotheundersideoftheirfacesusingapieceofwhitefoamcoreunderthetable.Ipositionedthefoamcoreoutofsightandangledittoevenoutthefacialshadowswithoutaffectingmuchelseintheimage.Togetawide,panoramiclookwithoutanydistortion,Ishotthefinalimagein

twoseparatepanels.Forthiskindofimage,Iusuallydon’tlikethelookofsuper-wide-anglelenses;theydistorttheitemsintheframe.Iwantmyimagestohaveasimilarperspectivetoahumaneye’s,soImergedtwoimagestakenwithan80mmlens.Iusedapanoramicadaptertorotatethecameraonthecorrectaxis,andthencombinedthetwoimageslaterinPhotoshopwithaphotomerge.Iemploythistechniquequiteabitonpanoramic-typeimages.Allofthesubjectsremaininoneplace,butthecameramovesbackandforthbetweentwopositions.

ThissetupshotshowsthelightingarrangementIusedfortheHouseofAnubisgroupportrait,conductedonthesetoftheNickelodeontelevisionseries.Therewasn’tenoughtimetoswitchtoawide-anglelenstoshowtheentiresceneinoneshot,soIpannedthecameraroughlylefttorighttocreatethiscomposite.

POSTPRODUCTIONWORKFLOW

ALOTOFPEOPLELOOKATMYWORKANDTHINKTHATIT’SBEENHEAVILYPHOTO-shopped.Particularly inmycommercial images, theway Iapplymultiplelightsourcesmaygivethisimpression.However,Idomostofmyworkonsetandincamera.IdoenhancetheimagesinPhotoshop,ofcourse,butmy techniques are subtle. They are designed to optimize what I’ve alreadycaptured.I’m not implying that the digital processing and enhancements aren’t an

important part of image creation—not at all. A well-executed postproductionprocesscanaugmentthelookofyourimagesandhelpthemstandout.Intoday’sphotographymarketplace,wheresuccessreliesonauniquevision,developingagood digital workflow can help your images ascend to the next level. Thespecific toolsandtechniquesyouusewillfurtherdefineyourphotography.It’sthefinalstepinimplementingyourpersonalvision.

Also,digitalenhancementsofferanotheropportunitytoshoreupthecohesivenessofyourwork.Ifyoucancreateaconsistentpostproductionworkflow,itwillgoalongwaytowardbuildingcohesivenessacrossallofyourwork.I’mnotsayingthateveryimageneedstobeprocessedidentically,butareasonablystandardizedsetofmethodsshouldbeinplace.Thenyoucantweak,play,andmakesubtlevariationstobringeachpicturetolife.Togiveanideaofmydigitaldarkroomprocess,I’veprovidedaninsidelook

atmybasicpostproductionworkflow.Aswithmycapturetechniques,Idon’tfor

asecondsuggestthatyousimplytakemyprocessandcopyit.Instead,usethisinformationasanothertoolintheconstructionofyourpersonalvision.

1.Ialwaysshoot inrawwithacolorspaceofAdobeRGB1998.Ipreferthis method because it gives me the most digital information with thewidesttonalrange.SinceIdon’tcapturethousandsofimagespershoot,thelarger size of these files isn’t a concern. Later, I can create new, smallerfilesasnecessaryforthefinaloutputmethod.

2.UsingPhaseOneCapturePro,Isharpentheimageandthenconverttherawfileintoa16-bitTIFFfileat100percentsize.IalwayssharpenbeforeconvertingtherawfiletoaTIFFbecausetherawfilehasthemostdigitalinformation,sosharpeningatthisstageoffersthemostaccuratemethod.Idon’t sharpen the base image in Photoshop.During this entire process, IleavetheimageinAdobeRGB1998becausethat’sthenativecolorspace,and it’s a larger color space than something like sRGB. It handles moredetailinshadowsandhighlight,anditholdsmoreinformation.3.UsingCurves, I tweak the color levels and tonal rangeof the image. Istart by clicking Image > Adjustments > Curves. You can use the RGBchanneltoadjustthetonalrangeoftheimage.Theareaatthetoprightofthegraphrepresents thehighlights,and thebottomleft, theshadows.Youcan pull the line one way or another in multiple places to adjust thesehighlights and shadows.Pulling the shadowportionof the linedownandthehighlightareaupwillincreaseyourcontrast.Toadjustcolorinthisbox,clickonChannelsintheupperleftandselectred,blue,orgreen.Withineachcolorchannel,youcanmovethelineupordown to adjust those color levels without affecting the tonal range.However,rememberthatthetoprightimpactsthehighlightsandthebottomleft affects the shadows, so by pulling your line oneway or the other inthose areas, you’re changing the color levels in those tonal areas. Forexample, by pulling the blue line up in the upper right corner, you’reincreasingthebluecolor(anddecreasingtheoppositecolor,yellow)inthehighlights of the image. Similarly, by pulling the green line down in thelower left corner, you’re decreasing the green color (and increasing theoppositecolor,red)intheshadowareas.Youcanplayaroundwithalloftheindividualcolorstoachievealookthatyoulike.Idonothaveasetformulaforthisprocess;IadjustthelevelsuntilIachievethelookIwant.Thisisthebestmethodforcolorizinganimagebecauseyoucangetanycolorcombinationyouwantbyplayingwiththeselevels.

InPhotoshop,ItweakcolorlevelsandtonalrangeusingCurves,thenadjustcolorsfurtheranddesaturatetheimageusingtheChannelMixer(seeStep3,andStep4).

4.IusetheChannelMixertodesaturatetheimage.GotoWindow>Layers(F7) >Adjustment Layer >ChannelMixer.You can also get toChannelMixer by going to Image > Adjustments > ChannelMixer, but I like towork in layers so I can go back and change things easily later on. ByaccessingtheChannelMixerthroughLayers,itcreatesanewlayerwithamask,andyoucaneditinanondestructiveway. The ChannelMixer opens a box with red, green, and blue channels,whicharethemaincolorsaffectingyourphotos.Bymovingthesliders,youcanseehowtoadjustoverallcolorlevelsinthephoto. This method is also how I do black-and-white conversions. Digitalcameras offer great options for shooting in color and then converting toblack and white with customized tonal ranges. By running the imagethrough different color channels in Photoshop, you can create your ownblack-and-white effects, similar to colored filters and custom processingback in thedaysof film.Todo this,whileyou’vegot theChannelMixerboxopen,clicktheboxforMonochrome.Youcanplaywiththered,blue,

andgreensliderssomemoreandseehowadjustingthesecolorscompletelychanges thecontrast rangeof theblack-and-white image.Theredchanneltendstogiveasmooth,softlooktoskin.Thebluechannelistheopposite,providingaharsherlooktotheskin.Thegreenchannelisinthemiddle.Ilike to use a mixture of green and blue channel adjustments to give myimagesaninterestinglook.Icanachieveamorehigh-contrast,high-impactlooktomyblack-and-whiteimagesbyusingthismethod,asopposedtojustturning the image toblackandwhitebyclickingDesaturate.Youcanseethis process and other Channel Mixer techniques in more detail on myinstructionalDVD,availableatlearnfromjoey.com.

5.OnceI’veachieved the lookIwant, Isave thefileasahigh-resolutionTIFF,andthenmakecopiesatdifferentsizes,dependingonthefinaluseforthe image. If necessary, I adjust the sharpness along the edges of mysubjectsinthesesmallercopiesusingtheUnsharpMaskfilter.Ialwaysdothisadditionalsharpeningadjustmentafterresizingtheimagebecausewhenyou downsize an image, the process reduces the number of pixels in theimage. You need to produce harder edges because there are now fewerpixelsalongthoseedges.I typicallyapplyUnsharpMaskwitharadiusof0.7andanamountbetween60and80percentatathresholdof3.

6.Finally,Ibackupmyfiles.Ineverkeepallmyfilesinthesameplace.Photographers have many different options for saving files in differentphysical and virtual locations, including multiple hard drives, additionalservers, Drobo-type storage devices, and cloud services. Choose whatworks foryou—justmakesureyoubackupyour images.Allharddrivesfail eventually. Ifyou spendyour life creating images, it’s agood idea topreserveandprotectthem.

http://learnfromjoey.com

Whenevernecessary,Iadjustanimage’ssharpnessusingtheUnsharpMaskfilter(seeStep5).

Remember,yourpostprocessingandPhotoshoptechniquesshouldbeasuniquelyyoursasyourstyleofcapturingtheoriginalimage.Thedigitaldarkroomisyouropportunitytobringitalltogether,toturnyourworkinthefieldintoafinishedcomposition.Ifyouhoneyourskills,standardizeyourmethods,and,mostimportant,applyanoverarchingvisiontoyourdigitalenhancements,youwillbewellonyourwaytocreatingacohesive,distinctportfoliothatdefinesyouasanimagemaker.

ACKNOWLEDGMENTS

Iwould like to thank the following people for their support ofmy career andtheirhelpwithmyvariousendeavors,includingthisbook:

George,Kim,Shane,andCoreyLawrence,andtherestofmyfamily.

JeffKent,JulieMazur,StephanieLeonard,JamesHill,ShaneezaAziz,PatriciaMcmahon,JonboyandGabiSimpson,BarbaraCox,AundeCornely,AnneSheridan,MaryCharasHealy,andDonnaMaxey.

JesseKorman,BlackBlack,TasieDhanraj,RyanMcCarney,CaleGlendening,WillemIsbrucker,SterlingHealy,JustinWoodward,JonathanBregal,KhalidMohtaseb,TylerGinter,OscarZabala,JamesZanoni,LaraJade,ChrisDowsett,JamesDouglas,SarahRigney,SebastianKoever,SusieHayasaka,Tom-TomLeavy,Adam“PDA”Ross,SamSpratt,AlloraVisuals,SurvivalInternational,EricNally,Haakon,BenedictEvans,OvationTV,BenjaminBates,JazmineValencia,ToddRussell,LukeFontana,HectorAldid,AshtonDo,DustinSnipes,JedandVickiTaufer,andRossTanner.

RickyPutraSinaro,AntenehEndaleMamo,RajuVerma,SatishKumar,DavidHobby,MohamedSomji,HalaSalhi,KholloudAlMuraikhi,MatHolloway,HindIskander,TejinderSingh,FernandoPiaddioPoliti,andAndyRedpath.

IanLuce,ZachDilgard,AaronDay,DavidHamed,JustinSmith,AngeloPatrona,KevinPesta,SaraClark,StefanHaverkamp,ThomasDerouault,AurelieBourdais,StephenAviano,ToddHeughens,BrandonDonahue,andMargyDudley.

INDEX

A

advertising campaigns, 14.1, 14.2;House of Anubis shoot; Pawn Stars shoot,p3.1,16.1;Pennzoilshoot;ProjectRunwayAll-Starsshoot

Aghori(Hinduholyman)AlternativePressmagazineAmour.com

B

BabaVijayNund(Hinduholyman)background: underexposure of, 2.1, 2.2, 2.3, 3.1, 4.1, 5.1, 5.2, 16.1. See alsospecificshoot

Balo(Daasanachtribegirl),3.1,3.2Banks,LloydBatukstudents(India),5.1,11.1Biwa(Karotribeelder)BodiMe’entribephotographBolivia:hatsin,11.1;IRTshootingin;localpeoplein,11.3,11.4Bona(Hamertribeelder),3.1,3.2Brooklyn,NewYork;HalloweeninBushwicksectionof

C

camerabag:forAmour.com;forDisturbed;forEricNally; forEthiopia; forG-Unit; for Halloween in Brooklyn; forHouse of Anubis; for IRT; for JonasBrothers;forMudcats;forPanicattheDisco;forPawnStars;forPennzoil;forProject Runway All-Stars; for Protest the Hero portraits; for Varanasi HolyMen

cameras.Seecamerabag;specificphotographCastroneves,Helio,15.1,15.2,15.3celebrities;posingofcohesivenessinworkcommercial photography: exposure in; Joey’s development of; photographersrolein,14.1,14.2;popularcultureand;stylefor,1.2,1.3;stylistsand.Seealsospecificshoot

compositionCradleofMankindseries,3.1,15.1creativeconceptualizationcroppingimages

D

Daasanachtribe(Ethiopia)Day,AaronDerouault,ThomasDhanraj,Tasiedigitalphotography:GenerationZphotographersand;postproductionworkflowand, 19.1, 19.2; responsibility of photographers and; as trust-buildingtechnique

digitaltechsDisturbed(band)Draiman,DavidDutchmasterpainters,1.1,1.2,2.1,2.2,3.1,4.1

E

editorialphotoshootsenvironmentalportraitsEthiopia:camerabagfor;OmuValleytribalpeoplein,2.1,2.2,3.2,5.1exposure

F

fast–clickphotographyfather–sonimages,15.1,15.250Cent,1.1,2.1,9.1,9.2,9.3,9.4files,savingfine art portraits: composition of;environmental portraits in; exposure in, 2.1,2.2;Joey’sdevelopmentof;one-light,2.1,2.2;poseof;purposeof image in;styleand.Seealsospecificportrait

fishermen,mudcatflamingmicrophoneshoot,Nally’s,8.1,8.2Forbesmagazine,itr.1,13.1

G

G-UnitGenerationZphotographersgroupshots,2.1,3.1,6.1,9.1,9.2,16.1,16.2,18.1.Seealsospecificshot

H

HalloweeninBrooklynphotographsHamed,Davidhatvendor,BolivianHistoryChannel, itr.1,17.1; IRT:Deadliest Roads project for, 1.1, 10.1, 11.1;Mudcatsprojectfor;PawnStarsprojectfor

Hobby,DavidHolyMenofVaranasi,1.1,2.1,5.1,12.1HouseofAnubisHugh(trucker)humanairplaneimage,13.1,13.2,13.3

I

India.SeeHolyMenofVaranasiIndonesia;tribalpeoplein,itr.1,itr.2,2.1IRT:DeadliestRoads(HistoryChannel),1.1,p3.1,11.1

J

JonasBrothers

K

Karowomanportrait,3.1,3.2Kincaid,Marion,12.1,12.2,12.3

L

LasVegas,Nevada;PawnStarsshootinLast-Supper-compositionstyle,9.1,9.2,9.3Lawrence, Joey: artistic development of; “big break” of; education of, fwd.1,itr.2;firstdigitalproductof;goalof;personalvisionof,itr.1,1.1,1.2,1.3

lens.Seecamerabag;specificphotographLifetime;ProjectRunwayAll-Starsforlightingtechniques.Seealsocamerabag;specificphotographLuce,Ice

M

Magesh(Hinduholyman),5.1,5.2MahaShivratriFestival(Varanasi,India)McCarney,RyanMentawaipeople,itr.1,itr.2,2.1Meyer,Stepheniemodifiers,lighting.SeealsocamerabagMountYasur,itr.1,itr.2movies;asinfluenceonJoey’sstyle,1.1,1.2Moyse,PeterMudcatsMursiwarrior,3.1,3.2Mursiwoman,3.1,3.2musicportraits.Seespecificpersonorgroup

N

Nally,EricNickelodeon;HouseofAnubisshootfor

O

OldMan(PawnStars),2.1,16.1,16.2,16.3,16.4OmuValley(Ethiopia)tribalpeople,2.1,2.2,3.1Onken,Nick

P

PanicattheDiscoPawnStars,2.1,10.1,16.1Pennzoilpersonalvision,itr.1,1.1,1.2,1.3,2.1,2.2,5.1,19.1photoagentsphotographers:asentrepreneurs;influenceonphotographsof;personalvisionof,itr.1, 1.1, 1.2, 2.1, 2.2, 6.1, 19.1; responsibility of; role in commercialphotographyof,14.1,14.2

posing:infineartsportraits,2.1,2.2,2.3,3.1,3.2;ofgroups;ofnoncelebrities,2.1,16.1.Seealsospecificphotograph

postproductionworkflowpowersource.Seecamerabag;specificphotographProfessionalPhotographersofAmericaProjectRunwayAll-StarsProtesttheHeroportraits

R

Rick(trucker),11.1,11.2Rufo(Arboretribewoman),3.1,3.2“ruleofthirds”

S

Silverstein(band),itr.1,itr.2,itr.3Smith,Justinstyle:cinematicportraitphotography;commercialphotographsand,1.1,1.2;asevolving; fine art portraits and; influences on, 1.1, 1.2; of Joey; portraits asillustrationsof,1.1,1.2,1.3,1.4,1.5,1.6

stylists;oncommercialshoots

T

TannaIsland,Vanuatutechnique;composition;exposure;lighting;posingtelevision;asinfluenceonJoey’sstyle,1.1,1.2televisionsets;shootingontestshotsTwilightposters,fwd.1,itr.1

U

underwaterfilmingUrie,Brendon

V

Varanasi,India;HolyMenof,1.1,2.1,5.1,12.1Varnish,MattVibemagazine,2.1,9.1

W

Wengren,Mike,7.1,7.2

Y

Yayo,Tony

photographing shadow and light: inside the dramatic lighting techniques and creative vision of...

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