Recently I did a photo shoot at an elementary school.
The assignment was to create a photo library of images for general use focussing on the students and teachers.
I have shot for the same client three times in the past, each time using a different lighting technique.
This time I decided to use my lit reportage style.
This is where I have two assistants follow me in real time lighting the shot with two different light sources lighting the subjects as I move.
You have to work with really good assistants to be able to anticipate where you will move next and have a good understanding as to where to place the lights in real time.
This was a great way to shoot this assignment because I could move at the same pace as the kids capturing real moments as they happened.
What was necessary on my end was to let go of micro managing the lighting and allowing the assistants to light the scene as I moved with the kids. I just had to anticipate the moments in reportage style.
The client really benefits from this by getting a huge volume of shots to work with, as well as authentic moments they wouldn’t get in setup shots, but with higher production values, because they are still lit shots.
Here are some examples from the shot.
I recently was the moderator of a panel discussion for an event for asmp New York chapter.
I believe be an assistant is the best way to bridge the gap from graduating from a photography program and starting a career as a professional photographer.
There are so many practical things that you need to know about how to approach an assignment, work with clients, market yourself, to be a successful photographer.
On the second day of the work shop I was one of five different photographers that alternated between groups of four assistants to give them a practical experience as to what is required to be an assistant on a assignment.
I chose to create an editorial portrait experience.
Photo editors always want options to chose from.
If you come back with just one setup, even if it is a great portrait, they always want other options.
So in my practical, we did three setups in each hour session.
This gave them the a real experience of the pace and pressure of a real shoot.
What I wanted to show them was different lighting strategies, and how lighting is so important to crafting and controlling the environment you choose to shoot in.
Here are some samples from the day.
This gallery contains 20 photos.
This gallery contains 12 photos.
Shooting with my DXO camera, from the hip, without looking through the camera, that is why the framing is off centre, sometimes without headroom. I wanted to capture the concept of beached people of all shapes and sizes.
Its where people are enjoying the sun and sand and sea.
For me this is about capturing what I see as I walk with a camera in the palm of my hand, at hip height.
The idea is to shoot as you walk so people are not aware of the camera.
At the same time walking to where the shots, what draws your eye and creative instincts without looking through the camera.
Just got my DXO camera. I love having it with me. You shoot from the hip, blind. But you capture what you see, hopefully without your subject knowing that you are taking photos.
Real moments. New York has a real gritty feel. I hope I will be able to capture some of this that I feel when walking around.
A very emotional experience photographing people who had experienced just devastating loss in every sense of the word.
Here are some of the pictures.
And here is the link to the story: http://www.wired.co.uk/news/archive/2016-02/25/post-ebola-syndrome